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The Lazarus Vendetta

  by Robert Ludlum


(about 469 pages)
117,291
total words
of all the books in our library
56.85%
vividness
of all the books in our library
5.20%
passive voice
of all the books in our library
3.62%
all adverbs
of all the books in our library
1.98%
ly-adverbs
of all the books in our library
1.65%
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
It had been easy enough to hang two or three car lengths back without being noticed. Neither Jon nor Peter had been surprised when Pierson took off only minutes later, this time using her own car. Both had been sure from the beginning that this sudden briefing for her superiors was only a blind, a way to cover her real reason for flying back so abruptly from New Mex- ico. But again, the task of following her discreetly was comparatively easy—at least at first. It had only gotten really difficult once she turned off the highway onto a succession of smaller side roads where traffic was sporadic at best. And Kit Pierson was no fool. She would have been bound to grow suspicious if she saw the same two pairs of headlights gleaming in her rearview mirror through mile after mile of darkened, nearly empty countryside. That was when both Smith and Peter Howell had been forced to slip on their night-vision goggles and switch off their lights. Even so, they had been forced to hang back farther from her Passat than they would have preferred—always hoping they would not miss whichever tumoff or crossroads she finally took to make her rendezvous. Smith looked up the gravel track. He could just make out a small house on the crest of a low hill. The lights were on, and he could see two cars parked outside. This looked like it could be the place they were hunting. “What do eaten alive by new waves of murderous machines too small to be seen. Covert One 5 - The Lazarus Vendetta Paris An autumn breeze ruffled through the leaves of the chestnut trees planted around the neatly landscaped edges of the Place des Vosges. As the wind freshened, small gusts whipped through the spray of one of the burbling fountains. A fine mist of water droplets swirled sidewaysstaining the broad pavements and glistening like early morning dew on the lush green grass. Impishly the breeze danced and curled around the weathered gray and pale rose stone facades of the covered galleries, the arcades, lining the square. In the northwest corner of the Place, cloth napkins pinned down by water goblets fluttered on the highly polished wicker tables of the Brasserie Ma Bourgogne. Jon Smith sat alone at a table on the edge of the arcade, lounging comfortably in one of the restaurant’s red leather-backed chairs. He looked out over the fenced-in square, paying careful attention to the many peo- pie strolling casually along its sidewalks or occupying park benches, idly tossing bread crumbs to the murmuring pigeons. “Lin cafe noir, m’sieur,” a glum voice said nearby. Smith looked up. One of the waiters, a serious, unsmiling, older man wearing the bow tie and black apron that was a hallmark of Ma Bourgogne, slid a single cup of black coffee onto the table. Smith nodded politely. “Merci.” He slid a few euros across the table. Grumbling under his breath, the waiter pocketed

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 2345.82 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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