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The Director

  by Paul Letersky

(about 399 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:

won’t have any trouble with him.” Miss Gandy would prove to be both right and wrong on that score. Nixon and his men would have no trouble getting Gray to do exactly what they wanted. But what they didn’t anticipate was that Gray was too dim or too naive to understand that he wasn’t supposed to get caught. “So what now, Miss Gandy? For you, I mean.” “Well, I’ve already put in my retirement papers. I’ll spend a few weeks clearing up the files and then I’ll—” “Go fishing?” She laughed. “Maybe. One thing for certain, I’ll get my Christmas cards out on time this year.” We both laughed at that. Ever since I’d known her, and long before that, Miss Gandy had spent so much time signing and mailing the Director’s hundreds of Christmas cards that her own Christmas cards never arrived before January. They always began with some variation of “Here I am, late as usual…” “And what about you, Paul? Have you given any thought to what you’ll do—after the Bureau?” I was surprised by the question. Yes, I’d given it a lot of thought, but I’d never discussed my reservations about climbing up the FBI bureaucratic ranks with Miss Gandy. “Why? Do you think I should leave?” “Oh, that’s entirely up to you, Paul. I’m sure you’ll do well whatever you decide to do. It’s just that with Mr. Hoover gone, nothing will be the same. I’m afraid the Bureau will be like it was eclectic array of odd antiques and curious collectibles. Oriental rugs lay atop Persian rugs, couches and easy chairs and settees fought for space on the floors, while scores of bronze statues and commemorative ashtrays and eighteenth-century Chinese vases—even a shrunken human head from New Guinea in a glass caseelbowed one another on the mahogany and teakwood tables. To me it looked like the storage room of an upscale auction house, which in a way it was; Hoover was a frequent customer at Washington’s venerable C. G. Sloan & Co. auction house. The walls of his home were literally covered with hundreds of paintings and drawings and plaques and photographs of Hoover with various famous people. There were photos of presidents he’d served under, as well as top congressional figures and foreign leaders and movie stars, most of the Old Hollywood variety—Shirley Temple, James Cagney, Jimmy Stewart, John Wayne. There were also several sketches and oil paintings of Hoover, and a bronze bust of himself stood guard at the top of the stairs. Hoover enjoyed gifts—receiving more than giving. The gifts poured in, on his birthday (January 1), at Christmas, and on the anniversary of his being named Bureau director. For his directorship anniversary the various FBI divisions and field offices would send him bottles of Jack Daniel’s, cuff links with his initials or his fingerprints engraved on them, high-quality cigars, fruit and cheese baskets, flowers—the Director loved flowers—and once, as we’ll see, a trash compactor

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 1,995 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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