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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 entrance, towards Fiftyfourth Street. He walked slowly, staring at the pas-sersby. Several collided against him going in the same direction but walking much faster. of the blond -man in his expensively cut clothes, and smiled. On the Fiftyfourth Street comer, Tremayne stopped. In :ipite of the slight breeze and his lightweight suit, he was perspiring. He knew he had to head east. There was no question about it. One thing was clear. Blackstone was not the driver of the light blue Cadillac. Blackstone was a man with binoculars and thin cigars. Then who was the woman? He’d seen her before. He kne,,v itl He started east on Fiftyfourth, walking on the right side of the pavement. He reached Madison and no one stopped him, no one signaled, no one even looked at him. Then across Park Avenue to the center island. No one. Lexington Avenue. Past the huge construction sites. No onu. Third Avenue. Second. First. No one. Tremayno entered the last block. A dead-end street terminating at the East River, flanked on both sides by the canopies of apartment house entrances. A few men with briefcases and women carrying department store boxes came and went from both buildings. At the end of the street was a light tan Mercedes-Benz sedan parked crossways, as if in the middle of a turn. And near it stood a man in an elegant white suit and Panarna hat. He was quite a bit shorter than Tremayne. tanned. He wore thick, wide sunglasses

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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