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The Osterman Weekend

  by Robert Ludlum

(about 85 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:

or others do not, we’ll know who Omega is.” “And … supposing you are right. What then? What are your built-in guarantees?” “Several factors. All fool-proof. I told you the ‘information’ about you will be false. Whoever Omega is will use his resources and check out what he leams with the Kremlin itself. Our confederates there are prepared. They will intercept. The information Omega gets back from Moscow will be the truth. The truth until this afternoon, that is. You are simply John Tanner, news director, and no part of any conspiracy. What will be added is the trap. Moscow will inform whoever runs a check on you to be suspicious of the other couples. They may be defectors. We divide. We bring about a confrontation and walk in.” “That’s awfully glib. It sounds too easy.” “If any attempt was made on your life or the lives of your family, the entire Omega operation would be in jeopardy. They’re not willing to take that risk. They’ve worked too hard. I told you, they’re fanatics. The target date for Omega is less than one mDnth away.” “That’s not good enough.” “There’s something else. A minimum of two armed agents will be assigned to each member of your family. Twenty-four-hour surveillance. They’ll never be more than fifty yards away. At any time.” “Now I know you’re insane. You don’t know Saddle Valley. Strangers lurking around are spotted quickly an d chased out! We’d be sitting ducks.” Fassett smiled. “At this moment we have New York, New York 1003. Saddle Valley, New Jersey, is a Village. At least real estate developers, hearing alarm signals from a decaying upper middle-class Manhattan, found a Village when they invaded its wooded acres in the late 1930’s. The white, shield-shaped sign on Valley Road reads SADDLE VALLEY VILLAGE INCORPORATED 1862 Welcome Ile “Welcome” is in smaller lettering than any of the words preceding it, for Saddle Valley does not really welcome outsiders, those Sunday afternoon drivers who like to watch the Villagers at play. Two Saddle Valley police cars patrol the roads on Sunday afternoon. It might also be noted that the sign on Valley Road does not read The Village does not acknowledge a higher authority; it is its own master. Isolated, secure, inviolate. On a recent July Sunday afternoon, one of the two Saddle Valley patrol cars seemed to be extraordinarily thorough. The white car with blue lines roamed the roads just a bit faster than usual. It went from one end of the Village to the othercruising iato the residential areas-in front of, behind and to the sides of the spacious, tastefully landscaped one-acre lots. This particular patrol car on this particular Sunday afternoon was noticed by several residents of Saddle Va[ley. It was meant to be. It was part of the plan. John Tanner, in old tennis shorts and yesterday’s shirt, sneakers and no socks, was clearing out his two-car garage with half an ear cocked to the sounds coming from his pool

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 426.48 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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