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The Bourne Ultimatum

  by Robert Ludlum


(about 843 pages)
210,775
total words
of all the books in our library
39.67%
vividness
of all the books in our library
8.43%
passive voice
of all the books in our library
3.26%
all adverbs
of all the books in our library
1.37%
ly-adverbs
of all the books in our library
1.89%
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
know him very well. You wouldn’t have a house and I wouldn’t have Tranquility Inn if it wasn’t for him.” “Is he in touch with the governor? I mean right now, is he keeping the CG posted about what’s going on here. Think, Johnny. It’s important. There’s a phone in that villa; he could be in contact with Government House. Is he?” “You mean with the CG himself?” “With anyone over there.” “Believe me, he’s not. Everything’s so quiet not even the police know what’s going on. And as far as the CG is concerned, he’s only been given the vaguest scenario, no names, nothing, only a trap. He’s also out on his boat and doesn’t want to know a damn thing until it’s all over… Those were his orders.” “I’ll bet they were.” “Why do you ask?” “I’ll explain later. Hurry up!” “Will you stop saying that?” Jason put down the radio and turned to Fontaine. “We’re clear. The governor isn’t one of the Jackal’s army of old men. He’s a different kind of recruit, probably like that lawyer Gates in Boston—just bought or frightened, no soul involved.” “You’re certain? Your brother-in-law is certain?” “The man’s out on his boat. He was given a bare-bones outline but that’s all, and his orders were that he’s not to be told anything else until it’s all over.” The Frenchman sighed. “It’s a pity my mind is so old and so filled with salt. If I had remembered, we could have walked into the woods. The white sheet of ocean spray burst up from the coral reef and appeared suspended, the dark blue waters of the Caribbean serving as a backdrop. It was that hour of early evening, a long sundown imminent, when Tranquility Isle was bathed in alternating hot tropical colors, pockets of shadows constantly changing with each imperceptible descent of the orange sun. The resort complex of Tranquility Inn had seemingly been cut out of three adjacent rock-strewn hills above an elongated beach sandwiched between huge natural jetties of coral. Two rows of balconied pink villas with bright red roofs of terra-cotta extended from each side of the resort’s central hub, a large circular building of heavy stone and thick glass, all the structures overlooking the water, the villas connected by a white concrete path bordered by low-cut shrubbery and lined with ground lamps. Waiters in yellow guayabera jackets wheeled room-service tables along the path, delivering bottles and ice and canapés to Tranquility’s guests, the majority of whom sat on their individual balconies savoring the end of the Caribbean day. And as the shadows became more prominent, other people unobtrusively appeared along the beach and on the long dock that extended out over the water. These were neither guests nor service employees; they were armed guards, each dressed in a dark brown tropical uniform and—again unobtrusively—with a MAC-10 machine pistol strapped to his belted waist. On the opposite side of each jacket and hooked to the cloth

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 4215.50 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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