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The Kaiser’s Web

  by Steve Berry


(about 462 pages)
115,610
total words
of all the books in our library
45.54%
vividness
of all the books in our library
7.47%
passive voice
of all the books in our library
2.91%
all adverbs
of all the books in our library
1.22%
ly-adverbs
of all the books in our library
1.69%
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
masqueraded as Bruin. “How did you know I would come tonight?” “Tonight, tomorrow, the next day. One of those would have been correct. You could not, or should I say your employer could not, allow me to remain alive once you were aware that I knew things. That is why I told you what I did.” He slipped a glance at the other three men who each stood impassive, their guns still leveled. “No need to worry,” Bruin said. “They do not understand German. This conversation is between you and me alone.” “What now?” He was interested in the answer. “You will return to Germany and tell Theodor Pohl whatever you want. I don’t care. I simply want to be left alone.” He did not particularly enjoy being caught in a trap, the mouse never did have much fun, but he was in no position to bargain. “I am paid to do as Pohl desires, just as your men are paid to do as you say. I assume you demand loyalty. So does my employer. This is not personal.” Bruin motioned to the dog with the barrel of the rifle. “That was personal, Herr Engle.” “Unfortunate, but necessary. But it was you who conceived this deception. The dog was a player, by your choice.” “Really? Did you not expect to encounter one at some point? What choice did I have?” “I was becoming suspicious that my progress had been too easy.” “But that didn’t stop you. Men like you are slope of damp, manicured grass toward a stone terrace. Tall, clean-trunked trees lined the outer perimeter. Baroque statues, each encircled with autumn flowers, stood periodically on display. The absence of activity was noticeable, the stillness in the chilly air a bit unnerving. “This is beautiful and well maintained,” she noted. “Which makes you wonder.” She heard the haunting cry of a nightingale, like a warning alarm. The skies had turned gray and fatigued, the sort of overcast day that promised rain but never delivered. An unrelenting breeze swooped out of the mountains and chafed their faces, the air hanging fresh and thin with a taste of pine. The terrace was immaculate, the furniture covered in canvas protectors. Not a speck of mold or mildew anywhere. Cotton approached the glass doors. Locked. “I see no reason to be subtle,” he said. Neither did she. He found his gun and used it to break one of the glass panels, then he reached in and unlocked the door. Inside was spectacular. A great hall occupied a large portion of the ground floor. Dark hunting trophies contrasted with the cream-colored walls. Tapestries draped two walls, mostly hunting scenes. Stucco decorated the ceiling with images of birds and animals. Colorful rugs protected the parquet floor. A tall white ceramic stove filled one corner, outfitted with a gleaming brass door. Everything had a medieval feel, the heavy styles proclaiming power and wealth. “This screams Europe,” Cotton said. She agreed. A vase of freshly cut flowers sat

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 2312.20 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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