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The Malta Exchange

  by Steve Berry


(about 455 pages)
113,862
total words
of all the books in our library
46.13%
vividness
of all the books in our library
7.31%
passive voice
of all the books in our library
2.60%
all adverbs
of all the books in our library
0.98%
ly-adverbs
of all the books in our library
1.62%
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
as private blackmail. But did he really? We’ll never know. What we do know is that neither Pius XI nor Pius XII ever openly defied the fascist government.” “Still, the church has been around for two thousand years. There’s not much that could strike a deep blow. It would have to be something that goes to its core. Cutting its legs right out from under it.” Gallo nodded. “Even more important, it has to be something that would have resonated in the 1930s and 1940s. Something that still carried a virulent punch, one the church thought it couldn’t endure. That was a difficult time. The world was disintegrating into war. People were focused on merely surviving. Religion was not an important aspect of their lives. We’ve long speculated on what that document might have contained, but that’s all it is, speculation.” “How long had you possessed it?” “The best we can determine is it came to us sometime in the 13th century. How? We have no idea. That’s been lost to time. But we know that it stayed with us until 1798.” “No one ever read it? No oral tradition is associated with it?” “Not that has survived. It was closely held by the Secreti. Now, at least, we have clues as to where it might be.” “There’s still the matter of the Secreti,” Cotton pointed out. “I realize that, and we should stay alert. They’ll be aware of the cathedral’s importance, too. And I assume they’ll know that I’ve seaside Italian town. An amphitheater of hills faced the sea supporting a jumble of whitewashed houses with red-tile roofs that funneled downward to a stark stretch of sandy beach. A promenade lined the shore, flanked by a small castle. Boats and yachts rolled at anchor in the blue waters of the Ligurian Sea. The chopper came in low over the shoreline and flew inland, angling toward one of the villas, an impressive three-story battlement of ocher stone, set among a thick stand of maritime pines dominating a rocky promontory. A red flag with a white Maltese cross flew above its parapets. “The villa was built in the 1600s,” his escort told him. “But it has only been the summer residence of the grand masters since the 1950s.” They sat in a comfortable rear compartment, free of vibration, with black leather seats and enough insulation that their voices could be heard over the rotors. He glanced out the window and noticed the manicured grounds, dotted with cacti, palm trees, and a carpet of flowers. At the promontory’s tip he spotted a ruined fortification. A small grassy clearing not far from the house seemed to serve as a landing pad, and the pilot eased the helicopter down to a gentle stop. A black Mercedes coupe waited beyond the wash of the blades, and he followed his host to the car. In the backseat, across from him, sat a broad-shouldered man with neatly combed dark hair. He was clean-featured with a hard, lanky

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 2277.24 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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