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Balance Of Power

  by Tom Clancy


(about 424 pages)
105,953
total words
of all the books in our library
36.64%
vividness
of all the books in our library
8.84%
passive voice
of all the books in our library
2.84%
all adverbs
of all the books in our library
1.18%
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
worst about men, that they were always preoccupied and upset about their jobs? Because we usually are, Hood told himself. Somehow, when it was this late and this dark and this quiet, you just had to be honest with yourself. “Work is what it always is,” he answered. “We’ve got a crisis. Even with that, what I’m most upset about is you. About us.” “I’m only upset about you,” Sharon replied. “All right, hon,” Hood said calmly. “You win that one.” “I don’t want to ‘win’ anything,” she said. “I just want to be honest. 1 want to figure out what we’re going to do about this. Things can’t continue the way they are. They just can’t.” “I agree,” Hood said. “That’s why I’ve decided to resign.” Sharon was silent for a long moment. “You’d leave Op-Center?” “What choice do I have?” “The truth?” Sharon asked. “Of course.” “You don’t need to resign,” she said. “What you need to do is spend less time there.” Hood was really annoyed. He’d been sincere. He’d played his hole card—a big one. And instead of giving her husband a big wet kiss, Sharon was telling him how he’d done that all wrong. “How am I supposed to do that?” Hood asked. “Nobody can predict what’s going to happen here.” “No, but you have backups,” Sharon said. “There’s Mike Rodgers. There’s the night team.” “They’re all very capable,” Hood replied, “but they’re here for when things are running smoothly. I have to be masts creaked in the firm southerly wind as small waves gently tapped at the hulls. A few stragglers, still hoping for a late-day catch, were only now returning to anchor. Seabirds, active by the score during the day, roosted silently beneath aged wharfs or on the high crags of the towering Isla de Santa Clara near the mouth of the bay. Beyond the nesting birds and the idle boats, slightly more than a half mile north of the coast of Spain, the sleek white yacht Verídico lolled in the moonlit waters. The forty-five-foot vessel carried a complement of four. Dressed entirely in black, one crewman stood watch on deck while another had the helm. A third man was taking his dinner in the curving dining area beside the galley and the fourth was asleep in the forward cabin. There were also five passengers, all of whom were gathered in the very private midcabin. The door was shut and the heavy drapes were drawn over the two portholes. The passengers, all men, were seated around a large, ivory-colored table. There was a thick, oversized leather binder in the center of the table and a bottle of vintage Madeira beside it. The dinner plates had all been cleared away and only the near-empty wineglasses remained. The men were dressed in expensive pastel-colored blazers and large, loose-fitting slacks. They wore jeweled rings and gold or silver necklaces. Their socks were silk and their shoes were handmade and brightly polished. Their haircuts were fresh

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 2119.06 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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