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Rogue Warrior

  by Stephen Leather

(about 147 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:

doesn’t add up. The weapon must have been totally suppressed or firing a subsonic round.’ ‘Why do you say that?’ ‘Because no one heard the shot.’ ‘It could have been fired long distance. Half a mile away, maybe further if the shooter was a trained sniper.’ ‘But there were no buildings far away that offered an uninterrupted sightline,’ said Lancaster. ‘The only place that the shooter could have been was in a row of tenements about three hundred yards away. And our guys have already found the room where they think the sniper was holed up.’ ‘For sure?’ ‘Well they didn’t find the gun or even spent casings, but there’s no doubt. So like I said, it must have been a subsonic round or someone would have heard the shot. The shot had to have been fired from the tenements, but I don’t know of any weapon that can effectively deliver a subsonic round over that distance.’ ‘I might be able to help you with that,’ said Yokely. ‘It’s a sniper rifle the Special Forces use on hostage rescue operations. I’ve actually seen one in use, an Accuracy International PM. It’s made by a British company. I’m pretty sure Delta Forces uses them on specialist missions. Let’s go and have a look at the shooting scene.’ Lancaster and Yokely drove to the square where General Jackson had been shot. The bloodstains had been scrubbed from the church steps, but a mound of flowers still marked the place where he had deer gradually calmed and at length they began to graze again, apparently oblivious to the dead body in their midst. Then the buck crumpled and fell, blood gushing from a hole in his chest. The does froze for a moment, then crashed away through the underbrush, finally aware that a new, silent death was lurking in the forest. As the sounds of their panic-stricken flight faded, there was a stirring in a low clump of undergrowth and forest litter at the edge of the clearing, and a rangy figure stood up. His eyes were never still, constantly scanning the forest around him. Shorty wore a shapeless, netting suit, like a shroud to bury the dead, but woven from jute thread, and so studded with dun-coloured rags, torn strips of sackcloth, grasses, leaves and twigs, that it had been indistinguishable from the forest floor. He removed the netting suit, revealing his worn and faded clothing - jacket, wool shirt and trousers in drab greens and browns, and boots with soft leather uppers and rubber soles - then stretched, easing the stiffness from his cramped muscles. He had lain there throughout the night and the form of his body was imprinted in the flattened grass, a drier, darker shape against the surrounding, dew-silvered vegetation. Shorty had reached the clearing just before sunset the previous evening, scanning the ground for the spoor of deer and the signs of grazing - cropped grass, bushes stunted by browsing, and moss and lichen stripped from the rocks. He walked

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 734 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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