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In the Company of Spies

  by Stephen Barlay

(about 497 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:

she’d be cross-examined a lot, but eventually she could be with you, if that’s what you both wanted. Your second job would be to deliver the bombshell that I’ve defected.” “Have you?” “I had no choice. I came under suspicion because of you. They were about to arrest me but I was tipped off.” “By whom?” “I don’t know. But it must be someone very, very high up.” “How high up is very, very high?” “I don’t know. And wouldn’t tell you even if I did.” “Okay. So what’s in it for you if I report seeing you here?” “It’ll cause a hell of an upheaval at Langley. Their operations will be paralyzed. Everybody’ll suspect everybody else. Everybody except you. And then it would be up to you. If you wanted to stay friendly with us, we could help you. We have a great deal of influence. My spectacular career would be nothing compared to the height you could rise to. But that would be strictly up to you. And your rewards in power and in the joy of being in the know would be fantastic. Great men on both sides would be your puppets. War and peace might depend on you at times.” “Cut out the big words, Ell. What’s the third thing I’d have to do?” “That’s simple. Just to support your credentials, you’d deliver a piece of intelligence you’d claim to have picked up over here.” “What’s that?” “That some of the missiles over here are being first question. Where’s Rust now?” Florian drove off the main road and stopped behind thick bushes. He handed a bottle of water to Rust. “Get out and clean your face.” Yelena had already shed her white coat and changed into a drab quilted jacket. She put a scarf on her head and tied it neatly under her chin. Her nails scratched the edge of some red markings on the ambulance, and the “paint” came off in neat strips smoothly. Florian peeled off the red crosses and the red sheets covering the doors. With the yellow flag removed and the number plate changed, there was an ordinary white van with green doors proclaiming to be the property of the Red Banner kolkhoz in Aleksandrov, only some six kilometers off the Ivanovo road. Rust had no time to admire their efficiency. “Give me a hand,” said Florian, picking up a handful of mud. “You do the outside.” In a few minutes, the van lost all resemblance to an ambulance. Some approaching noise startled Rust. Without thinking, he reached into his pocket for the TK 6. 35. Florian listened. “It must be Fyodor.” “You still have that gun?” Yelena asked Rust. “Yes.” “I’ll take it.” And when Rust shook his head, she shrugged her shoulders. “Give me your papers. And here’s your new identity.” She handed him another set of documents. A horse appeared, pulling a creaking cart. It seemed the bony animal would never survive the last fifty yards to the bushes

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 2486.54 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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