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The Cry Of The Halidon

  by Robert Ludlum


(about 506 pages)
126,588
total words
of all the books in our library
47.24%
vividness
of all the books in our library
8.27%
passive voice
of all the books in our library
3.03%
all adverbs
of all the books in our library
1.54%
ly-adverbs
of all the books in our library
1.49%
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
the note; that I saw you were having trouble. But I wasn’t to worry, your bags would get to the hotel. But they weren’t there, you see.’ McAuliff did not see. He sighed wearily. ‘So you pretended to be smashed?’ ‘Naturally. I realized you’d have to know about the note; you’d ask me about it, of course, and be terribly angry if the luggage was lost; blame me for it… Well, it’s a bit unsporting to be hard on a fellow who’s squiffed and tried to do you a good turn. I mean, it is, really.’ ‘You’ve got a very active imagination, Jimbo-mon. I’d go so far as to say convoluted.’ ‘Perhaps. But you didn’t get angry, did you? And here we are and nothing has changed. That’s the irony: Nothing has changed.’ ‘Nothing changed? What do you mean?’ Ferguson nervously smiled. ‘WellI’m tagging along.’ ‘I think something very basic has changed. You’ve told me about Craft.’ ‘Yes. I would have anyway; that was my purpose this morning. Craft need never know; no way he could find out. I’ll just tag along with you. I’ll give you a portion of the money that’s coming to me. I promise you that. I’ll write it out, if you like. I’ve never had any money. It’s simply a marvellous opportunity. You do see that, don’t you?’ He left Ferguson at the Devon House and took a cab into Old Kingston. If he was being followed, he didn’t give a damn. It was made base camp on the bank of a narrow offshoot of the Martha Brae. All but the runners, Marcus and Justice Hedrik, were stunned by the seemingly impenetrable walls of jungle that surrounded them. Strange, contradictory forests that were filled with the wet verdancy of tropic growth and the cold massiveness of sky-reaching black and green associated with northern climates. Dense macca-fat palms stood next to silk-cotton, or ceiba, trees that soared out of sight, their tops obscured by the midgrowth. Mountain cabbage and bull thatch, orchid and moss, fungi and eucalyptus battled for their individual rights to coexist in the Oz-like jungle primaeval. The ground was covered with ensnaring spreads of fern and pteridophyte, soft, wet and treacherous. Pools of swamplike mud were hidden in the thick, crowded sprays of underbrush. Sudden hills rose out of nowhere, remembrances of Oligocene upheavals, never to be settled back into the cradle of the earth. The sounds of the screeching bat and parrot and tanager intruded on the forest’s undertones; jungle rats and the mongoose could be heard intermittently in their unseen games of death. Every now and then there was the scream of a wild pig, pursuing or in panic. And far in the distance, in the clearing of the river bank, were the mountains, preceded by sudden stretches of untamed grassland. Strangely grey with streaks of deep green and blue and yellow - rain and hot sunlight in an unceasing interchange. All this fifteen minutes by air from the gaudy strips

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 2531.76 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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