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To The Death

  by Patrick Robinson

(about 582 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:

it doesn’t look that way. From what Jimmy says, this assassination will be carried out by the top commander in Hamas or Hezbollah, a guy we’ve never arrested or even gotten a chance to kill. We know he’s ex-SAS, so he’ll be damn good at his job. “Jimmy, my biggest hesitation is that I might fail. And then have to live with the blame.” “Rick, that’s not going to happen. Everyone agrees: if you can’t do it, it can’t be done. There will be no announcements, no one will ever know you were there. This mission is just about as classified as anything can get. You will travel in secret, operate in secret, and return home in secret. If you should fail, no one will ever know.” “I’ll know,” said Commander Hunter. “And that’s why I can’t allow anything to happen.” Jimmy, recognizing the superior rank, asked flatly, “Sir, does that mean you’ll except the assignment?” “Affirmative,” replied the SEAL. Diana stood up. “I know when I’m beaten,” she smiled. “And I’m comforted by only one thing—this assassin’s not firing at Rick, is he?” “He won’t have time,” replied Jimmy. “Not if he hopes to get away.” “When do you guys need me on station?” asked Rick. “Certainly in the next few days,” said Jimmy. “The trouble is, no one quite knows where Arnold is going. Since he left the White House, he’s been pretty secretive. My boss, Admiral Morris, has spoken to the CIA, and they think he’s said, uttering the last words he would ever utter. Because Ravi straightened up and struck like a cobra. He slammed the handle of the dagger hard into the area between Jerry’s bushy eyebrows, and with the bone well and truly splintered, he dropped the dagger, drew back his hand, and slammed the heel of his palm hard into Jerry’s nostrils, driving the bone known as the septum into the brain. Ravi Rashood killed Jerry O’Connell instantly, with a classic SAS unarmed-combat blow. The Irish farmer was dead before he hit the roadside grass. His heart had stopped before he landed backward on the sparse grazing soil of West Cork. Wrong place, wrong time. With the body of the late Jerry O’Connell lying slumped at the roadside, General Rashood needed to move very quickly. On the right-hand side, the land fell away down the cliff toward the ocean, and Ravi elected to roll the corpse down there and hope to hell it jammed in the foliage but was hidden from view. He checked that there was no further traffic from either direction and then dragged the dairy farmer to the edge of the cliff top and tipped him over. Jerry rolled down for about forty feet and came to a halt against a gorse bush that was still in flower. Ravi stared. Jerry was plainly visible. Leaving his bag on the roadside next to the milk truck, he clambered down the cliff and dislodged Jerry, dragging the body around the gorse

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 2907.54 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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