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The Templar Legacy

  by Steve Berry

(about 543 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:

he made the call to Copenhagen. “I agree. We’ve had enough separation, Cotton, it’s time for a divorce.” The declaration came with the matter-of-factness of the trial lawyer that she was. “Is there someone else?” he asked, uncaring. “Not that it matters, but yes. Hell, Cotton, we’ve been apart five years. I’m sure you haven’t been a monk during that time.” “You’re right. It’s time.” “You really going to retire from the navy?” “Already have. Effective yesterday.” She shook her head, like she did when Gary needed motherly advice. “Will you ever be satisfied? The Navy, then flight school, law school, JAG, the Billet. Now this sudden retirement. What’s next?” He’d never liked her condescending tone. “I’m moving to Denmark.” Her face registered nothing. He might as well had said he was moving to the moon. “What is it you’re after?” “I’m tired of being shot at.” “Since when? You love the Billet.” “Time to grow up.” She smiled. “So you think moving to Denmark will accomplish that miracle?” He had no intention of explaining himself. She didn’t care. Nor did he want her to. “It’s Gary I need to talk with.” “Why?” “I want to know if he’s okay with that.” “Since when have you cared what we thought?” “He’s why I got out. I wanted him to have a father around—” “That’s bullshit, Cotton. You got out for yourself. Don’t use that boy as an excuse. Whatever it is you’re planning, it’s for you, not him.” “I don’t the lane he saw the château. It filled a sheltered hollow that provided a clear measure of seclusion. Dark red brick and stone were arranged in symmetrical patterns over four stories, flanked by two ivy-crowned towers and topped with slanting slate roofs. Greenery spread out across the façade like rust on metal. Traces of a moat, now filled with grass and leaves, surrounded three sides. Slender trees rose in the rear and hedges of clipped yew guarded its base. “Some house,” Malone said. “Sixteenth century,” Mark noted. “I was told that she bought the château and the surrounding archaeological site. She calls the place Royal Champagne, after one of Louis XV’s cavalry regiments.” Two cars were parked out front. A late-model Bentley Continental GT—about $160,000, Malone recalled—and a Porsche Roadster, cheap by comparison. There was also a motorcycle. Malone approached the cycle and examined the left rear tire and muffler. The shiny chrome was scarred. And he knew precisely how that had happened. “That’s where I shot.” “Quite right, Mr. Malone.” He turned. The cultured voice had come from the portico. Standing outside the open front door was a tall woman, lean as a jackal, with shoulder-length auburn hair. Her features reflected a leonine beauty reminiscent of an Egyptian goddessthin brows, brooding cheeks, blunt nose. The skin was the color of mahogany, and she was dressed in a tasteful V-neck tank that exposed her toned shoulders and capped a knee-length, safari-print silk skirt. Leather sandals sheathed

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 2716.96 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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