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Debt of Honor

  by Tom Clancy

(about 1,348 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:

smiles. Was Durling that stressed-out? Well, he had every right to be, and with the stress had come impatience, which was surprising in a man whose main function for the public was being pleasant and reassuring. But Ryan was not part of the public, was he? “Sir, I was burned out then. I don’t think I would have been—” “Fine. I’ve seen your file, all of it,” Durling added. “I even know that I might not be here now except for what you did down in Colombia a few years ago. You’ve served your country well, Dr. Ryan, and now you’ve had your time off, and you’ve played the money game some more—rather well, it would seem—and now it’s time to come back.” “What post, sir?” Jack asked. “Down the hall and around the corner. The last few residents haven’t distinguished themselves there,” Durling noted. Cutter and Elliot had been bad enough. Durling’s own National Security Advisor had simply not been up to the task. His name was Tom Loch, and he was on the way out, the morning paper had told Ryan. It would seem that the press had it right for once. “I’m not going to beat around the bush. We need you. I need you.” “Mr. President, that’s a very flattering statement, but the truth of the matter is—” “The truth of the matter is that I have too much of a domestic agenda, and the day only has twenty-four hours, and my administration has of service, and the food was certainly better than she customarily ate in the Hopkins physicians’ dining room. And there the plates didn’t have gold trim, one of the reasons that Air Force One had so much pilferage. “Wine for madam?” Ryan lifted the bottle of Russian River chardonnay and poured as his plate came down. “We don’t drink wine on the chicken farm, you see,” she told the corporal with a small measure of embarrassment. “Everybody’s this way the first time, Dr. Ryan. If you need anything, please buzz me.” She headed back to the galley. “See, Cathy, 1 told you, stick with me.” “I wondered how you got used to flying,” she noted, tasting the broccoli. “Fresh.” “The flight crew’s pretty good, too.” He gestured to the wineglasses. Not a ripple. “The pay isn’t all that great,” Arnie van Damm said from the other side of the compartment, “but the perks ain’t too bad.” “The blackened redfish isn’t bad at all.” “Our chef stole the recipe from the Jockey Club. Best Cajun redfish in town,” van Damm explained. “I think he had to trade his potato soup for it. Fair deal,” Arnie judged. “He gets the crust just right, doesn’t he?” One of Washington’s few really excellent restaurants, the Jockey Club was located in the basement of the Ritz Carlton Hotel on Massachusetts Avenue. A quiet, dimly lit establishment, it had for many years been a place for “powermeals of one sort or another. All the food

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 6739.62 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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