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Max

  by James Patterson


(about 222 pages)
55,510
total words
of all the books in our library
54.40%
vividness
of all the books in our library
7.73%
passive voice
of all the books in our library
3.91%
all adverbs
of all the books in our library
1.70%
ly-adverbs
of all the books in our library
2.22%
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
I thought you might,” Angel said. I’d been here five hours, and so far I hadn’t really wanted to take anyone apart. Weird. But that didn’t mean I wanted to stay at the Day and Night School. Was I the only one? “SOUTH AMERICA,” I said coaxingly. “It’ll be warm. They have llamas. You like llamas.” Nudge crossed her arms over her chest. “I want to stay here.” We were in her room at a safe house that belonged to the school. It wasn’t a bad setup. God knows we’ve had worse. But it was still part of a bigger confining situation, and my skin was crawling. “How long do you think it will take another suicide sniper to find us?” I asked. Nudge shrugged. “This place is out in the desert. And Ms. Hamilton told us about all the safety measures — the alarms, the lights, the radar. This is what we’ve been looking for.” A year ago I would have ignored what Nudge was saying and just browbeaten her into getting up, throwing her stuff together, and bugging out. And it would have worked. But we’d been through a lot in the past year. There had been a couple of times when the flock had almost split up. The stuff I had done to make sure we’d survive when the others were little was not the same stuff that would work now. I needed a new way to bend them to my will. Only problem was, I didn’t have an enormous silver fish, its body shaped like a gigantic silver dollar rimmed with bright orange red fins. The fish looked at him. Gazzy, frozen, looked back. The fish seemed to tilt its head to one side, puzzling over Gazzy, who could hardly breathe. Angel swam up, smiling. She reached out her hand and stroked the shiny silver side. The fish seemed to enjoy it and turned to her. Angel tickled under its chin. Gazzy could swear that it grinned. Slowly he stretched out his own hand and patted the fish’s side. It was smooth and cool, with tiny ruffled scales. It was like a big fish-dog, practically wagging its tail fin with delight. Then two things happened: First, several sudden, searing strings brushed against Gazzy’s face and arms, causing him to shriek and almost lose the rebreather. And then Iggy shouted: “Sharks! Sharks! And they’re bloody!” The pain on his face and arms was so intense, Gazzy felt like he might pass out. But through the bloody water, he could blearily see the hammerheads thrashing, eating something big and white. At that moment several of the enormous predators turned and spotted Iggy, Angel, and Gazzy. They no longer looked calm and placid. They looked sharp, powerful, fast, and hungry. With jaws agape to reveal rows of razor-sharp teeth, they whipped their long tails back and forth, speeding toward the three bird kids. OKAY, I CONFESS: When I heard the deep, rumbling noises and picked up on the bright flashes

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 1110.20 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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