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Like Father, Like Son

  by James Patterson


(about 170 pages)
42,385
total words
of all the books in our library
26.07%
vividness
of all the books in our library
9.61%
passive voice
of all the books in our library
3.35%
all adverbs
of all the books in our library
0.75%
ly-adverbs
of all the books in our library
2.60%
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
And Dad definitely wasn’t done talking about that part. “As of this moment, you’re grounded for at least a week. We’ll see,” Dad said. “You’re also giving up whatever you think this investigation of yours has been. You haven’t proven yourself even remotely capable of handling something like that.” “That’s not true!” I said back. “I’m good at this, Dad, and you know it.” It wasn’t what I’d been waiting to say, but it just came out. I kept going, too. “I may do stuff I shouldn’t, and I know I’m going to be punished,” I said. “But you know what else? When Gabe was missing, I was the first one to find out who he was with. And I might have just found out who shot Zoe, too, before the police did. You should tell them to use me more, not less.” Dad just blinked a couple of times. I don’t think he could believe I was saying all that. In a way, I couldn’t believe it, either. It’s not like I thought he was going to turn around and magically deputize me for giving a good speech. But you know what else? Maybe he should have. Seriously. I know I’m just a kid. And I know there’s all kinds of things I’m not qualified to do, or just plain shouldn’t do, because of my age. But who ever said that meant a kid couldn’t also be useful? Maybe even in ways that an adult never could. I was she said, coming over with that giant smile of hers. “I mean, hi, Dee-Cee,” I said, while Gabe stood there looking starstruck. “That’s more like it,” she said, and gave everyone hugs all around. “You boys make sure to stuff your faces, okay? Momma don’t do leftovers.” “Yes ma’am,” Cedric said. We’d heard about Dee-Cee’s cooking and we’d all skipped lunch on purpose. A second later, Dee-Cee was headed back to the piano, and the Ali Cross detective agency was headed for its next big mission—to make sure the dining room table didn’t collapse under all that cake, roast chicken, ham, greens, corn bread, beans, and mac and cheese, and I didn’t even know what else. But we were definitely going to find out. “SO YOU LIVE here with your mom and your aunt?” I asked Zoe a little later. We were both sitting with plates on our laps, stuffing our faces like we’d been told to do. “Yeah.” Zoe pointed her fork at the swinging door to the kitchen, where Kim was just coming out with a pitcher of iced tea. “Hey, Z,” she said. “How you hanging in?” “I’m good,” Zoe said. “Aunt Kim, this is Ali. You guys met at the—” “Hospital,” she said, and put down the pitcher. “Yes, hello again. Nice to see you.” She didn’t wear a lot of makeup and jewelry like Dee-Cee. She had a short afro, and her clothes were simple—just a white T-shirt and jeans, with bare feet

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 847.70 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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