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Windmills Of The Gods

  by Sidney Sheldon

(about 186 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:

Mary had asked herself, but she felt Edward could have been more tactful. He could have said, How wonderfull You’d make a great ambassador. “You haven’t had any political experience.” “I’m well aware of that,” Mary responded tartly. “I agree that the whole thing is ridiculous.” “Are you going to be the ambassador?” Tim asked. Edward turned to the children. “You two finish your dinner. Your mother and I would like to have a little talk.” Edward took Mary’s arm and led her into the library. He turned to her and said, “I’m sorry if I sounded like a pompous jerk in there. It was just such a-” “No. You were perfectly right. Why on earth should they have chosen me?” “Honey, you’d probably make a great ambassador. But you must admit it came as a bit of a shock.” “Try thunderbolt. I still can’t believe it.” Mary laughed. “Wait until I tell Florence. She’ll die.” “You’re really excited about this, aren’t you?” asked Edward. She looked at him in surprise. “Of course. Wouldn’t you be?” Edward chose his words carefully. “It is a great honor, honey, and I’m sure they must have had good reason for choosing you’.” He hesitated. “We have to think about this very carefully.” She knew what he was going to say, and she thought, Edward’s right. Of course he’s right. “I can’t just leave my practice and walk out on my patients. I have to stay here. I don’t know how long you’d have getting bored watching the person in army fatigues filling up the balloons. He pulled out a cigarette and started to light it. Angel yelled, “Put that out!” The corporal looked up, startled. “What’s the problem? You’re filling those with helium, aren’t you? Helium doesn’t burn.” “Put it out! Colonel McKinney said no smoking here.” Grumbling, the corporal put out the cigarette. Angel watched to make sure there were no sparks left, then turned back to the task of filling each balloon from a different cylinder. It was true that helium did not burn, but the cylinders were not filled with helium. The first tank was filled with propane, the second tank with white phosphorus, and the third with an oxygen-acetylene mix. Angel had left just enough helium in each tank to make the balloons rise. Angel was filling the white balloons with propane, the red balloons with oxygen-acetylene, and the blue balloons with white phosphorus. When the balloons were exploded, the white phosphorus would act as an incendiary for the initial gas discharge, drawing in oxygen so that all breath would be sucked out of the body of anyone within fifty yards. The phosphorus would instantly turn to a hot, scaring molten liquid, falling on every person in the room. The thermal effect would destroy the lungs and throat, and the blast would flatten an area of a square block. It’s going to be beautiful, Angel thought. Angel straightened up and looked at the colorful balloons floating against the ceiling

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 930.58 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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other books by Sidney Sheldon

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