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Don’t Blink

  by James Patterson & Howard Roughan


(about 263 pages)
65,711
total words
of all the books in our library
39.09%
vividness
of all the books in our library
9.13%
passive voice
of all the books in our library
3.72%
all adverbs
of all the books in our library
1.42%
ly-adverbs
of all the books in our library
2.29%
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
DIDN’T MAKE SENSE, none at all. Dwayne Robinson hadn’t been at Lombardo’s that first day. He had stood me up. But he had been here. At least according to Tiffany. “When?” I asked. “What time was it? Sorry to bother you, but it’s important to me. I was supposed to do a story on Dwayne. For Citizen magazine.” “I’m not sure exactly. It was on the early side. Noonish, maybe.” That had been before I’d arrived, about a half hour before Dwayne and I were supposed to meet. Odd. Crazy. “You’re sure it was him?” I asked. “Yes,” she said. “Of course, I didn’t think anything of it at the time. I remembered seeing him only after they showed his picture on TV. I’m not a big baseball fan. I didn’t know who he was until then.” “Did you seat him?” I asked. “No. I didn’t even talk to him.” “What was he doing? Did you happen to notice? Anything at all?” “I don’t know. I was busy with other customers. I just remember seeing him at one point. He was looking around.” For me? Had he thought we were meeting at noon instead of twelve thirty? I stood there utterly perplexed, trying to think this new mystery through. All I knew for sure was that Dwayne had been at the restaurant the following day at twelve thirty. Courtney had said she’d never bothered to ask his agent why he had stood me up. Could Dwayne have thought I had perfectly, his rigid choke hold keeping Marcozza’s head dead still while the rest of his body violently jerked and thrashed. What was premeditated murder if not calculated leverage? Squish! Scooped out like a melon ball, Marcozza’s left eye fell to the white linen tablecloth and rolled to a stop. Next came the right eye. Slice, slice, sliceBeautiful handiwork, to be sure. But the right eye didn’t pop out like the left one. Instead, it dangled, held by the stubborn red vessel of the optic nerve. Torenzi smiled and flicked his wrist. He was almost finished here, so hold the applause. Snip! Marcozza’s right eye, with a gooey tail of flesh and vein, careened off the bread plate and fell to the floor. Blood, finally catching up to the moment, now gushed from Marcozza’s empty eye sockets. In medical terms, his ophthalmic artery had been severed from his internal carotid artery, the high-pressure main line to the brain. In layman’s terms, it was just a god-awful, horrifying, and disgusting mess. A few tables away, a woman wearing everything Chanel fainted, passing out cold, while another threw up all over her tiramisu. As for Torenzi, he simply tucked the scalpel into the breast pocket of his Zegna suit before heading toward the kitchen to exit through the back doorback into broad daylight. But before he did, he leaned down again to repeat his message into Marcozza’s chubby ear as he lay hunched over the table dying a slow, mean death

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 1314.22 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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