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The Blood of Patriots

  by M. P. MacDougall


(about 536 pages)
134,092
total words
of all the books in our library
36.31%
vividness
of all the books in our library
7.45%
passive voice
of all the books in our library
3.14%
all adverbs
of all the books in our library
1.16%
ly-adverbs
of all the books in our library
1.98%
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
Behan had helped, directing assets and operations to ensure mission success, but the operation had been Coleridge’s brainchild. And it had succeeded. Tolliver was dead, Reese was the new president. The last time Behan had spoken to Coleridge had been to give him the news that their man had taken out Tolliver’s assassin and escaped successfully, so Coleridge had no reason to be suicidal, had he? Or had he? Behan was used to questioning everything. You couldn’t survive in the realm of covert operations if you went around trusting your life to assumptions. You had to plan for variables. Complications. Anomalies. Bad luck. You name it, there were a thousand things that could go wrong with any given operation that could make it blow up in your face, so trust didn’t fit in Behan’s vocabulary. He knew full well that there could be some anomaly he didn’t know about that could have caused Coleridge to snap and take his own life. But still, he just knew there wasn’t. Something had gone wrong. Maybe it had nothing to do with HSI. Maybe there was another player within the government that had wanted Coleridge out of the picture. Maybe Reese himself had ordered it, but Behan doubted that even more. Reese was a political shark, but he didn’t have quite the killer instinct necessary to plan a double-cross on Coleridge, who had effectively put him into the Oval Office, and who had been backed by the muscle of HSI besides. Reese was dragged him to a waiting Toyota pickup. The tailgate was dropped, and Tony was shoved into the back. Ibrahim climbed in behind him, along with four other men, all glaring at him fiercely. Ibrahim pounded on the roof of the truck, and the driver put it in gear and steered out of the courtyard, kicking up rocks and dust in the pale pre-dawn light. They drove for about half an hour, bumping over potholes and washouts in the road. Tony watched the patchwork of little farms pass by, most with small stone buildings surrounded by crumbling stone walls. There were some scattered orchards among what mostly looked like poppy fields. Corn grew in a few of the fields, and there were goats and sheep everywhere. It should have been beautiful scenery, but Tony couldn’t appreciate it. There was an even chance he was on the road to an early grave. The truck turned off the road outside a small village, following a secondary track down the slope toward a river. At the end of the track was a grove of almond trees surrounded by a low stone wall. The adjacent river rushed over huge boulders outside the far wall of the grove, the rushing water colored gray-brown with glacial silt. They pulled through an opening in the wall, and Tony saw there were about fifty men already in the grove, milling around several vehicles arranged in a rough semi-circle. The driver pulled in next to another truck. “Out!” Ibrahim shoved

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 2681.84 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.

similar books by different authors

other books by M. P. MacDougall

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