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Killer Instinct

  by James Patterson & Howard Roughan

(about 301 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:

Pritchard doesn’t have to look at you for a few days, but you’re not actually suspended.” “I was standing right there. I know what you said.” “Then what’s the problem?” “You shouldn’t have done that,” she said. “That’s the problem.” “This isn’t going to be a gender thing, is it? I know you can fight your own battles.” “Then why didn’t you let me? And where do you get off promising Pritchard that I won’t go hunting for this Eli guy? That’s exactly what I’m going to do.” “No, you’re not,” I said. “Why?” “Because I promised you wouldn’t.” Elizabeth raised her hands up like she was squeezing a basketball really hard. Or my neck. She officially wanted to strangle me now. “For Christ’s sake, how many of those whiskeys did you have back at the restaurant?” she asked. Not nearly enough. “The reason you won’t be tracking down Eli is because that’s what I’m going to be doing,” I said. “So why can’t I help you? We’ll do it together.” “Sure, like old times,” I said. “Except you’re going to be too busy doing something else. I need to borrow you for a couple of days.” “Borrow me?” “It’s a figure of speech.” “You’re right,” she said. “This is going to be a gender thing.” Elizabeth folded her arms and stared at me, waiting for my witty retort. There wasn’t one. I was too preoccupied with going over the checklist inside my head, the things I could and couldn’t Bottoms Up PROFESSOR JAHAN Darvish nudged his thick black glasses along the bridge of his nose and stared into the minibar fridge of his swanky Manhattan hotel suite while doing his best to ignore the outrageous price list posted off to the side. Twenty-eight dollars for one of these tiny little bottles of vodka? Seriously? But Darvish didn’t really care. The flight down from Boston, the expensive hotel, each and every lavish meal—it was all on MIT’s tab. Besides, it’s not like the minibar charges were going to be itemized on the bill. For all that the university bean counters would know back in Cambridge he drank a bunch of Diet Cokes and cracked open that fancy jar of pistachios. Better yet, the pistachios and the tin of macadamia nuts. Maybe even a Red Bull, too. How else was he supposed to work late into the night preparing for his major speech at the nuclear symposium? “Is everything okay over there, Professor?” she asked from the large armchair behind him. Darvish smiled. He loved that she was calling him that. Professor. Finally a woman who knew what really mattered in a man. Brains. It was meant to be. Normally he would’ve never introduced himself to her. Fear of rejection almost always got the better of his nerve. But there she was, sitting by herself at the bar earlier in the evening drinking a glass of pinot noir while reading a book—the same book he had just recently finished

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 1502.94 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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