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Savage Son

  by Jack Carr

(about 482 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:

from the landline here. It’s to a sat phone.” “Where is he?” “He’s not far, but he needs a little time. He’ll explain.” Vic took the paper. “Are all members of your family accounted for?” “Everyone but my sister Hanna. She’s in Romania. If you could have someone from the embassy check in on her and bring her in, my family would be grateful.” “That will be my first call,” Vic said, standing to switch places with Raife so he could use the phone. “You and your family did good work today.” “We’ve had some practice.” True to his word, Vic called Langley. The desk officer immediately contacted the chief of station in Romania. Within the hour, two embassy vehicles were on their way to the town of Moldavia. He then dialed the number Raife had given him. “Vic?” “Well, Reece, looks like your days of peace and quiet have come to a screeching halt.” “Someone had other plans. Your phone call saved our lives.” “I can’t lose you before I even officially bring you on board.” “Yeah, I guess I’ll have a harder time saying no next time you ask me to do something.” “I’m going to do that now. Where are you?” “Close. There was something I had to do before law enforcement arrived.” “Please tell me you don’t have a live suspect in custody.” “If I did have someone, they wouldn’t be a suspect, they’d be an enemy combatant. I’ll share what I can, when I can as it S-curved its way through the air before settling onto the water’s surface. They pushed off their waders and ate their lunch in a sunny meadow, taking in the midday warmth as they drank 75 Wine Co sauvignon blanc from enameled metal cups. They made love under the cloudless sky before dozing on the blanket Reece had spread out on the hillside. Katie caught the first trout of the day that afternoon, a beautiful rainbow that she held up for a photo before they put it on ice in the soft-sided Yeti cooler that had carried their lunch. She caught two more fish to Reece’s one as the day progressed, which led to an amusing discussion of his angling abilities. That evening, Reece drove her to one of his favorite spots on the ranch, a high vista where they sat on his tailgate drinking local microbrews as the elk herds grazed into the grassy valley below. Katie slipped on Reece’s jacket as the sun fell beneath the next ridge. In the coming weeks, the bulls would begin to rut, filling the mountain air with the enchanting sound of their bugles. The young bulls were already acting the part, posturing and chasing one another halfheartedly as the mature males watched patiently from the timber. Back at the cabin, Reece pan-fried the breaded trout filets while Katie stood at the stove beside him, preparing a dish of brussels sprouts mixed with bacon. They selected a Silver Oak cabernet from Napa Valley

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 2410.50 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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