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The Horsewoman

  by James Patterson & Mike Lupica

(about 379 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:

to her before they’d started reading it together. Oh, the places you’ll go. She hadn’t come here thinking she and Gus would sleep together. But after leaving the Trophy Room she just couldn’t bear the thought of going back to the empty house, Tyler’s words like some bad song she couldn’t get out of her head. When she was inside the house, Gus had asked if she wanted a drink. She’d told him white wine would be just fine. He’d told her that her options were beer or whiskey. She’d said whiskey. He’d poured them both a glass. She had told him about Tyler showing up at the bar and what he’d said to her. Gus had responded that he wasn’t worth the time or trouble, they already knew what kind of weasel he was, they didn’t need more proof. Then they had both been quiet, staring at each other until Maggie had gotten up from his couch and walked over to him and kissed him. Had gotten her arms around him and then they were kissing again. When she’d pulled back, he’d said, “You sure about this?” She’d laughed. “Hell, no,” she’d said. He had always been great looking and, she’d always thought, sexy as hell. He still was. When he was in his bed, on his back, head on the pillows, he’d turned so that their faces were nearly touching. Grinning again. “Don’t worry,” he’d said. “Nobody’s broken me yet.” “Stop talking now,” she’d said. They both did breakfast of pancakes and turkey bacon and even Mom’s homemade hash browns. Grandmother had gone off on her power walk. Mom said she was going to work out. Coronado was getting the week off. I was getting ready to ride Sky, let her know I hadn’t forgotten her. I was at the sink, handwashing Grandmother’s china and silver. For a tough old horsewoman, she loved fine things, and decreed that none of those fine things would ever see the inside of a dishwasher. So the duty of washing and drying and storing the plates and cutlery usually fell to me. But I nearly dropped one of the plates, one I knew had been a wedding gift, when I heard the familiar explosion of tires and gravel on the driveway, looked out the kitchen window, and saw Steve Gorton pulling up in an unfamiliar sleek blue car. The window was open. I briefly imagined what had been such a nice morning flying out of it, down over the barn and away. I snorted as loudly as one of the horses. Of course Gorton was talking on his phone as he walked across the driveway wearing a crimson cap printed HARVARD BUSINESS SCHOOL. As he got closer, I heard him say, loudly, “I’m telling you, I don’t care what he says, he’s lying out his ass.” Then he nodded and said, “How do I know? Because I do it all the time myself.” His disappearing act after the Grand Prix had stretched

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 1896.22 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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