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  by James Patterson & Howard Roughan

(about 261 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:

middle of it, didn’t I?” “It’s okay.” “Call waiting interruptus. I’m sorry.” “Don’t be.” “I just wanted to tell you again how ecstatic I am for you, honey. Now get back to whatever you two were doing.” “I think I will.” “Soooo jealous!” Click. “You still there?” asked Nora. “I’m here,” he said. “So, where were we?” “We were at the point where I definitely wasn’t going to be able to sleep tonight.” “Me, either. Tomorrow I’m driving out there for the real thing.” Nora waited for him to say something. Instead, there was silence. What is he thinking? “I can’t tomorrow,” he said finally. “Why not?” “I’ve got this thing I’ve got to attend in Chicago at the home office. In fact, that’s what I was doing the reading for.” “What kind of thing? You can’t just blow it off?” “I would, it’s a seminar. Only I’m one of the featured speakers.” “Oh,” she said, deflated. “Poo.” “I’ll be back in a couple of days.” “Will you call me from Chicago?” “You know it. Maybe we can even pick up where we left off.” “Maybe, if you’re a good boy.” “Oh, I’ll be good, all right,” he said. “You don’t have to worry about me.” BUT NORA DID WORRY. All night long, in fact. She’d said she wasn’t going to be able to sleep much, and she was right. What she wanted—what she longed for—was to know if Craig had been telling her the truth. It was quickly cleared everyone from the sidewalk. Everyone, except for three people. One was a fat man with dense sideburns, thinning hair, and a dark mustache. He was dressed in an ill-fitting brown suit with wide lapels. Wider still was his shiny blue tie. On the ground by his feet was a medium-size suitcase. Next to the fat man was a young woman, perhaps mid-twenties, attractive. She had red hair that hung straight down to her shoulders, lots of freckles on her face. She wore a short plaid skirt and a white tank top. A beat-up knapsack hung over one shoulder. The fat man and the young woman couldn’t have looked any more different. However, at that moment they were very much connected. By a gun. “If you come any closer, I’ll kill her!” barked the fat man with a thick, Middle Eastern accent. He jammed the cold steel of the barrel hard against her temple. “I swear, I’ll shoot her dead. I’ll do it in a second. No problem for me.” The threat was directed at the third person remaining on the sidewalk—a guy standing maybe ten feet away, wearing baggy gray khakis and a black T-shirt. He looked like a typical enough tourist. From the Pacific Northwest, perhaps. Oregon? The state of Washington? A runner maybe. Somebody in decent shape anyway. And then he pulled a gun. The Tourist took a step closer, his gun pointed at the forehead of the fat man with the mustache. Dead center

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 1306.14 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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