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The Secret Weapon

  by Bradley Wright


(about 316 pages)
78,907
total words
of all the books in our library
36.57%
vividness
of all the books in our library
9.10%
passive voice
of all the books in our library
2.74%
all adverbs
of all the books in our library
0.73%
ly-adverbs
of all the books in our library
2.01%
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
the top secret file before it got to Sam. The first thing King had to do was decide whether or not he could trust Mary was telling him the truth. She had always gone to bat for him in the past, and they had actually become friends, but when your own father turns on you, it’s possible anyone can turn on you. With Mary, though, it was the last thing King would expect. “X?” Mary said. “Just processing.” His mind was flipping through the scenarios of how this could have happened. “Have you talked to Sam?” “I called her, she didn’t answer. But it’s the middle of the night in Greece.” “I know.” King was growing frustrated that Mary wasn’t addressing the obvious problem. That there was a breakdown somewhere under her watch. “Mary?” “I already know what you’re going to say, X.” “Then don’t make me say it.” “Hold on, you’re not going to try to lecture me here, are you?” He didn’t expect her defensive tone. “I don’t follow,” King said. “You think I don’t know it was you who took out Andonios Maragos?” King knew it was only a matter of time before this came up. Of course, he would never admit it, even though he was fully aware Mary knew it was him. “I couldn’t be happier he’s dead, Mary. But it wasn’t me.” “Bullshit.” King doubled down. “I don’t understand what you’re getting at. If I had killed Maragos, what does that have to do The scent of the bourbon as he poured was already helping him relax. As it always did. Eagle Rare was one of his favorites. The smell of vanilla, caramel, and oak reminded him of another time and place. One that didn’t involve so much hate and violence. The bathroom door opened, and steam wafted out. Sam emerged in the white robe he’d exchanged for her clothes. Her long dark hair was wet down her back. She was beautiful in the dim yellow light of the bedside lamp. “So, where are my clothes? And yours?” King looked down at the robe he was wearing. Then back to Sam. “I had housekeeping come get them for a wash. Yours were starting to stink.” Sam tried to hide a smile. “Was that a smile? The ice queen has a soul?” “Been into that bottle already, have you?” “No. I’m a gentleman. I waited for you.” For the first time in over a year, he got the classic Sam eye roll, and it couldn’t have made him happier. “Come here and have a drink with me, you old cow.” Sam walked over and took a seat on the edge of the bed. “You’re no spring chicken. Thirty-one this year, right?” “Still a decade younger than you.” King held up his glass. “Not quite. But close,” Sam said, smiling. Then she picked up her glass. “Cheers,” King said. “To never growing up.” Sam clinked his glass with hers. “You’ve got that toast in the bag

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 1578.14 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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