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The Bourne Objective

  by Robert Ludlum

(about 535 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:

daughter was having a bad dream. Why were children burdened with nightmares, she wondered, when there was so much time for nightmares in adult life? Where was the carefree childhood she’d had? Was it a mirage? Had she also had nightmares, night terrors, anxieties? She could not now remember, which was a blessing. She knew one thing, though, Tracy would have laughed at her for even having such thoughts. “Life isn’t carefree,” she could hear her sister saying. “What are you thinking? Life is difficult, at best. At its worst, it’s a bloody nightmare.” What would have led her to say such a thing? Chrissie asked herself. What misfortunes had befallen her while I had my head stuck in my Oxford texts? All at once she was overcome with the conviction that she had failed Tracy, that she should have seen the signs of her stress, her difficult life. But, really, how could she have helped her? Tracy had been lost in a world so distant, so alien, Chrissie was sure she would have found it incomprehensible. Just as she could make no sense of what had happened today. Who was Adam Stone? She had no doubt that he’d been friends with Tracy, but she suspected now that he was more—a compatriot, business partner, maybe even her boss. Something he hadn’t told her, hadn’t wanted to tell her. All she knew for certain was that her sister’s life had been a secret, and so was Adam’s. They had been Oxford Street on his way to the hotel. These included a dark-colored suit and black turtleneck. He polished his shoes with the kit provided in the room, then took a taxi to Diego Hererra’s house in Sloane Square. This proved to be a redbrick Victorian affair with a steeply pitched slate roof and a pair of conical turrets, sticking up into the night sky like horns. A brass door-knocker in the shape of a stag’s head looked stoically out on all visitors. Diego himself opened the door to Bourne’s knock. He smiled thinly. “No worse for the wear and tear of yesterday’s adventure, I see.” He waved a hand. “Come in, come in.” Diego wore dark trousers and an elegant evening jacket probably more appropriate to the Vesper Club. Bourne, however, still held the clothing instincts of an academic professor and was as uncomfortable in formal dress wear as he would have been in a medieval suit of armor. He led Bourne through an old-fashioned parlor, lit by antique lamps with frosted-glass shades, into a dining room dominated by a polished mahogany table over which hung a crystal chandelier, now dimly lit, casting the light of a thousand stars across jewel-toned wallpaper and oak wainscoting. Two place settings beckoned. While Bourne sat, Diego poured them glasses of an excellent sherry to go with the small plates of grilled fresh sardines, papas fritas, paper-thin slices of rosy Serrano ham, small disks of fat-speckled chorizo, and a platter of three Spanish cheeses

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 2674.76 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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