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Cross My Heart

  by James Patterson


(about 320 pages)
80,104
total words
of all the books in our library
51.71%
vividness
of all the books in our library
6.43%
passive voice
of all the books in our library
2.53%
all adverbs
of all the books in our library
0.77%
ly-adverbs
of all the books in our library
1.75%
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
hour, usually right after they all come in. But they settle down. I guess Joss a little less easily.” “It’s probably the meth.” “What!” Green said. “No,” Eliza said. “Mr. Branson is a scientist at the Smithsonian, and his wife, Crystal, has cancer. Why would they—” “Mr. Branson is a chemist, and you’re right, she does have cancer. We believe it’s like that television show Breaking Bad. DEA tells us they cook it in the basement. Explains the Audi, doesn’t it?” Marylyn Green’s hand went to her mouth. “My God, we had no—” “Why would you?” Adams snapped. “In any case, I am here because we are concerned that Joss has been exposed to a multitude of toxins. Because of an ongoing federal investigation, we are not free to step in and take Joss, but I have a writ that allows me to take her to have her blood, skin, and clothing tested so we have a clear idea of her level of exposure. I am assuming you can keep this confidential? As I said, there is an ongoing FBI investigation of her parents. And I won’t be long. We’ll go to Bethesda.” “Yes, of course, my God, whatever is best for Joss.” “Should I get her things?” Eliza asked. “That would be much appreciated,” Adams said, bouncing Joss in her arms. “The sooner I can get her to the lab, the sooner I can have her back.” “Oh, you’ve got time,” the day care owner said. “Mr. Branson is read. Hearing zydeco music inside the apartment now and smelling garlic frying somewhere, Sunday used his key to open the door and entered a room with white walls, a white ceiling, and a pale-gray rug. Several pieces of chrome-and-black-leather furniture faced a flat-screen television tuned to a music channel; that was the source of the zydeco. A woman was in the room, dancing to the music. Her back was to him as her hips swayed and shimmied. Her riot of dirty-blond hair was tied up on her head. She was barefoot, wore loose, flowing olive-green pants and a tight-fitting white tank top that showed off the damp skin and muscles of her shoulders as she reached high overhead, revealing the colorful tattoo of the lounging panther that covered most of her left arm. Sunday smiled and shut the door loudly. The woman stopped dancing and looked over her shoulder at him with those clover-green eyes. She grinned, clapped, and turned. She ran to him, kissed him hungrily on the mouth, and said in that light Cajun accent, “Thought you’d never get here, Marcus.” “Couldn’t be helped,” Sunday said. “Had to keep up appearances.” She jumped up into his arms, locked her powerful thighs around his waist, and kissed him again. “But I had something to show you, sugar.” “Been reading Fifty Shades of Grey again, Acadia?” he asked, amused, as he stared into her impossible irises. “Better,” Acadia said, unlocked her legs, and slid from his arms. “Follow me, sugar

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 1602.08 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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