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The 20th Victim

  by James Patterson

(about 304 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:

said. Clapper had said similar things about Detective Carl Kennedy. The only difference that I could see was that Kennedy had moved from LAPD to Houston and was on the job when he was murdered. Maybe Pratch and Kennedy had been friends. Noble said, “Pratch was about to get canned, so he took early retirement three years ago. But listen to this. He was going after the shooters. And he killed two of them. He was hunting down drug dealers like he was still on the job.” “What does this mean to you?” I asked Noble. “My theory is that Pratch took out two of the snipers and would have kept going. But someone, a third shooter, capped him first. Dead men don’t shoot.” Noble went on to tell us about the shooters’ bodies. One of the dead men had been found on the roof of a two-story office building. The other had been standing outside an apartment house. Neither of the snipers had been identified yet. But LA’s overworked Forensics Unit had photos, prints, and expended bullets, and would ID the dead men as soon as they could. “Which could be weeks,” Noble said. We refilled our coffee cups and kicked it around. Why had a disgraced police officer killed two trained assassins? How had he known them, and how had he known where they would be? Was he one of them? Had he gone straight and decided that shooting drug dealers was dead wrong? Or had he had put his arm around the back of my chair and pulled me closer to him. Dave apologized for not making it to our wedding, and I told him that we’d felt him there nonetheless. “Love the wedding present, Dave.” He laughed, said, “Not everyone loves an antique gun safe.” Joe and I said it together. “We do!” BEFORE THE FIRST dish arrived, the two old friends started catching up on who’d married, who’d gone into politics, who had passed away. The salmon tartare was served in a little cone. Adorable. My taste buds maxed out but rallied in time to taste what Lisette said was one of the French Laundry’s signature dishes: two oysters on the half shell with pearl tapioca and Regiis Ova caviar, served in a small white bowl. I dipped a fork into the oyster shell and brought the creamy, buttery, salty aphrodisiac of foods to my mouth. It was good. Very good. I was still thinking about the unusual textures and flavors when the next in a procession of beautifully plated delicacies arrived. I didn’t quite get the creamed English peas and pork jowl, the marinated nectarines, the soft-boiled red hen egg in the shell that looked as though it were made of porcelain. But from the ecstatic expressions at my table and surrounding ones, I understood why the French Laundry was the gold standard for people with sophisticated taste. Three hours later, when we were sipping our coffee and sampling the wondrous variety of sweets

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 1521.96 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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