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The Man With No Mercy

  by Dan Ames

(about 123 pages)
total words
of all the books in our library
of all the books in our library
passive voice
of all the books in our library
all adverbs
of all the books in our library
of all the books in our library
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:

you know what to do,” Pauling said. “You have to look at what connects these women, besides Reacher. You’re focused on that, because that’s all you’ve found. But trust me, that’s not the answer. Reacher’s not involved in their disappearance. There’s something else that links them, and once you find that out, you’ll find them.” “How can you be so sure?” Ferguson asked. “I’m not sure. I’m just supremely confident that Reacher is not the problem. And if he’s not the bad guy you’re looking for, someone else is your perp. That’s where you need to start looking.” “It’s almost impossible,” Rodriguez said. “Chang is a private investigator. She’s probably worked on hundreds of cases, and we don’t have access to that information. We know what Harper’s involved in. Vaughan, we have some information, because we’re linked to the Hope Police Department’s database, but she is a widow. Her husband was involved in the military. We’ve accessed his information, too, but so far, there’s nothing that connects them, other than Jack Reacher.” Pauling thought about it. “Well, there’s one thing you may be overlooking.” “What’s that?” Rodriguez asked. “Maybe there isn’t anything that connects them, other than Reacher.” “But you just said you were confident that’s not the case,” Ferguson said, exasperated. “Right. So the only other option is that whoever is doing this wants you to think that Reacher is the key. What’s actually tying them together is the impression that Reacher is the link. But what if it’s you caught a shark off the Florida keys. You had a shrimp on a hook and watched the dorsal fin approach, slowly circling. Each time the predator circled, it was tighter and tighter until it attacked. That’s what this woman was. The outer circle. The beginning. You smile. She’s not the prize. She’s just going to be the first to die. Lauren Pauling opened her eyes, momentarily forgetting where she was, until she felt Michael Tallon’s heavy arm draped across her body. He was snoring softly next to her. She lay still for a moment, enjoying the snapshot in time. Tallon’s bedroom was large, with a rustic wooden ceiling and a fireplace flanked by red tile. It matched the rest of the Spanish-style adobe house. As gently as possible, she slid out from underneath Tallon’s grasp and pulled on a silk bathrobe, grabbed her cell phone from the night table, and padded out to the kitchen. There was fresh coffee and she poured herself a cup. Through the window over the sink, she could see the mountains in the distance. Tallon had chosen the perfect place for himself, it suited him to a tee. Rugged. Isolated. With a hint of danger. Pauling took her coffee and sat in one of the brown leather chairs in Tallon’s living room. She smiled. The décor of Tallon’s place was 100 percent male. All of the furniture was leather and wood. No throw blankets. Or accent pillows. Even the window treatments were wooden shutters

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 617.44 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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