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Mirror Image

  by Tom Clancy


(about 426 pages)
106,609
total words
of all the books in our library
41.25%
vividness
of all the books in our library
7.75%
passive voice
of all the books in our library
2.42%
all adverbs
of all the books in our library
0.87%
ly-adverbs
of all the books in our library
1.55%
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
Pasenko. “Cosmonaut, fighter pilot, and reclusive homebody? One of the few men I would get out of bed to talk to.” “I’m sorry about the hour, Ilya,” Orlov said. “How have you been?” “I’ve been well!” said Pasenko. “Where have you been hiding these past two years? I haven’t seen you since the all-service senior officers’ retreat in Odessa.” “I’ve been well—” “Of course,” Pasenko said. “You cosmonauts exude well-being. And Masha? How is your long-suffering wife?” “Also well,” Orlov said. “Perhaps we can catch up later. I have a favor to ask, Ilya.” “Anything,” said Pasenko. “The man who kept Brezhnev waiting to sign my daughter’s autograph book has my undying friendship.” “Thanks,” Orlov said as he thought back to how irate the leader of the Soviet Union had been. But children are the future, the dreamers, and there was never any hesitation on Orlov’s part. “Ilya, there’s a crippled aircraft that will be landing at the airport in Vladivostok—” “The Gulfstream? I see it here on the computer.” “That’s right,” said Orlov. “I’ve got to get the cargo to Moscow. Can you give me a plane?” “I may have spoken too soon,” Pasenko said. “Every plane I can spare is being used to transport materiel to the west.” Orlov was caught off guard. What can be happening in the west? “I’d be happy to piggyback your shipment in my aircraft,” Pasenko continued, “space permitting, but I don’t know when that will be. Part of the rush is we’re yellow fireball erupted from the mouth of the tunnel, sending smoke, chunks of stone, and shards of metal in every direction. Cars just emerging from the tunnel were blown end over end. One cart-wheeled over the transit officer and smashed into a van at the tollbooth. Both vehicles blew apart, engulfing the toll booth in flame. Other cars were pounded flat at the entranceway by falling debris, while inside the tunnel there were the muffled sounds of secondary blasts as burning cars exploded. Within moments, the toll plaza was covered with rolling white smoke and a thick, horrific silence. After several seconds, the silence was broken by the bass-fiddle groan of bending girders and the crack of concrete. A moment later, a quarter mile of expressway and the buildings along it shook as the roof of the tunnel collapsed. The roar of the water was like an ocean gone mad as it poured into the breach. The walls of the tunnel were battered down under the pressure, and shattered pieces were washed through the mouth of the tunnel as the river pushed the cars and fallen stone out of the way. The hiss of extinguished fires was drowned by the surging water as the river flowed outward, along the highway, taking down the few cars and streetlamps that still stood. Steam poured from the broken mouth of the tunnel, rising skyward to mingle with the darker smoke. As the waters settled and the debris came to a rest, sirens sounded

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 2132.18 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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