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Tom Clancy: Enemy Contact

  by Mike Maden

(about 459 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:

can give you what I have.” BUT YOU WON’T GIVE IT TO ME ANYWAY. SO WHAT DOES IT MATTER? “I didn’t say I wouldn’t. I just said I couldn’t. Not now.” WHY? BECAUSE SHE IS WATCHING YOU? YOU DO NOT EVEN KNOW IF SHE IS. YOU MAY NEVER FEEL SAFE. YOU MAY NEVER BE ABLE TO HELP ME AGAIN. I UNDERSTAND YOUR CONCERN. BUT I CANNOT WAIT AROUND. “Please don’t play games with me. I hate that shit.” I AM NOT PLAYING GAMES WITH YOU. I AM YOUR FRIEND. BUT I HAVE OBLIGATIONS TO MEET. IF YOU DO NOT WANT TO HELP ME THAT IS FINE. WE CAN STILL BE FRIENDS. BUT YOU DO NOT WANT ME TO GET IN TROUBLE DO YOU? “What kind of trouble?” NOW WHO IS THE ONE PLAYING GAMES? Fung cursed himself. He really was playing games. He knew there was a lot at stake. Had to be, with all of the money that had been tossed around. But he was genuinely afraid, too. But the money. The damn money. “I’m sorry. You’re right. I don’t want to put you in a bad place.” DO NOT WORRY ABOUT ME. YOU ALREADY DO SO MUCH FOR SO MANY PEOPLE. I DO NOT WANT YOU TO RISK ALL OF THAT. I WILL BE FINE. THERE ARE ALWAYS OTHER OPTIONS. “But no option as good as me. Let me do this one last time. I don’t want to leave you hanging.” NO. I DO NOT THINK IT IS the cabbage rollsrectangles, really—the leaves as thin and translucent as parchment paper, stuffed with minced chicken, pork, and rice, and topped with a tomato gravy. “Unbelievable.” Jack took another sip of a strong local porter, smooth and potent at 9. 8 percent alcohol content. Outstanding. The next plate arrived. “Bigos. Very traditional.” She explained it was a stew made with sauerkraut—“Not bitter, like the German kind”—and meat: sausage, pork, and bacon, all sautéed together with onions, garlic, paprika, and other spices. She was right. The flavor of the sauerkraut was more tangy than sour, and paired perfectly with the protein. His only concern was that he was already starting to fill up. “Now, for my favorite here. Placki ziemniaczane z gulaszem.” “Easy for you to say,” Jack said, enjoying his porter. It was so good he seriously considered ordering a second one, but knew if he did that Liliana would have to fireman-carry him up the stairs and pour him into the backseat of her Audi. Liliana pushed the plate toward him. “Potato pancakes and goulash, though not goulash the way the Hungarians do it.” The fried potato pancakes were large and thick, and smothered in chunks of buttery-soft pork bathed in yet another rich tomato sauce and topped with a dollop of fresh sour cream. His stomach told him he was topping off, but his taste buds begged him to keep shoveling until the plate was clean. His taste buds won the argument. Another wash

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 2297.30 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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