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Sons of Valor

  by Brian Andrews & Jeffrey Wilson


(about 447 pages)
111,667
total words
of all the books in our library
46.87%
vividness
of all the books in our library
6.79%
passive voice
of all the books in our library
2.56%
all adverbs
of all the books in our library
0.84%
ly-adverbs
of all the books in our library
1.72%
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
thousands. We are not the terrorists, Qasim, they are!” Eshan took a deep breath and collected himself before continuing. “But it’s not your fault. Your mind has been conditioned with their lies. Since our childhood, we have been bombarded with propaganda. I thought Hamza had explained all of this to you. We are not ISIS. We are not the Taliban. No. We are al Qadar. We are honorable Muslim soldiers, and we are at war.” If the cause is so righteous, then why did Hamza have that man executed?” Because he was a traitor. For so long as there have been armies on this Earth, military commanders have executed traitors and spies in their ranks. They do this not for the joy of killing, but because they must. Spies and traitors must be dealt with swiftly and decisively, or their future actions will lead to loss of life on a grand and catastrophic scale. The Pakistani man you saw executed, Mohamed, had the potential to bring down the entire organization. If he had been followed, or if he had been wearing a wire or a tracker, the Americans would have been tipped off and you’d be dead right now.” It’s only a matter of time, isn’t it?” Qasim murmured, his gaze going back out the window. “My fate was decided the minute I stepped into that warehouse and saw the drone. This is one decision I can never walk away from.” That’s where you’re wrong,” Eshan said. “Your fate was CARGO SHIPPIER AT VOPAK HORIZON FUJAIRAH LTD. UNITED ARAB EMIRATES0645 LOCAL TIMEChunk watched the team of five CIA “Smiths” exit the ship down the gangway dressed in gray cargo pants and black polo shirts. They carried matching coyote-tan backpacks and wore sunglasses despite the sun not yet having broken the horizon. Jesus, why don’t they just wear dark blue windbreakers with spook stenciled on the back in bright yellow letters?” Saw, leaning against the rail, spit into a plastic Coke bottle already half full of dark tobacco juice. I know, right?” Riker laughed and spun his stained and worn ball cap backward. Scratching at his beard, he looked at Chunk. “No, no, no, dude. Don’t do it… don’t do it.” Chunk, who was packing a fresh wad of tobacco into his lower lip, tried desperately to resist the urge… but couldn’t. “Hey, hold up a second,” he called after the spooks, who’d left without a parting word to Chunk or his team. The lead guy, a quiet, clean-shaven forty-something case officer who’d introduced himself as J. P. Jones, stopped and looked over his shoulder. “Yes?” A quick word,” Chunk said, waving him back aboard. The spook debated for a beat whether to grant this request for a conversation he most certainly didn’t want to have; his shoulders sagged a little. “I’ll be just a minute,” he said to his team, then reversed course and headed back up the brow. Chunk moseyed over to where the brow met the ship’s deck

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 2233.34 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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other books by Brian Andrews & Jeffrey Wilson

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