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The Wayward Spy

  by Susan Ouellette

(about 295 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:

What does the CIA say about Takayev?” “How would I know? I’ve never seen his file. And I thought he was dead.” She suddenly remembered that Peter Belekov had told her the night of Steve’s wake that they hadn’t identified Takayev’s remains yet. It never occurred to her that he might have survived the blast. Knowing what she did about how Steve had died, she couldn’t understand how Takayev hadn’t. “I thought… maybe… he was a suicide bomber. That he was the one who killed Steve.” “Takayev?” Zara laughed. “Smart guy but not the martyr type.” If Takayev had been a suicide bomber, he’d certainly be dead, too. Right? Unless he got cold feet at the last minute and tried to escape the blast. “What are you going to do if you find him?” Zara snorted. “Kill him, of course.” “You’re trying to find him just so you can kill him?” “We have to. Now that we know he’s been working with the CIA, he must pay for his betrayal.” Horror flooded through Maggie. All her yammering about Steve had revealed too much. She’d basically condemned Takayev to death. To be fair, she had thought he was dead already, but her sense of guilt didn’t care about logic. Even if he deserved to die, she didn’t want it to be her fault. “I can tell that you’re sad about your boyfriend.” Maggie turned away. Zara grabbed her chin and forced it back to center. “But I can also tell that’s dim light. Peter dropped her arm and disappeared into a back room. To her left was a kitchen straight out of the 1940san ancient cast iron stove, cracked linoleum flooring, peeling yellow paint on the walls. Down the hall, she heard Peter speaking in Russian. Another male voice answered, but she couldn’t follow the conversation. She looked back to the front door. A sudden surge of energy came and went quickly. If she was going to run, now was her chance. But Peter would catch her. He had a car. She was battered, exhausted, and in the middle of nowhere. “Maggie!” he called. “There’s someone you need to meet.” He leaned out of the back room and waved her down the hall. The small room beyond the door held a sagging cot and a kerosene lantern that stood alone on a simple wooden table. At the foot of the bed was a small wood stove. A half dozen logs lay haphazardly on the floor beside it. On the cot sat a man whose dark, tousled hair framed a chiseled face that was defined by a jagged scar running along the right cheekbone. He sat hunched forward, large hands supporting his weight on the cot. Beneath a rugged military green jacket, he wore a tan shirt marred by a dark brown stain of dried blood. His left wrist bore a handcuff that was tethered to the wood stove by a long chain. The man raised his face, his great black eyes

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 1474.74 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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