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  by James Patterson

(about 261 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:

That picture was one of a handful featured in the article I’d read about him. He wasn’t smiling then, and he wasn’t smiling now. “It was another gang, then, huh?” he said. “Yes,” said Elizabeth. “The card we’re talking about is the jack of spades.” “You think that’s supposed to be me, huh?” he asked. “We do, Mr. Palmer,” she said. “Does that concern you at all?” “The Dealer is hardly the first person who’s wanted to see me dead, Detective.” “Yes,” said Elizabeth. “But he might be the last.” “What do you want from me?” he asked. “Your cooperation,” she said. “Help us catch this guy.” “You mean you want to use me as bait,” he said. Elizabeth wasn’t about to sugarcoat it. “I’m afraid you’re bait no matter what we want.” “Then let him come,” he said. “I’ll be ready for him.” “That’s all we’re really asking, Mr. Palmer. Let us be ready right along with you,” she said. “We have officers who would—” He waved a hand, stopping her. “You do whatever you want, but you do it outside this apartment. You understand?” “We want to make sure we can protect you,” said Elizabeth. “The best thing would be if you didn’t leave your apartment, at least for a while.” Palmer leaned forward in his armchair, his finger jabbing the air. “Whoever this son of a bitch is, the last thing I’m going to do is be afraid of him, you hear? Because that’s worse than being suspense is killing me. When will you know?” “When he wants me to know,” I said. “What does that mean?” “Think about it.” I walked to the curb to hail a cab. “Wait: where are you going?” “I’ve got lunch plans,” I said. “I’LL TAKE a pound of the drunken spicy shrimp boil, one big-ass pork plate, a skirt steak with extra chimichurri sauce, an order of curried succotash, some crispy coleslaw, and a side of roasted whipped sweet potatoes with spicy nut topping,” I said. “Oh, and let’s add a couple of slices of your chocolate icebox pie.” “Anything else?” joked the woman scribbling my take-out order at the Dinosaur Bar-B-Que up on 125th Street in Harlem. She looked like Lauryn Hill during her days with the Fugees. Great hair, beautiful eyes. “No—that oughta do it,” I said with a wink. “Thanks.” Tracy had gone to bed devastated and woke up devastated, blaming himself for ruining our chances of becoming parents. The mission now was to cheer him up with his favorite comfort food, and there was only one way to go about it. Shock and awe. Lunch in hand, I walked two blocks north into the offices of Harlem Legal House, which was actually just a guitar shop that had gone out of business a few years back. It was small and run-down, but on the plus side the acoustics were excellent. “Is he with anyone?” I asked Miss Jacinda, the receptionist who doubled as mother hen

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 1306.24 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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