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Twisted Prey

  by John Sandford


(about 399 pages)
99,668
total words
of all the books in our library
40.06%
vividness
of all the books in our library
8.88%
passive voice
of all the books in our library
2.14%
all adverbs
of all the books in our library
0.74%
ly-adverbs
of all the books in our library
1.39%
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
don’t, we’ll hang separately. The fact is, the accident should have worked. If it had, we’d have taken a load off our backs and gotten rid of a major roadblock between you and the White House. Sometimes, things just don’t work—but you wouldn’t have gotten better odds—anywhere, anytime—on this one. And there’s no evidence that it was a hit. There’s nothing. The West Virginia cops think Smalls is a head case.” Grant’s face was purple, but she struggled to calm herself. Parrish was right: even the best-laid plans failed sometimes. But he was wrong about the odds. She was extremely good at figuring odds, and there would have been a better way to do this. Example number one: find out where Smalls was going out for dinner and then shoot him in the back and take his money. That was simple enough, and nobody would be able to prove that it wasn’t a robbery. Parrish’s plan had had too many moving parts, and neither one of them had recognized that. And she said so. Parrish shrugged. “You could be right. On the other hand, if we’d shot him, the FBI would be all over the place and they’d never let go. The Senate wouldn’t let them. They’d have had the director up on the Hill every goddamn week until he came up with the perp.” “You supply the perpetrator, dumbass,” Grant shouted. “You don’t have to supply a mountain of evidence! All you have to do is seat at the driver. The summer foliage was dark around the Cadillac Escalade as they rolled up the dirt lane. The South Branch of the Potomac River snaked along below them; the windows were down, and the muddy/fishy odor of the river filled the car. “A bit—in a good way,” Cecily Whitehead said. Whitehead had taken a cold shower in the cabin’s well water shortly before they left, and dabbed on a touch of Chanel No. 5 as she dressed. The combined odor of the two scents was more than pleasant, it was positively erotic. “I’ll drive, if you want,” Smalls offered. He was a small man, like his name, thin and fit, looked like he might have spent time on a mountain bike. He had white hair that curled down over the collar of his golf shirt, too-white veneered teeth, and rimless made-for-television glasses over pale blue eyes. “No, I’m fine,” Whitehead said. She buckled her seat belt over her shimmery slip dress that in earlier days might have gotten her arrested if she’d worn it out of the bedroom. “You finished the wine—if we got stopped for some reason…” “Right,” Smalls said. He kicked the seat back another couple of inches, crossed his hands across his stomach, and closed his eyes. ABOVE THEM, in the trees, a man had been watching with binoculars. When the silver SUV rolled down the driveway, past the mailbox, and made the left turn onto the dirt lane, he lifted

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 1993.36 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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