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You’ve Been Warned

  by James Patterson & Howard Roughan

(about 235 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:

Almost forgot. Is she trying to get me to confess; is that her game? Nothing doing. I’ll tell her the same thing Michael told Dakota. We’re planning her surprise party. That’s our story and we’re sticking to it! “How about yourself?” I ask, matching her broad smile tooth for tooth. “Did you have a nice weekend?” “Very nice,” she says. “We spent yesterday out in the country at my parents’ place.” “Oh?” “I mentioned we were doing that, didn’t I?” “You might have.” Actually, you didn’t, Michael did. “You know, you should come out with us sometime,” she says. “It’s on the water; there’s a pool and tennis court. It’s a very nice escape from the city.” Oh, you’re good, Penley. If this is how you want to play it, I’ll make it easy for you. “Gee, I bet the kids really enjoy it.” “They truly do. What kid doesn’t enjoy being around the water?” She folds her legs. “Strange, though.” “What’s that?” “Dakota.” Finally… here we go. “Yes,” I say. “Sean mentioned she wasn’t feeling well.” “Actually, I’m not sure what’s wrong with her. By the time we were heading home yesterday, she seemed a little off. She doesn’t have a temperature, and it’s not her stomach. Something’s bothering her, though. Any ideas?” I don’t say anything. Every muscle tenses, and I brace myself for the moment. Surely this is when she lays down her cards. Instead, all Penley does is shrug. “I’m sure Dakota will be fine. She’s the red light hovering over the crosswalk. Twenty feet away — thirty tops. I can hear the engine rumbling. Hurry! Before the light turns green! I break into a sprint, my eyes locked on the taxi, desperately willing it not to move. With one last surge, I close the gap to a few steps. I wave my arms again and shout, “Taxi! Taxi!” There’s no way the cabbie can miss me. Or so I think. The light turns green, and the taxi lurches forward. “No!” I yell. “Wait! Hey, stop!” It doesn’t. I’m steps away, and it’s about to pass right in front of me. Over my dead body! I jump right into its path. The cabbie slams on the brakes, the screech of bald tires piercing the air. By the time the substantial chrome bumper rocks to a halt, it’s inches from my kneecaps. Ignoring the cabbie’s evil eye, I stomp around to climb into the backseat. But when I reach for the door, out of no-where comes another hand. “Allow me,” he says. BEFORE I CAN RUN, the Ponytail grabs my arm with an iron grip. Then he swings open the taxi door and roughly shoves me in. I tumble onto the seat, and he slides in right next to me. I’m trapped! “Shhh,” he immediately whispers, pulling back the lapel on his black sport coat. There’s barely any light, but I can still see it. His gun. Through the Plexiglas divider, I spot the cabbie — a stocky bald

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 1173.84 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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