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The Enemies of My Country

  by Jason Kasper


(about 441 pages)
110,207
total words
of all the books in our library
44.32%
vividness
of all the books in our library
6.81%
passive voice
of all the books in our library
2.76%
all adverbs
of all the books in our library
1.03%
ly-adverbs
of all the books in our library
1.73%
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
target was my hometown. That didn’t make any sense to me, but the logistician could have listed any major city in the world—instead, he’d identified a location that I was one hundred percent sure he’d have no other way of knowing. Elias didn’t know where I was from, and there were no elaborate circumstances by which this intel dump could have been staged as a diversion. At the same time, I was angry at myself: as enthusiastic as Elias had been about going after ISIS, I should have thought something was wrong when he didn’t ask us for a weapon. But the revelation that Charlottesville was the target of a terrorist attack had shown me who I truly was at heart—all morality was stripped away in that moment, and if Elias hadn’t risen to the task of torture as a means of procuring further information, then I gladly would have. As I took in my last view of the dead logistician, blood and brain matter leaking from the hole in his skull as he sat in a pool of his own urine, the resting place of his final moment, I honestly didn’t give a shit. Of all the likely terrorist targets across the globe, what were the possible chances that a Uyghur separatist backed by seemingly extensive ISIS resources would choose Charlottesville, Virginia? The odds had to be in the millions, and it should have occurred to me then that the circumstances in which we’d found ourselves had to focus, looking up to see Reilly heaving his grenade, its spinning black orb crossing a sky of dazzling color on its flight to the first rocket tube. It descended to its final point of impact, one that I desperately hoped would destroy the daisy chain before it began. I watched in horror as it fell short, detonating in a fireball between the second and third tubes. Shards of metal flew outward from the blast, hissing through the air as the grenade’s echo faded to a second explosion—this one a deep popping sound that originated from the first tube. The next seconds proceeded as if in slow motion, a terrible progression lit by the nightmarish red and blue glow of fireworks blasting in the sky. I was moments from blacking out, struggling to focus as I saw a single rocket launch. It appeared as little more than a flashing shadow that sailed twenty meters out of the tube before its motor ignited. Then a sparkling orange glow appeared at the tail, marking the rocket’s progress until it streaked out of sight, arcing through the night on a flight path toward the National Mall. Then a jet-black veil overtook my view, and I passed out atop my enemy’s corpse. Laila Rivers watched the fireworks burst overhead, casting flares of brightly colored light across the Lincoln Memorial. She squeezed Langley’s tiny palm in her own, looking down to see her awestruck daughter staring skyward, completely absorbed with the blazing glow overhead

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 2204.14 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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