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Hope to Die

  by James Patterson

(about 307 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:

the worst way? How would I deal with that? How could any man deal with that sort of loss? For the most part, I’d been able to box off thoughts of Bree and Damon, except during those six hours when Martineau had worked on the video and I’d retreated to a nearby motel room to sleep. In bed, behind a locked door and before I’d collapsed into unconsciousness, I’d been unable to keep a lid on my roiling emotions. Though as far as I knew, there had been no definitive matching of Bree’s and Damon’s DNA with the bodies, I could not help fearing they were both dead and gone. Bree could be gone. Forever. Damon could be gone. Forever. And there was the real and terrible possibility that Nana Mama, Jannie, and Ali would soon be gone. Forever. That word—forever—had released a wave of anguish that broke my resolve and my faith, and I’d curled up in a fetal position, feeling like I’d been gut shot and sobbing like there was no tomorrow. But when I’d awoken to Gloria Jones pounding at my door and seen the video, I’d taken heart. It was totally convincing. For all intents and purposes, Atticus Jones had died there on-screen. For all intents and purposes— “Do you think he’ll let one of them go?” Ava asked, shaking me from my conflicted thoughts. “We can hope so,” I said. “But I’m not counting on it.” “So what are you going to do was going to do. The rain slowed a bit. She caught the faint glow of lights ahead and dropped her pace to a crawl. After every step she paused and listened to each rustle and snap in the woods around her. She sniffed the air for strange smells but caught only the washed scent of ozone and the perfume of rain. But the closer she got to those lights, the more her breath tasted of old and bitter memories. The place where Acadia was born, raised, and forced to commit patricide appeared in bits and pieces through the leaves. Weeds surrounded the cabin, which pitched slightly off its stone foundation. The roof sagged, and the screened-in porch defied gravity. Somewhere to her left out there in the darkness, the old dock creaked and groaned. Acadia got closer still and saw lights behind the threadbare curtains. She also heard a radio in the cabin tuned to a gospel station, and a television blaring the theme song to CSI, her mother’s favorite show. She stood behind a tree, studying the cabin and the yard for almost ten minutes. The old Ford pickup was parked beneath the big cypress. A few moths flitted beneath the porch eaves and around the bare lightbulb by the door. The breeze shifted. Acadia wrinkled her nose at the smell of rank water and rotted meat coming from the bayou. Years had gone by, and her mother still fed the alligators that had fed on her father’s corpse

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 1535.54 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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