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Rainbow Six

  by Tom Clancy


(about 1,220 pages)
305,080
total words
of all the books in our library
33.15%
vividness
of all the books in our library
8.26%
passive voice
of all the books in our library
3.53%
all adverbs
of all the books in our library
1.06%
ly-adverbs
of all the books in our library
2.47%
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
they were humans, just like himself, and he’d just peeped in on them like some sort of pervert. Oh, yeah, they’d only done it because both were loaded with drugs fed to them through their food or in pill form, but they were both sentenced to death and— “Relax, will you?” Archer said, looking at his face and reading his mind. “At least they’re getting a little love, aren’t they? That’s a hell of a lot more than the rest of the world’ll get—” “I won’t have to watch them.” Being a voyeur wasn’t his idea of fun, and he’d told himself often enough that he wouldn’t have to watch what he’d be helping to start. “No, but we’ll know about it. It’ll be on the TV news, won’t it? But then it will be too late, and if they find out, their last conscious act will be to come after us. That’s the part that has me worried.” “The Project enclave in Kansas is pretty damned secure, Barb,” the man assured her. “The one in Brazil’s even more so.” Which was where he’d be going eventually. The rain forest had always fascinated him. “Could be better,” Barbara Archer thought. “The world isn’t a laboratory, doctor, remember?” Wasn’t that what the whole Shiva project was about, for Christ’s sake? Christ? he wondered. Well, another idea that had to be set aside. He wasn’t cynical enough to invoke the name of God into what they were doing. Nature, perhaps, which wasn’t about the old song that claimed only “mad dogs and Englishmen go out in the noonday sun.” They must have been a lot tougher back then, Chavez thought, falling off to sleep. Popov saddled Buttermilk at about six that evening. The sun wasn’t setting yet, but that was less than an hour away, and his horse, having rested and eaten all day, was not the least bit averse to his attention—besides, he’d given Buttermilk another apple, and the mare seemed to relish them as a man might enjoy his first glass of beer after a long working day. Jeremiah, Hunnicutt’s horse, was smaller than Buttermilk, but appeared more powerful. An odd-looking animal, his light gray coat was covered from hindquarters to neck with an almost perfectly square matlike mark of deep charcoal, hence the name “blanket Appaloosa,” the Russian imagined. Foster Hunnicutt showed up, hoisting his large Western-style saddle on his shoulder, and tossing it atop the blanket, then reaching under to cinch the straps in. His last act, Popov saw, was to strap on his Colt pistol. Then he slid his left foot into the left-side stirrup and climbed aboard. Jeremiah, the stallion, must have liked to be ridden. It was as though the animal transformed himself with this new weight on his back. The head came up proudly, and the ears swiveled around, waiting for the command of its rider. That was a clucking sound, and the stallion moved out into the corral alongside Popov and Buttermilk

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 6101.60 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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