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The Hades Factor

  by Robert Ludlum


(about 518 pages)
129,508
total words
of all the books in our library
48.18%
vividness
of all the books in our library
7.48%
passive voice
of all the books in our library
2.96%
all adverbs
of all the books in our library
1.14%
ly-adverbs
of all the books in our library
1.82%
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
back and stared into space. The virus that had killed Sophia matched none he had ever heard of or seen. It had been close here and there, yes, but always to a different known virus. What it did match was the unknown virus she had been working on. Obsessed as he was with Sophia’s death, he still felt horror at the potential threat to the world from this new, deadly virus. Four victims might be only the beginning. How had Sophia contracted it? If she had had an accident in which she had any possible contact with the new virus, she would have reported it instantly. Not only was that a standing order, it was insanity not to. The pathogens in a Hot Zone were lethal. There was no vaccine and no cure, but prompt treatment to bolster the body’s resistance and maintain the best possible health, plus normal medical steps for any virus, had saved many who all but certainly would have died untreated. Detrick had a biocontainment hospital where the doctors knew everything there was to know about treating victims. If anyone could have saved her, it would have been them, and she knew it. On top of everything, she was a scientist. If she had thought there was the remotest possibility she could have contracted the virus, she would have wanted everything that had happened to her recorded and analyzed to add to the body of knowledge about the virus and perhaps save others. She would have Bridal Veil Falls, wreathed in its own rising mists, and the sheer cliffs of El Capitan. In the distance was legendary Half Dome and Yosemite Falls. They turned sharply onto the north fork of the valley drive and continued on Big Oak Flat Road to its junction with high-elevation Tioga Road, which was closed to all traffic from November to May and often far into June. They continued east through patches of snow and the magnificent scenery of the high country of the untamed Sierras. At last they headed down the eastern slope, the land growing drier and less lush. As they descended, Marty began singing old cowboy tunes. The meds were wearing off. A few miles before Tioga Road reached Highway 395 and the town of Lee Vining, Smith turned onto a narrow blacktop road. On either side were parched, grassy open slopes with barbed-wire fences marking property lines. Cattle and horses grazed under trees whose black silhouettes stood stark against the gold-velvet mountains. Marty burst into song: “Home, home on the range, where the deer and the antelope play! Where seldom is heard a discouraging word and the skies are not cloudy all day!” Smith drove the car up dizzying switchbacks, crossed several streams on rickety wood bridges, and ended at the edge of a deep ravine with a broad creek roaring below. A narrow steel footbridge crossed the ravine to a clearing and a log cabin hidden among towering ponderosa pine and incense cedar. The snow-capped peak

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 2590.16 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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