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Tom Clancy’s Op-Center, Sting of the Wasp

  by Jeff Rovin


(about 321 pages)
80,167
total words
of all the books in our library
40.15%
vividness
of all the books in our library
8.34%
passive voice
of all the books in our library
2.61%
all adverbs
of all the books in our library
1.12%
ly-adverbs
of all the books in our library
1.49%
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
daughter would have sought protection for herself and her child. She would have been compelled to reveal what she knew of those who had been involved in this enterprise. His own role in transferring information from Prosecutor Younesi to Yemen might be uncovered. Despite his failure to obtain nuclear weapons from the Russians, Younesi remained a powerful and vindictive figure and a personally ambitious one. He was also the kind of moderate who, achieving even greater power, might bow to the will of the secular public and seek regime change from within. The supreme leader did not see that but Alami and other members of the Assembly did. It was necessary to stop Younesi and replace him. To do that, however, his trusted puppet, Captain Ahmed Salehi, must be persuaded to help. Though Akif and his family were Pakistani, they were also Muslim. The cleric was permitted to offer a prayer for the dead, which he did … while also thanking Allah that they had been silenced. Fort Belvoir North, Virginia July 22, 9:49 p. m. Chase Williams had sent the three Black Wasps to the rooms in the Officer’s Club that had been assigned them on the second floor. Though everyone was keen to know what was next, Williams had no idea how long they would be here—or where they would be going. It was best to rest while they could. He remained in the club’s dining area. He knew he should be resting, too, but it was boat, to Williams’s right. Rivette watched as the man in the speedboat flew backward, his chest spraying red. The grenade belt cut through the air like a bolo, Williams tugged the wheel to the left, and the boat swung past the target. Rivette dropped flat to avoid the return gunfire, which only lasted for a moment; the speedboat was suddenly rocked by a close succession of loud bangs, each of which spewed clouds of charcoal-gray smoke over the deck. There were shouts and cries of pain but no further gunfire. Williams rose while there was a break in the shooting. “I’m going for the other one!” he shouted to the team as he swung the boat around. The fishing boat took another tortured U-turn. The stricken speedboat had swung off to the south, idling. The other had tracked the enemy vessel, making its own tight turn so the two boats were facing each other. The speedboat charged in a serpentine pattern, making it difficult to pull up beside them—while the fishing boat was a big, slower target. Rivette and Breen both ran to Grace’s side. “Hull’s probably resin-coated fiberglass,” the major told the lance corporal. “Kill it.” Squatting behind the rail, in the blood of the smuggler, both men opened fire. Big, black holes appeared near the waterline; every turn, every dip of the speedboat caused it to take on water and veer, slowing it and preventing the crew from returning fire. The passengers were thrown as the speedboat

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 1603.34 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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