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Robert Ludlum’s The Treadstone Exile

  by Joshua Hood

(about 354 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:

conversation, the dispassionate way she’d laid out the facts, it had almost seemed like Hayes had had a choice in the matter. But if there was any confusion about his situation, the cold bite of the handcuff securing him to the table had been quick to make his position clear. “It was a simple proposition, between my employer and your copilot,” she’d said. “Which he had no right to make,” Hayes had reminded her. “Be that as it may, the cargo still needs to be delivered to Grand-Bassam.” Fucking Vlad, he’d thought. Should have killed him when you had a chance. As much as it pained him to admit it, the voice had a point. His decision not to kill Vlad, to go against both his instincts and his training, had been a mistake. “What’s in it for me?” he’d asked her. “The mechanics here have assured me they can repair your plane, make it airworthy for the trip—” “How in the hell is that—” “Do not interrupt me, Mr. Hayes,” she snapped, her eyes burning hotter than the cherry at the end of her cigarette. The rebuke had echoed off the walls and the blood had rushed to his face, leaving his skin hot, like a fuse waiting for a match. Just take it easy, wild man, the voice had sighed. Don’t let the little lady get your panties in a bunch. It had been good advice, and Hayes knew he should take it. The only problem was, he’d filled with five bottles of water. He stuffed the empties and the filthy clothes into a trash bag, took a shop rag over to the bucket of water, and did his best to clean up. When he’d gotten as much of the grime off as possible, Hayes toweled off and dressed in a black T-shirt, jeans, and a pair of boots. He retrieved a medium-sized drybag from the bottom of the cabinet, untied the drawstring, and pulled out a backpacker’s stove. The MSR DragonFly didn’t look like much, but Hayes had fallen in love with the miniature stove not because it was the most powerful on the market, but because, according to the manufacturer, you could pour anything remotely flammable into the fuel bottle and the MSR would burn it. Hayes had bought the stove simply because he wanted to refute MSR’s claim, and since purchasing it he’d used everything from rubbing alcohol to diesel fuel and the little stove had never let him down. He filled the fuel bottle from a can of white gas and used the integral pump to pressurize it before connecting the bottle to the small burner and lighting the wick. After adjusting the air flow so the flame burned evenly, Hayes went back to the cabinet, retrieved an enamel mug, added two scoops of instant coffee from a pack, filled the mug with water, and set it atop the burner. He watched the flame lick the bottom of the mug, the flicker of orange

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 1767.66 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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