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Hour of the Assassin

  by Matthew Quirk


(about 289 pages)
72,237
total words
of all the books in our library
44.86%
vividness
of all the books in our library
7.24%
passive voice
of all the books in our library
2.10%
all adverbs
of all the books in our library
0.50%
ly-adverbs
of all the books in our library
1.60%
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
three knocks over the phone. Delia let out a quiet gasp. “Someone’s here.” “Are you expecting anything? Anyone?” “No,” she whispered. “The resident manager knocks sometimes. That’s it.” “Don’t go near it,” he said. A rustling came over the line, then the click of a door closing. “There’s a car parked in front of the building.” Her voice echoed. She must have locked herself in the bathroom. “What make?” “Chevy sedan.” “It could be the police.” Three bangs again, muffled now. He couldn’t be sure if they were really the police or if they could be trusted. “I’m a block away. I’m coming.” “But if they see you—” “It’s fine. Don’t answer. That’s entirely within your rights. What’s the door code?” “Nick, no.” “I’ll be careful. What is it?” “Seven oh four three.” A shout through the phone. “Delia Tayran. This is the Metropolitan Police Department.” “You can talk to the police,” Nick said, “but you should have a lawyer. And I don’t know if you can trust those men. I don’t want anything to happen to you. I’m coming.” “Am I an accessory?” “Did you believe I was innocent?” “Believe?” She sounded shocked. He’d managed to make himself sound guilty. “Aren’t you?” “Yes,” Nick said. “You weren’t trying to conceal a crime. You did nothing wrong. You can do whatever you like, but right now I can’t be sure those people are who they say they are. Just sit tight.” No answer. “Delia!” “I’m here,” she whispered. He could water, so cold it burned, then waded in as flashlight beams moved through the park, flickering between the trees. His phone was on silent, and he tucked it out of sight on one of the stones under the bridge. He lowered himself into the stream down to his waist, felt the water soak into his clothes, his skin and muscles tensing against the chill, heels slipping into the muck of the streambed. He crawled back, under the bridge. The light shot across the surface as the sound of men running grew louder. The beam came around the bridge, to where he was crouched. He lay back, took a long breath, and sank his head below the water. Boots pounded the earth. Voices above. Below the surface they sounded like murmurs. The light flashed by, warm red through his closed eyelids, and then black again. He waited, lungs squeezing, air running out as his heart raced. Each beat boomed like a kettledrum in his submerged ears. He brought his face closer to the surface, and the light returned. He sank down. Hold. Calm. Hold. The darkness returned, and he risked a breath, brought his face above the water and filled his lungs. Thumpthump. One man on the footbridge overhead, pacing slow. Nick rose, his wet clothes weighing him down. All he wanted to do was move, act, rush, but he forced himself to go inch by inch, to stay silent. He felt for the underside of the span and twisted

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 1444.74 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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