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  by Mark Greaney

(about 654 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:

which might be a pseudonym. She’s posing as an Israeli, but I think she might actually be a German national.” “Age?” “Thirties, and that’s just a guess.” “Description?” “Hot.” “I beg your pardon?” “The boys said she was hot. That’s all the description I have.” “So… what would you like me to do with that information?” “I don’t know what you do, Suzanne. I’m not sitting in an office at Langley, am I?” Brewer answered back with, “Let me show you what I do. This mysterious Miriam you are looking for is named Annika Dittenhofer. She is thirty-six years old, and she has a flat in Kreuzberg, in the south of Berlin. She was born in Dresden, not too long before reunification, and then she served in the Bundeswehr—that’s the German army. After that she was German foreign intelligence, but she’s been out and working for Shrike for several years.” Zoya was listening, but her true focus was on the source of this intel. “How the hell do you already know all this? I was told by Hanley we had no other access points into Shrike.” “This is intelligence that came to us in the last twenty-four hours. That’s all I can tell you.” Zoya didn’t like being kept in the dark like this, but she let it go. “Anyway, I’m told she is a case officer, like me, and I will never meet her due to the firm’s policies about internal security.” “Where there’s a will, Anthem, there’s had already arrived. He let water drip from his black raincoat onto the floor as he headed towards the back in the direction of the woman’s glance, then took a narrow staircase down into the basement and began moving past stacks of boxes of Irish whiskey, Polish vodka, and Hungarian wine. He made a left at a stored display advertising a popular local honey liqueur, then continued down a dark and narrow aisle. Passing a shelf of loose 1. 5-liter bottles of various alcohols, he didn’t break stride as he yanked a room-temperature bottle of Chopin vodka, then continued on into a back room, the booze now tucked under an arm. Here, two women and a man sat at a small table, each with a paper cup of coffee from nearby Café Nero. A fourth cup sat on the table in front of the one empty chair. Maksim took the remaining seat with his wet coat still on. He put the bottle down on the table and opened the lid of the coffee cup. The man on his left was older, with gray hair and a thick midsection. One of the women was a little younger than Maksim at thirty-nine. She was dressed in a business suit and wore eyeglasses; her long blond hair was braided and a tablet computer rested in front of her. The other woman, still in her twenties, had dyed platinum blond hair, cut short, and she wore jeans and a tank top. At first glance

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 3267.74 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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