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The Prometheus Deception

  by Robert Ludlum


(about 705 pages)
176,332
total words
of all the books in our library
43.90%
vividness
of all the books in our library
7.62%
passive voice
of all the books in our library
3.51%
all adverbs
of all the books in our library
1.63%
ly-adverbs
of all the books in our library
1.87%
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
you must have been skeptical of what he told you.” “Oh yes, deeply so. I won’t say I dismissed him, Dunne’s credentials are too heavy to be ignored—but the notion of such a mammoth deception operation- it’s difficult to accept, frankly. No, what I find most troubling is your assessment of the Directorate’s present-day activities.” “Dunne must have kept you informed about all this.” He shook his head slowly, the barest movement. “I haven’t spoken with him in weeks. If he was compiling this sort of dossier, by rights he should have kept me apprised. Perhaps he was waiting until he had more, until he’d amassed a substantive, incontrovertible file.” “You must have a way to reach him, locate him.” “I have no tricks up my sleeve. I’ll make calls, see what I can do, but people don’t just vanish from the seventh floor of the CIA. If he’s been taken hostage, or if he’s dead, I’ll be able to find it out, Nick. I’m fairly confident I can track him down.” “When we spoke last, he was concerned about infiltration within the Agency—that the Directorate had extended its reach inside.” Lanchester nodded. “I’d say the identification you pulled off the would-be killer in Chantilly speaks volumes. It’s always possible that the paper was simply stolen, or that the fellow was turned, hired locally. But I’d have to agree with both you and Dunne. We can’t rule out the possibility that the CiA’s been infiltrated pretty deeply. I’m marijuana mingled with strong, expensive French perfume and bad Russian aftershave. He paid his admission fee, the equivalent of $250, and sidled through a dense, gyrating crowd of mobsters in gold chains and huge, gaudy Rolexes who were somehow talking on cell phones over the deafening music, accompanied by their molls and other women who were either hookers or trying to look like them, in low-cut tops and short-hemmed skirts that left nothing to the imagination. Burly, shaven-headed bodyguards glowered; the club’s security guards skulked around the periphery, uniformed like ninjas in black fatigues with billy clubs. High above the pulsating, spastic throng was a glass-and-steel gallery, where spectators could watch, through a glass floor, the cavorting below, as if it were some exotic, otherworldly terrarium. He climbed the steel spiral staircase to the gallery, which was revealed to be another world entirely. The chief attraction on this level were the strippers, mostly platinum blond, though a few of them were ebony skinned their outsized busts all obviously silicone-enhanced. They danced under bright spotlights, positioned throughout the gallery. A hostess in a filmy, revealing outfit, wearing a telephone headset, stopped him; she spoke a few, quick words in Russian. Bryson replied wordlessly by slipping her a few twenty-dollar bills, and she escorted him to a steel-and-black-leather banquette. As soon as he was seated, a waiter brought several trays of zakuski, Russian appetizers: pickled beef tongue with horseradish sauce, red and black caviar and blini, mushrooms in aspic, pickled vegetables, herring

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 3526.64 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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