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Act of Valor

  by Tom Clancy

(about 349 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:

him dearly, and he’s worthy of this sacrifice, but still… “Hon, you still there?” “I’m here, Roark. Listen, if you can get here, nothing would please me more. If you’re really needed there, then don’t come. My mom will be here day after tomorrow, and Julia Nolan looks in on me daily. It would be wonderful to have you here, and I do miss you. But it’s your call; only you know where you’ll be needed most. If you can’t come or even if you can’t be here when the baby’s born, I know it’s because you’re needed elsewhere, and I can deal with it. I do understand.” There was a pause before he replied, “God, I love you.” Another pause. “If it’s possible, I’ll be there. I’ll even let your mom boss me around and do what she tells me. If I can’t be there, you’ll know that I’m on a project and I can’t leave—that it’s not where I want to be; it’s where I have to be.” “I know, Roark, and I know that what you decide will be the right thing for all of us.” All of us, she mused—her, the baby, and those SEALs who depended on him. “And I love you more than words can say.” They talked for another ten minutes and swapped platoon-family news, but what needed to be said had been said. And yet nothing had changed; it was as they both knew it would be, but that did up facedown in the mud and the mangrove. So they gave each other a wide berth. Inside the compound’s largest building, a long, low structure, Lisa Morales hung from a rafter in a 20x20 foot end room—the tips of her bare toes just able to gain a purchase on the plank flooring. Old Spanish newspapers and mildew covered the room’s peeling clapboard walls, and a single yellow bulb dangled overhead. It was just enough light to cast her slim shadow on the wall and floor. The door pushed open from the exterior and filtered daylight spilled into the ro Cd icast her som, illuminating Morales’s bloody face and filthy clothes. Tommy filled the door for a moment, then walked up to the battered physician. She raised her head and peered at him through slitted, swollen eyes. “I am a doctor, and my organization will pay a generous reward.” Tommy stood a foot from Morales and smiled. He was a brutish figure with a pocked face, narrow eyes, and a thatch of unruly, unkempt hair. He wore a rumpled polo shirt and pleated slacks—both with streaks of blood on them. Just under six feet, he weighed close to 250 and was running to fat. Yet he exuded a raw animal power that was both compelling and cruel. He held a cell phone on speakerphone in front of her swollen and bruised lips. “I am a doctor, and my organization will pay you a reward,” Morales said again, her voice

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 1746.24 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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