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The Coldest Warrior

  by Paul Vidich


(about 268 pages)
66,912
total words
of all the books in our library
46.93%
vividness
of all the books in our library
7.30%
passive voice
of all the books in our library
2.07%
all adverbs
of all the books in our library
0.80%
ly-adverbs
of all the books in our library
1.26%
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
when they broke, or do dirty work if necessary.” “Weisenthal’s responsible?” “He’s got facts in his head, but he’s a scientist. He’s one man.” “Someone still inside knows what happened?” “Too soft.” “The men responsible are still here.” “That sounds right. When you put your finger on the men who handled what happened in the Hotel Harrington, you’ll turn up more dirty laundry. This isn’t just about Wilson. Wilson is a symptom.” “Names?” “Who are you looking at?” “I can’t give you that.” “I can’t help, then.” Gabriel snapped, “For all I know, you’re the man I’m looking for.” There was a long silence. “Don’t waste time going down that rathole.” “Do I know you?” “We’ve met.” Gabriel glanced again in the rearview mirror. “I can’t afford to have you know who I am. You’re on your way out. You can burn your bridges, but I’ve got a good career here. I need to work with those angry men. I won’t jeopardize my job. I need their trust. No one is cooperating with you. People avoid you. You’ll have to break your own glass. Whoever was responsible for Wilson didn’t know anything about political scruples, but they thought they did. Weisenthal is like that, but there are others.” “Can you confirm a name if I give it to you?” “I can’t confirm what I don’t know.” Gabriel considered the report he’d written the director, then pondered the man in the back seat. He didn’t have to do this. There was front door. He almost didn’t recognize the man he saw, face gray with determination. He breathed deeply to calm himself. He didn’t know what to expect from Coffin. He put his 9mm Glock under his belt in the small of his back. GABRIEL FOUND COFFIN on a secluded bench protected from the light rain by a stand of Norwegian pine, and farther along the stone path, there was the conservatory’s tarnished glass dome. Swampy daylight brought out the intense purples, pinks, whites, and yellows of the ranging peonies, azaleas, and roses in the untended plantings, each bordered with bricks. Vibrant colors were a gift to the visitor’s eyes, but everywhere the unweeded beds had gone to seed, and in front of Coffin stood Bartholdi Fountain. Gabriel wasn’t surprised he been asked to meet by the fountain. A man who patterned his mind also patterned his day. Every Tuesday Coffin held a breakfast meeting at the Agency’s Navy Hill offices so that he could spend his lunch hour in the orchid collection in the nearby Botanical Gardens. “Once beautiful, wasn’t it?” Coffin said to Gabriel when he approached. Coffin took in the expression of French Empire Romanticism, now neglected, with rust spots showing through the aging bronze veneer. Three busty nymphs in the fullness of desire stood atop a pedestal of seashells; water dribbling from the mouths of tired-looking dragons mixed with the rain. Several of the opaque glass lamps had been vandalized. “‘Dreamt glory toward which our imagination leaps,’” Coffin

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 1338.24 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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