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Red Storm Rising

  by Tom Clancy


(about 1,061 pages)
265,229
total words
of all the books in our library
40.84%
vividness
of all the books in our library
7.63%
passive voice
of all the books in our library
2.88%
all adverbs
of all the books in our library
1.03%
ly-adverbs
of all the books in our library
1.85%
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
nightmare had come, robbing him of the few hours of rest he allowed himself. Morris wondered if he had screamed in his sleep. You did everything you could have done. It’s not your fault, he told the face in the mirror. But you were the captain, it replied. Morris had gotten through five homes when he’d had to stop. It was one thing to talk to wives and parents. They understood. Their sons and husbands were sailors, and had taken a sailor’s risk. But the four-year-old daughter of Gunner’s Mate Second Class Jeff Evans had not understood why her daddy would never come home again. A second-class petty officer didn’t make much, Morris knew. Evans must have worked like a madman on that little house to make it as neat as it was. A good man with his hands, he remembered, a good gunner’s mate. Every wall was newly painted. Much of the interior woodwork had been replaced. They’d been in the house only seven months, and Morris wondered how the petty officer had found the time to get all that work done. He had to have done it himself. No way he could have afforded contractors. Ginny’s room had been a testimony to her father’s love. Dolls from all over the world had stood on handmade shelves. As soon as he’d seen Ginny’s room, Morris had had to leave. He’d felt himself on the verge of breaking down, and some absurd code of conduct wouldn’t allow him to do The farm was three miles away, thankfully downhill through tall, rough grass. On first sighting it through binoculars, Edwards called it the Gingerbread House. A typical Icelandic farmhouse, it had white stucco walls buttressed by heavy wooden beams, a contrasting red-painted trim, and a steeply pitched roof right out of the Brothers Grimm. The outlying barns were large, but low-slung with sod-covered roofs. The lower meadows by the stream were dotted with hundreds of large, odd-looking sheep with massively thick coats of wool, asleep in the grass half a mile beyond the house. “Dead-end road,” Edwards said, folding up the map. “And we could use some food. Gentlemen, it’s worth the chance, but we approach carefully. We’ll follow this dip to the right and keep that ridgeline between us and the farm till we’re within half a mile or so.” “Okay, sir,” Sergeant Smith agreed. The four men struggled into a sitting position to don their gear yet again. They’d been moving almost continuously for two and a half days, and were now about thirty-five miles northeast of Reykjavik. A modest pace on flat roads, it was a man-killing effort cross country, particularly while staying watchful for the helicopters that were now patrolling the countryside. They had consumed their last rations six hours before. The cool temperatures and hard physical effort conspired to drain the energy from their bodies as they picked their way around and over the two-thousand-foot hills that dotted the Icelandic coast like so many fence pickets

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 5304.58 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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