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Drone Threat

  by Mike Maden


(about 396 pages)
98,994
total words
of all the books in our library
44.99%
vividness
of all the books in our library
7.67%
passive voice
of all the books in our library
2.66%
all adverbs
of all the books in our library
1.04%
ly-adverbs
of all the books in our library
1.61%
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
bitch from the embassy hadn’t shown up—” “Then you might be dead.” “But Tariq is dead. And so are those women. And it’s my goddamn fault.” “You didn’t kill him or those women. Those bastards did. You tried to help.” “And how’d that turn out?” He ran his hand through his damp hair, thinking. “Hyssop didn’t do us any favors either.” “It’s her job. She was trying to protect the interests of the American government as she saw it.” “So you’re on her side?” “No, I’m on yours. Always. But I’m trying to help you see hers. She had a job to do and she did it, and as far as I’m concerned, I’m grateful. If she hadn’t been there, the Turks might have decided to kill all of you.” “You know I had to go.” She nodded. “Of course I do. You explained it. And you’re a loyal guy. It’s one of the many things I adore about you. But the truth is, you were conducting an illegal operation on foreign soil. It was a risk you were willing to take because you loved Tariq, but a risk is just that—you take a big chance that something might work or it might not. This time, it didn’t. But not because you didn’t try.” “What else was I supposed to do?” Pearce headed for the living room. She followed him. “I don’t think there was anything else you could do. We talked about Tariq’s situation. President Lane wouldn’t have of her robe’s deep pockets and handed it to the man. “Yes, ma’am. Of course.” He bowed slightly and headed for the door. Grafton locked it and threw the swing bar over the security latch, then pushed the serving cart into the next room. “How was your shower?” Grafton asked. Al-Saud pulled the champagne out of the ice bucket, admiring the vintage. “Excellent. Wonderful choice, by the way.” Grafton stood up on her toes and kissed the royal prince on his cheek, just above his stylish beard. “I’m so glad you approve. This is my favorite hotel in D.C.” Al-Saud popped the champagne cork and poured their glasses as Grafton set up the dinner service on the table beneath the gorgeous period crystal chandelier. They took their seats. Al-Saud lifted his glass. “To us.” “To us.” They touched glasses and drank. “I hope you enjoy what I’ve ordered,” she said. “I’m famished. Show me.” Grafton lifted the first sterling silver plate cover. “For you we have spiced honey-glazed venison loin with pear, a grits cake, burgundy truffles, savory cabbage, and a combination of pistachios and hazelnuts.” Al-Saud leaned over the plate and inhaled deeply. “It smells fantastic.” Grafton lifted a second plate cover. “For myself I’ve ordered roasted medallions of Atlantic halibut, sweet potato, and apple mille-feuille, applewood-smoked bacon, tarragon coulis, and razor clam broth. We can share if you like.” “Of course. You plan everything so well.” Al-Saud held his knife in his left hand and his fork

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 1979.88 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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