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The Aquaintaine Progession

  by Robert Ludlum

(about 955 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:

Paris were in operation beforethe East Coast of America was out of bed. If Talbotwas not there, he would try Nathan Simon, thenBrooks, if he had to. Neither alternative was nec-essary. Lawrence Talbot answered the phone. “I’ll be damned, how are you, Rene? You in NewYork?” “No, Paris.” “Sounds like you’re down the block.” “So do you. It’s always startling.” “It’s also late where you are, if I’m not mistaken.” “It’s very late, Larry. We may have a problem,that’s why I’m calling.” “A problem? I didn’t even know we had anybusiness going. What is it?” “Your missionary work.” “Our what?” “Bertholdier. His friends.” “W7lo?” “Jacques-Louis Bertholdier.” “Who is he? I’ve heard the name but I can’t placehim.” “You can’t… place him?” “Sorry.” “I’ve been with Joel. I arranged the meeting.” “Joel? How is he? Is he in Paris now?” “You weren’t aware of it?” “Last time I spoke with him was two days ago inGeneva after that awful business with Halliday. Hetold me he was all right, but he wasn’t. He wasshaken up.” “Let me understand you, Larry. Joel is not inParis on business for Talbot, Brooks and Simon, isthat what you’re saying?” Lawrence Talbot paused before answering. “No,he’s not,” said the senior partner softly. “Did he sayhe was?” “Perhaps I just assumed it.” Again Talbot paused. “I don’t think you’d dothat. But I do think you should tell Joel to call me.” “That’s part of the problem, Larry. I don’t knowwhere he is. He said he was sunlight and bright reflections. Of billowing white sails on the lake sturdy, irregular buildings above, their rippling images on the water below. Of myriad flowers surrounding blue-green pools of fountains duets of exploding colors. Of small quaint bridges arching over the glassy surfaces of man-made ponds to tiny man-made islands, sanctuaries for lovers and friend sand quiet negotiators. Reflections. Geneva, the old and the new. City of high medieval walls and glistening tinted glass, of sacred cathedrals and less holy institutions. Of sidewalk cafes and lakeside concerts, of miniature piers and gaily painted boats that chug around the vastshoreline, the guides extolling the virtues and theestimated value of the lakefront estates that surelybelong to another time. Geneva. City of purpose, dedicated to the necessity of dedication, frivolity tolerated only when intrinsic to the agenda or the deal. Laughter is measured, controlled glances conveying approval of sufficiency or admonishing excess. The canton by the lake knows its soul. Its beauty coexists with industry, the balance not only accepted but jealously guarded. Geneva. City also of the unexpected, of predictability in conflict with sudden unwanted revelation, the violence of the mind struck by bolts of personal lightning. Cracks of thunder follow; the skies grow darkand the rains come. A deluge, pounding the angry waters taken by surprise, distorting vision, crashing down on the giant spray, Geneva’s trademark on the lake, the jet d ear, that geyser designed by man todazzle man. When sudden revelations come, thegigantic fountain dies. All the fountains die

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 4776.08 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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