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Matarese Circle

  by Robert Ludlum

(about 747 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:

chair. His reply was delivered in a quiet monotone. To the best of my knowledge, Mr. Winthrop, that solution has been exaggerated far out of proportion to its practice. Again, I’ll be completely honest with you. In fifteen years I’ve heard of it being exercised only twice, and in both… incidents… the agents out of sanction were beyond salvage. They had sold out to the Soviets; they were delivering names. Is Scofield ‘beyond salvage? That’s the correct phrase, isn’t it? If you mean do I think he’s sold out, of course not. It’s the last thing he’d do. I really came here to learn more about him, I’m sincere about that. How is he going to react when I tell him he’s terminated? Winthrop paused, his relief conveyed, then frowned again. I don’t know because I don’t know the current Scofield. It’s drastic; what’s he going to do? Isn’t there a halfway measure? If I thought there was one acceptable to us both, I’d leap at it. If I were you I’d try to find one. It can’t be on the premises,“ said Congdon firmly. I’m convinced of that. Then may I suggest somethingT’ “Please do.” “Send him as far away as you can. Someplace where he’ll find a peaceful oblivion. Suggest it yourself; he’ll understand.” “He will?” “Yes. Bray doesn’t fool himself, at least he never did. It was one of his finer gifts. He’ll understand because I think I do. I think you’ve described a dying man.” “There’s floodlights had been turned on and the banks of fountains illuminated-thousands of cascading streams caught in the light as they arced in serrated ranks down the steep inclines. In the centers of the vast pools, the geysers surged up into the night, umbrella sprays sprinkling in the floodlights like diadems. And at each formation of rock constructed into a waterfall, screens of rushing silver fell in front of ancient statuary; saints and centaurs were drenched in splendor. The gardens were officially closed to the public; only Rome’s most beautiful people were invited to the Festa Villa d’Este. The purpose was ostensibly to raise funds for its maintenance, augmenting the dwindling govemment subsidies, but Scofield had the distinct impression that there was a secondary, no less desirable motive: to provide an evening where Villa dEste could be enjoyed by its true inheritors, unencumbered by the tourist world. Crispi was right. Everyone in Rome was there. Not his Rome, thought Bray, feeling the velvet lapels of his tuxedo. Their Rome. The huge rooms of the villa itself had been transformed into palace courtyards, complete with banquet tables and gilded chairs lining the walls-resting spots for the courtiers and courtesans at play. Russian sable and mink, chinchilla and golden fox draped shoulders dressed by Givenchy and Pucci; webs of diamonds and strings of pearls fell from elongated throats, and all too often from too many chins. Slender cavalierl, dashing in their scarlet cummerbunds and graying temples, coexisted with squat, bald men who held

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 3736.68 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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