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Kiss the Girls

  by James Patterson


(about 410 pages)
102,470
total words
of all the books in our library
48.21%
vividness
of all the books in our library
8.76%
passive voice
of all the books in our library
3.60%
all adverbs
of all the books in our library
1.39%
ly-adverbs
of all the books in our library
2.21%
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
Kate McTiernan didn’t stop for long. “What’s your name? How long have you been here? Please, talk to me… hey, I’m talking to you!” she shouted. Naomi wouldn’t answer her. What was wrong with the woman? Had she lost it after the last beating? Kate McTiernan called out again. “Listen, we can help each other. I’m sure we can. Do you know where you’re being kept?” The woman was definitely brave… but she was being foolish, too. Her voice was strong, but it was beginning to sound hoarse. Kate. “Please talk to me. He isn’t here now, or he would have come with his stun gun. You know I’m right! He won’t know if you talk to me. Please… I have to hear your voice again.” “Please. For two minutes. That’s all. I promise you. Two minutes. Please. Just one minute.” Naomi still refused to answer her. He could have come back by now. He might be in the house, listening to them. Even watching them through the walls. Kate McTiernan was back on the air. “All right, thirty seconds. Then we’ll stop. Okay? I promise I’ll stop… otherwise, I’ll keep this up until he does come back… Oh, God, please, stop talking, a voice inside Naomi was screaming. Stop it, right now. “He’ll kill me,” shouted Kate. “But he’s going to do that, anyway! I saw part of his face. Where are you from? How long have you been here?” Naomi felt as if she were suffocating. She couldn’t walked around the woods and gardens for almost two hours. I was overwhelmed by the thought that Scootchie had been taken right here. A spot called the Terraces was particularly beautiful. Visitors could enter through a wisteria-covered pergola. Lovely wooden stairways led down to an irregular-shaped fishpond with a rock garden stacked directly behind. Visually, the Terraces were horizontal bands of rock, accented by stripes of the most beautiful color. Tulips, azaleas, camellias, irises, and peonies were in bloom. I knew instinctively that this was a place that Scootchie would love. I knelt near a visually striking patch of bright red and yellow tulips. I was wearing a gray suit with an open-necked white shirt. The ground was soft and stained my trousers, but it didn’t matter. I bowed my head low. Finally, I wept for Scootchie. TICK-COCK. Tick-cock. Kate McTiernan thought that she’d heard something. She was probably imagining it. You could definitely get a little buggy in here. There it was again. The slightest creak in the floorboards. The door opened and he walked into the room without saying a word. There he was! Casanova. He had on another mask. He looked like some kind of dark god—slender and athletic. Was that his fantasy image of himself? Physically, he would be considered a hunk at the university or even as a cadaver in an autopsy room, which was preferable to her. She noted his clothes: tight, faded blue jeans, black cowboy boots edged with soil, no shirt

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 2049.40 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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other books by James Patterson

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