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  by Stephen Leather

(about 352 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:

should have known who and what Harper was. And if he did know and hadn’t told Fedkin, that was a serious omission, which could have proved fatal. The big question was what Fedkin should do next. Harper hadn’t been able to do anything but talk at the airport, not with all the CCTV cameras and armed French cops around. If the confrontation had taken place in a dark alley, things might have been different. Or maybe not. Harper had recognised Fedkin as a fellow professional and had treated him as such. Fedkin had options. There were almost always options in life, choices that had to be made. Fedkin could ignore everything Harper had said and continue to try to fulfil the contract. He knew where Harper was – London – and his contacts in the UK were as good as they were in France. It wouldn’t take much time or money to track Harper down and try to kill him. Or he could wait until Harper was back in Thailand. But the Englishman would be ready for him and wouldn’t be a soft target. And if Fedkin failed, his own life would almost certainly be forfeit. He could choose to back out of the contract. He could tell Lukin the truth – that he had failed once and didn’t want to try again. Or he could lie and say that he had simply failed to track the man down, that Harper was an expert at covering his tracks and that Lukin would be wearing white T-shirts, brown police uniform trousers, with shiny black boots, and had Glock pistols in nylon holsters on their hips. There were six Thai-style villas around a central building, set in twelve acres of landscaped gardens with towering palms and spreading fruit trees. The main building had a large landscaped pool and a terrace protected by a pagoda-type roof where the brothers had regular barbecues. To the front of the main building a car parking area had spaces for more than two dozen vehicles. There were two black Range Rovers, a red Porsche, another black Humvee, a Bentley convertible, an old MGB sports car, and several Toyota saloons that belonged to the staff. Mickey parked the Humvee next to its twin, then jogged up the stairs and through the carved doors at the top. There was a double-height hallway with a vaulted teak ceiling and a seven-foot tall golden standing Buddha statue, wreathed in garlands of purple and white flowers. The hallway led to a huge room filled with overstuffed sofas and teak planterschairs, a large LCD television on one wall and a library of paperback books. It was the compound’s chill-out area. Leading off it was a dining room with a table long enough to seat twenty, and another room, which served as a private cinema with a dozen reclining seats and sofas. Harper and Mark followed Mickey down a hallway to the double-height bar area, which had vaulted teak ceilings with large wooden-bladed fans turning slowly

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 1758.40 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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