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Lions of Lucerne

  by Brad Thor


(about 618 pages)
154,411
total words
of all the books in our library
41.64%
vividness
of all the books in our library
8.71%
passive voice
of all the books in our library
2.97%
all adverbs
of all the books in our library
1.04%
ly-adverbs
of all the books in our library
1.94%
non-ly-adverbs
of all the books in our library

clippings from this book

We’ve analyzed hundreds of millions of words, from thousands of different authors, training our linguistic models to recognize the most vivid words in the English language… the words that create the most intense sensory experiences: colors, textures, sounds, flavors, and aromas.

Based on our analysis, we’ve scanned through the pages of this book to find the two pages at the extremes, both the most-passive and the most-vivid pages, so that you can compare them side-by-side and see the difference:

MOST PASSIVE PAGE
MOST VIVID PAGE
need to stitch me up.” “Oh, Scot. I don’t know if I can do that.” “You’ve got to, Jackie. Just grab the needle and start from the top.” “But what if I don’t do it right?” He didn’t have the strength or the patience to argue with her. He did his best to stay calm. “You’ll do fine. C’mon. Start here and work your way down. We’ll make sure you draw the folds together as evenly as possible.” “It’s going to hurt.” “You’re such a kidder. That’s what you said about the peroxide, and I was fine,” he lied. “Let’s go.” Fifteen minutes later it was done. The stitches were clean, and although there would probably be a scar, it could have been much worse. “I think you missed your calling,” said Scot. “What do you mean?” “You should have been a surgeon. These are very clean. I thought you were gonna leave me looking like Frankenstein.” “Very funny. Now, hold still while I put this bandage on.” This time it was Scot who accepted the orders and did as he was told. “There, that should do it. I’m sorry I don’t have any antibiotic ointment.” “That’s okay,” said Scot. “The peroxide should kill just about anything that might have gotten in there.” “Is there a high risk of infection?” “With a bullet wound there always is, but I think we cleaned it out pretty well.” “Good. Are you hungry? Can I get you some soup or something?” “I would inlaid Egyptian box on his desk and pointed it at a wall of books to the right of the fireplace. The false wall slid back to reveal the entryway to a smaller room, about fifteen by fifteen feet. The white walls were decorated with rococo trim and were lined with more leather-bound books. The entire space was permeated with the smell of honey. The wood floor was covered by a large oriental rug. A small fireplace, trimmed in marble, stood in the southwest corner. It utilized the same chimney system as the fireplace in the large study, which helped keep this room a secret to outsiders. Several gilded mirrors hung on the walls and reflected the room’s centerpiece, an enormous antique rolltop desk. A plush couch, with handsomely carved legs, sat opposite the desk. Fawcett waved his guests into the adjoining room. Once all three were together, he tapped a button on his remote and the wall slid shut behind them. With only minimal pressure from Fawcett’s fingertips, a set of faux book spines sprang forward from one of the bookshelves, revealing a set of crystal decanters. “Brandy anyone?” said Fawcett as he removed a large snifter and a decanter filled with the amber-colored liquor. “I’ll take one,” replied Rolander. “Scotch rocks, if you’ve got it,” said Snyder. As Fawcett began pouring the drinks, he motioned for the men to take a seat on the couch. Rolander, very much at ease with himself, plopped right down onto the antique sofa

emotional story arc

Click anywhere on the chart to see the most significant emotional words — both positive & negative — from the corresponding section of the text…
This chart visualizes the the shifting emotional balance for the arc of this story, based on the emotional strength of the words in the prose, using techniques pioneered by the UVM Computational Story Lab. To create this story arc, we divided the complete manuscript text into 50 equal-sized chunks, each with 3088.22 words, and then we scored each section by counting the number of strongly-emotional words, both positive and negative. The bars in the chart move downward whenever there’s conflict and sadness, and they move upward when conflicts are resolved, or when the characters are happy and content. The size of each bar represents the positive or negative word-count of that section.

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