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  by Tom Clancy

(about 225 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:

now I’ve been hearing about some pretty good possibilities, things that’ll be a lot more interesting than school… or trying to ‘patch things up’ at home.” Wilma’s face was very still. “What about us?” she said after a moment. “I’ll come back when I can,” Burt said. “Look, Wil, I know it’s hard, but it’s going to be hard on me, too. When I get a job, I won’t be able to take time off any time soon. I’m going to have to work pretty steady for a while. And I’m not going to be staying around the old neighborhood, either. Too many bad memories… and too many chances I might run into my mom or dad.” He shook his head. “I’ve had about enough of them for a while, and they’ve been saying they’ve had enough of me. We’ll see if it’s true. There sure haven’t been any attempts by them to get in touch with me here.” The bitterness in Burt’s voice was once again sharp enough to cut. “They haven’t tried at all?” Megan said. Burt leaned back against the tree again and shook his head wearily. “Look,” he said, “I shouldn’t complain. I’ve been thinking that I should have done this a long time ago. I’ve met a whole lot of other kids since I got here who’ve had problems even worse than mine. You wouldn’t believe some of the crud they’ve been through. And the one thing we all seem to have in common is about all the rude words she liked, but she still caught herself apologizing to the computer, which, however smart it might be, wasn’t that smart. “Revert to default configuration.” The arena, the sawdust, the sunny day, all vanished. Suddenly she was standing in her workspace as it normally appeared, as an ancient, worn, white-stone amphitheater, fifty rows high, perfect right down to the worn seat numbers still to be felt shallowly graven into the seats. But the landscape surrounding it was no olive- overgrown Greek hillside or dusty Roman plain. Methane snow, blurring into near-invisibility when the wind picked it up and blew it, lay powdered bluish-white all over the surrounding cratered landscape of the satellite Rhea, only going tarnished gold near the horizon where the light of a swollen, setting Saturn shed a cold, white-gold radiance over everything. Sharp white points of stars burned down out of the blackness, and the little pallid Sun away off to the left, just past the spot where the curve of the amphitheater ended, threw long sharp shadows behind the rims of the nearest craters. Megan sighed, for once in no mood for the beauty, and walked past her desk, which stood in the middle of the “floor” of the amphitheater. It was covered and sur7 rounded with little geometric solids, some of them hovering in the air and oscillating for attention, changing color or squeaking piteously for attention. Megan took a close look at a few of them, recognizing designs or color

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 1126.16 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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