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  by Tom Clancy

(about 364 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:

the government of Seoul will oppose your going there.” “The Ambassador mustn’t know.” “But they’ll find out. The North will make propaganda hay out of your visit, just as they did when Jimmy Carter went there.” “By then I’ll be finished.” “You’re not kidding!” Norbom dragged a hand through his hair. “Jesus, Greg, you’ve got to think long and hard about your plan. Hell, it’s not even a plan, it’s a hope. Doing an end run like this can upset whatever stage the negotiations are at now. It can destroy you and Op-Center.” “I’ve already lost what counts. They can have the rest.” “They’ll take that and more, believe me. Making unauthorized contact with the enemy—Washington and Seoul will chow down on you, me, Paul Hood, Mike Rodgers. It’ll be a turkey shoot.” “I know this will hurt you, Howard, and I don’t take that lightly. But I wouldn’t ask if I didn’t think I had a chance to make a difference. Think of the lives that can be saved.” The color seemed gone from the Base Commander’s weathered face. “Dammit, I’d do anything for you—but I’ve put my professional life into this base. If I’m going to chuck that, and write my memoirs in a nine-by-twelve cell, I want you to at least sleep on this. You’re hurt, and you may not be thinking as clearly as you ought to be.” Donald lit his pipe. “I’m going to do better than sleep on it, Howard. We’ll have man had dressed in nondescript street clothing. Each man carried a black duffel bag without markings; two handled their bags with respect while the third man, who wore an eyepatch, took no care. He walked to where the homeless had collected broken chairs and torn clothing, placed his bag on an old, wooden school desk, and drew open the zipper. Pulling a pair of boots from within, Eyepatch handed them to one of the men; a second pair went to the next man, and Eyepatch kept the third. Working quickly, the men removed their own boots, hid them among a pile of old shoes, and slipped on the new pair. Reaching back into the bag, Eyepatch removed a bottle of spring water before stowing the duffel bag in a dark corner of the room. The bag wasn’t empty, but right now they didn’t need what was inside. Soon enough, Eyepatch thought. If all went well, very soon. Holding the water in his gloved hand, Eyepatch returned to the window, raised it, and looked out. The alley was clear. He nodded to his companions. Squeezing through the window, Eyepatch turned and helped the others out with their bags. When they were back in the alley, he opened the plastic bottle and the men drank most of the water; with nearly a quarter of a bottle still remaining, he dropped the container and stepped on it, splashing water everywhere. Then, with the two bags in hand, the men crossed the dirty alley

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 1822.48 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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