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The Bourne Sanction

  by Robert Ludlum

(about 600 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:

think that can be arranged.” Relief flooded Marks’s face. “Thanks, Rodney.” “Don’t mention it.” He began to dig into what was left of the chowder. As Marks was about to rise, he said, “Do you by any chance know where Soraya is? She’s not in her office and she’s not answering her cell.” “Unh-unh.” Marks resettled himself. “Why?” “No reason.” Something in Feir’s voice gave him pause. “No reason? Really?” “Just, you know how office scuttlebutt can be.” “Meaning?” “You two are tight, aren’t you.” “Is that what you heard?” “Well, yeah.” Feir placed his spoon into the empty bowl. “But if it isn’t true-” “I don’t know where she is, Rodney.” Marks’s gaze drifted off. “We never had that kind of thing going.” “Sorry, I didn’t mean to pry.” Marks waved away his apology. “Forget it. I have. So what do you want to talk with her about?” This was what Feir was hoping he’d say. According to the general, he and LaValle required intel on the nuts and bolts of how Typhon worked. “Budgets. She’s got so many agents in the field, the DCI wants an accounting of their expenses-which, frankly, hasn’t been done since Martin died.” “That’s understandable, given what’s been going on in here lately.” Feir shrugged deferentially. “I’d do it myself; Soraya’s got more on her plate than she can handle, I imagine. Trouble is, I don’t even know where the files are.” He was going to add: Do you? but decided that would be rough concrete corridor painted an institutional green, the buzzing fluorescent tubes that hurled purple shadows on the linoleum floor as they passed. He waited patiently outside the locker room for Kendall to change his clothes; then they proceeded down the corridor. At the end of it they climbed a flight of stairs to a reinforced metal door. LaValle pressed his forefinger onto a fingerprint reader. He was rewarded by the clicking of bolts being shot, not unlike a bank vault opening. They found themselves in another corridor, the polar opposite of the one they were leaving. This one was paneled in polished mahogany; wall sconces produced a soft, buttery glow between paintings of historical naval engagements, phalanxes of Roman legions, Prussian Hussars, and English light cavalry. The first door on the left brought them into a room straight out of a high-toned men’s club, replete with hunter-green walls, cream moldings, leather furniture, antique breakfronts, and a wooden bar from an old English pub. The sofas and chairs were well spaced, the better to allow occupants to speak of private matters. Flames cracked and sparked comfortingly in a large fireplace. A liveried butler met them before they’d taken three steps on the thick, sound-deadening carpet. He guided them to their accustomed spot, in a discreet corner where two high-backed leather chairs were arranged on either side of a mahogany pedestal card table. They were near a tall, mullioned window flanked by thick drapes, which overlooked the Virginia countryside. This club-like room

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 3001.08 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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