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The Warsaw Protocol

  by Steve Berry


(about 395 pages)
98,720
total words
of all the books in our library
42.53%
vividness
of all the books in our library
8.19%
passive voice
of all the books in our library
2.61%
all adverbs
of all the books in our library
0.95%
ly-adverbs
of all the books in our library
1.66%
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
told me this was over. You told me it was handled. It wasn’t.” “We have no idea what’s going on here. Yes, it bears investigating, then a decision can be made once we know the facts. Right now we’re speculating. Even worse, we’re guessing. What you’re doing smacks of desperation.” “I am desperate. I’ve worked my whole life to get to this point. I won’t allow that opportunity to be taken from me. Not without a fight.” These were the first cross words that had ever passed between them, and he hated they were being said. But he meant every one. He’d worked too long and too hard to be cut short now. If salvation waited below, then salvation he would find. Her eyes softened. “You’re in my charge. There’s a clear danger here.” “From Malone? I didn’t think he was a problem.” “We have no idea who’s here. The Russians could be around. I can’t be cavalier about your safety. We should inform the BOR.” “There’s little they can do.” She reached out and touched his arm. “All the more reason to proceed with caution.” He stared at her and saw she could read his thoughts. “All right,” she said, resignation in her voice. “We’ll go together.” She turned for the door. He grabbed her arm. “I’m sorry for blaming you. I know you only did what you thought necessary. Killing Olivier could not have been easy.” “I did what had to be done.” She paused. “And if I’d stone. He spotted a tall chair and sought refuge behind it, but the footsteps stopped before reaching him. A door opened, then closed. The footsteps faded. Had to be a guard making rounds. He held steady for a moment, then kept going, moving through the Eagle Room, the Bird Room, and ending up in the Battle of Orsha Room, each festooned with coats of arms, crossed swords, and dark-aged beams. An ethereal glow came from amber night-lights. Several had walls of cordovan and were decorated with period paintings, portraits, wall friezes, floral motifs, glazed ceramic stoves, sculptures, and heavy period furniture. Coffered ceilings stretched overhead with carved and gilt rosettes. In the Orsha Room he spotted the double pedimented doors in the east wall that he’d been told were there. They should be unlocked, and he quickly discovered that was true. They led to a small anteroom atop what was known as the Danish Tower. The space was lined with faux-painted walls, the coffered ceiling gilded. There were a few inlaid chairs, a desk, a chest, and a large copper mirror. Two side tables were draped with a green wool cloth. Once it had surely been a small study that opened out to the columned loggia. A perfect place for a king to relax and enjoy some fresh air. A closed door led outside. Paintings dotted the walls, more stacked upright on the floor, five and six deep. Three heavy oak tables were covered with vases, clocks, statues, and busts

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 1974.40 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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