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Second Honeymoon

  by James Patterson & Howard Roughan


(about 279 pages)
69,786
total words
of all the books in our library
38.72%
vividness
of all the books in our library
8.58%
passive voice
of all the books in our library
3.51%
all adverbs
of all the books in our library
1.32%
ly-adverbs
of all the books in our library
2.19%
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
always knew what to do. But this was different. This wasn’t her office or a hospital; there were no gauze pads or bandages. She had nothing. And this was Ethan who was bleeding. “Hey, it’s fine,” he said in an effort to reassure her. “Everything’s going to be okay. We’ll figure it out.” She wasn’t convinced. What had been hot and sexy was now just hot. Brutally hot. Every time she breathed in, she could feel the sauna’s heat singeing the inside of her lungs. “Are you sure the sauna’s off?” she asked. Actually, Ethan wasn’t sure at all. If anything, the room was beginning to feel hotter. How could that be? He didn’t care. His ace in the hole was the pipe in the corner, the emergency shutoff valve. Standing on the bench, he turned the valve perpendicular to the pipe. A loud hiss followed. Even louder was Abby’s sigh of relief. Not only had the heat stopped, there was actually cool air blowing in from the ceiling vent. “There,” said Ethan. “With any luck, we’ve triggered an alarm somewhere. Even if we didn’t, we’ll be okay. We’ve got plenty of water. Eventually, they’ll find us.” But the words were barely out of his mouth when they both wrinkled their noses, sniffing the air. “What’s that smell?” “I don’t know,” said Ethan. Whatever it was, there was something not right about it. Abby coughed first, her hands desperately reaching up around her neck. Her throat was closing; she couldn’t rod and bucket, but the dark green tackle box with its closed lid was just calling out to her. Beckoning. No doubt about it. She walked straight to it, dropping to her knees. With the latex gloves still on, she flipped up the latch. It opened easily. Of course it did. “Christ, that’s a lot of lures,” said Vicks, looking down over Sarah’s shoulder. That was an understatement. The box was not one of those neatly organized jobs with separate compartments and multiple layers of sliding hinged drawers. It was simply one big catchall for seemingly every lure this John O’Hara had ever owned. “Not that any of them were doing him much good,” said Knoll, looking into the empty fish bucket. “Talk about having no luck at the lake.” Insley snickered while Sarah began sifting through the box, the endless hooks repeatedly grabbing at her latex gloves. Frustrated, she finally just flipped the box over, the lures spilling everywhere. Staring at them all was like reading a Dr. Seuss book. There were long ones, short ones, fat ones, and skinny ones. Some were shiny silver, others were bright colors. There was even one with— Wait: red lightHold it right there. Sarah’s eyes locked on something in the middle of the pile, a piece of folded white paper. The lures were mostly old and rusty; some were even encrusted with the dried remains of worms. But this paper was new. Clean. White. “What is it?” asked Insley. “Don’t hold

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 1395.72 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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