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Black Flag

  by David Ricciardi


(about 338 pages)
84,412
total words
of all the books in our library
53.22%
vividness
of all the books in our library
7.15%
passive voice
of all the books in our library
2.02%
all adverbs
of all the books in our library
0.90%
ly-adverbs
of all the books in our library
1.12%
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
will go to ground and we’ll spend five years searching for him while he escapes justice.” “I could alter the Symi’s course. I could divert it a hundred miles west of the route they’re expecting.” “I have no idea if the pirates are targeting the Symi, but I don’t want you to delude yourself that altering course would stop them. They’ve been tracking their targets using the automatic identification system. They’re going to find whatever ship they’re looking for.” Athena put her hands in her face again, displeased with all of her options. “When will you arrest him?” “As soon as we get approval from Washington.” “What could they be waiting for?” “It’s a bureaucracy,” Jake said. “I’m sorry.” “I should call INTERPOL. They would arrest him immediately.” “INTERPOL doesn’t have an enforcement arm. They’ll just pass the information to the Somalis and the pirates have sources inside the government. There’s a one hundred percent chance that he’ll get a heads-up and maybe a five percent chance that the authorities will even look for him. It will only make him harder to catch.” Athena looked out over the sea again. Moonlight was breaking through the clouds. “We don’t know that they’re targeting the Symi,” Jake repeated. “They are.” Jake hesitated. “It’s possible, but they could be working with other agents too. There could be dozens of potential targets.” “And yet you’re convinced that turning one ship around will ruin your whole plan? ‘Either your men die or many more will a bad dream,” said Pickens. “If that ship was carrying what I think it was,” Jake said, “then it’s about to turn into a nightmare.” ASIDE FROM THE buzz of the insects and songs of the birds, the only sound in the picturesque valley was the hum of a diesel generator. It reverberated softly through the hills, muffled by the grasses and trees of southern Somalia. Down on the valley floor, next to a bend in the Jubba River, clusters of work lights illuminated a fortified camp. Inside the thick stockade walls were rough-hewn buildings and even rougher men—irregular fighters with rifles slung across their chests and over their shoulders. Several of them were clustered around three off-road trucks that had parked under a canopy of camouflage netting. Half a dozen men were unloading the trucks, using rope handles to lower heavy wooden crates down from the truck beds and into the waiting hands of their comrades, who then carried them inside the largest of the buildings. Other men opened the crates and unpacked them, stacking the stolen rockets and machine guns against the wall. But it was in a smaller structure on the other side of camp that Yaxaas and his son sat in hardwood chairs, smoking cigarettes and drinking a blend of cardamom and cinnamon teas. The camp was just a few miles north of the equator and far inland from the coast. The smoke hung in the hot and stuffy air. “Badeed has stung us hard

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 1688.24 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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