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Amateur Spy

  by Dan Fesperman

(about 555 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:

count had begun. Thirty and rising. I picked up the phone to call Omar’s house. Hanan was frantic. She said he had gone to Bakaa hours ago, after speaking with Dr. Hassan. He had been angry and upset. Something to do with Nabil. She hadn’t heard from him since. “Nabil?” “Yes. Nabil was in some sort of trouble. Omar had to find him before it was too late. Then I heard about the bombs and now I can’t reach him. Either his phone is off or—oh, my God, I don’t know what to think. He could be anywhere. He could even be—” “It’s all right, Hanan. If Omar said he was going to Bakaa, then that’s where he is, okay? Cell phones don’t always work out there.” “It’s just that, well, you’ve been around him. You must have noticed.” “Noticed what?” “Omar. The way he’s been acting. Not that he would ever tell me what’s going on. Has he told you?” “No.” “But you’ve noticed it, too, haven’t you?” “Maybe. I don’t know. It’s Nabil who has me worried right now, considering what’s happened.” “You don’t think that—” She didn’t dare finish the sentence. “I don’t know. But I’m going to find out. I’m going out there.” “To Bakaa?” “I’ll let you know as soon as I know anything about Omar.” “This can’t be a good time to be moving around the city.” “Probably not. Call if you get any news.” “Be careful.” The first thing I did was The owls resumed their conversation just as I was climbing into bed, and their calls were as comforting as an all-clear signal. My precautions suddenly seemed foolish. Mila breathed softly at my side, her body cooling beneath the sheets. I had shut the window, but the shutters were thrown open to a starlit deep blue. It cast a pale light that made my skin look almost as young as hers. The smell of candle wax mingled with the sour aftertaste of retsina. I listened from the pillow until the owls stopped. Probably the night’s final update from the realm of the hunter and the hunted. Soon afterward I must have drifted off to sleep, because the next thing I remember was a flashlight shining brightly in my face, jarring me awake. I blinked and squinted and bolted upright, thinking for a moment that I must be in a tent on yet another scene of ruination. A hand shoved against my sternum to make sure I went no farther. Then a smooth male voice spoke from out of the glare. In English, with an American accent. “Time to get up, Freeman Lockhart.” Mila was already sitting, rigid beside me with the sheet pulled to her neck. She said nothing, just stared with wide eyes. Someone flipped on the ceiling light. In addition to the man at my right, another stood by Mila, and a third was at the foot of the bed. They wore identical gray tracksuits, and smelled like cigarettes

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 2773.18 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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