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The Paris Option

  by Robert Ludlum

(about 580 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:

have to be. They’re probably in the Pasteur’s data bank. Don’t tell me the entire computer system was destroyed.” “No, the mainframe’s fine. It’s located in a bomb-proof room, but he hadn’t entered any data in it for more than a year.” Smith scowled. “He was keeping longhand records?” “If he kept any at all.” “He had to keep records. You can’t do basic research without complete data. Lab notes, progress sheets. Your records have to be scrupulous, or your work can’t be verified or reproduced. Every blind alley, every mistake, every backtrack has to be chronicled. Dammit, if he wasn’t saving his data in the computer, he had to be keeping it longhand. That’s certain.” “Maybe it is, Jon, but so far neither the Pasteur nor the French authorities have found any records at all, and believe me, they’ve been looking. Hard.” Smith thought. Longhand? Why? Could Chambord have gotten protective once he realized he was close to success? “You figure he knew or suspected he was being watched by someone inside the institute?” “The French, and everyone else, don’t know what to think,” Klein said. “He was working alone?” “He had a low-level lab assistant who’s on vacation. The French police are searching for him.” Klein stared toward the east, where the sun was higher now, a giant disk above the prairie. “And we think Dr. Zellerbach was working with him, too.” “You think?” “Whatever Dr. Zellerbach was doing appears to have been completely unofficial, almost secret. He’s and ran barefoot into the vegetation where he soon found a tiny glade, dark and shadowy, filled with the scents of rich earth and growing plants. Under a date palm, he dressed quickly, stuck his Walther into his waistband, strapped the stiletto into a sheath Velcroed to his calf, and hid the bucket. He moved through the trees and bushes, keeping the beach in sight, until he ran into a dirt trail. He crouched to study it. There were footprints with treads characteristic of athletic shoes like the ones he wore. The most recent printsa jumble of several different sets of feetled away from where the raft and dinghy were tied. Encouraged, he took out his Walther and followed the trail inland for another fifteen yards until it ended at a vast open area in the grip of night’s growing shadows. There were olive trees and date palms and beyond them a rise of land. On it stood a large white villa crowned by a white dome inlaid with mosaic tiles. He had seen that dome from the boat. The sprawling villa appeared completely isolated, and at first glance it seemed deserted, too. No one worked or strolled in the gardens, and no one sat in the blue, wrought-iron furniture that was arranged artistically on the long terrace. Neither could he see anyone through the open French doors. No cars or other vehicles were visible. The only movement was from gauzy curtains, billowing from the open windows. But then voices

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 2898.66 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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