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Shadow Watch

  by Tom Clancy

(about 384 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:

force. I can’t tell you how many survived, or even if they’ve been turned over to the gendarmerie. But that is certain to occur. When it does, you must see that these men are never interrogated. I don’t care whether they are freed or executed or simply disappear. My sole interest is making sure that they do not talk to their captors.” Rojas looked at him, trying to think of a response. Eight months ago his relationship with DeVane had begun with a straightforward purchase of cocaine, but almost before he knew what was happening, it had grown into a complicated tangle of affairs. He had helped DeVane to cloak transactions that might otherwise have attracted the unwanted interest of the Brazilian government. He had been a conduit to political and law-enforcement circles. He had been a small link in a very long chain, a tiny drop of oil in an immense machine, and he’d been handsomely rewarded for it. There had been money and women, stays in extravagant hotel suites, and trips to foreign countries. Only in recent weeks had Rojas awakened to how deeply he was enmeshed in DeVane’s affairs. The things he was being asked to do were becoming riskier, and the pressure to carry them out increasingly direct. But there were limits. There had to be limits. And it sounded as if the problem he was being asked to fix went beyond any he could have imagined. “I don’t know,” he said. “The Mato Grasso is A year,” he said. “Or so.” Nimec drove on through. About fifteen miles beyond the toll he turned right at the Augusta exit, stopped for gas, then continued past some worn-looking strip malls and a couple of traffic circles onto Route 3, a hilly stretch of two-lane blacktop rolling eastward toward the coast. Beside him, Megan looked out her window and fell back into preoccupied silence. The sky was a drab gray sheet of clouds, the wind becoming increasingly aggressive as they neared the coast. It sheered off the sides of the car, skirling into the interior through invisible spaces between its doors and frame, blowing across the dashboard in chill currents that slowly brought the heater into submission. In between long unvaried stretches of woods there were filling stations and junk dealers, and more filling stations and more junk dealers, few with any customers, the scenery rambling on with a kind of lowering, stagnant monotony that seemed endless. Meg could have easily believed the haphazard piles of reclaimed sinks and bicycles and Formica tabletops and dishes and garden rakes and knickknacks being hawked out of shacks or trailers along the road had been accumulating for decades and never went anywhere at all. Shivering, she sank her chin deeper into her collar. She was wearing a black leather jacket, blue jeans, and black ankle boots. Her thick auburn hair was pulled back in a ponytail under a duckbilled Army field cap. Nimec thought she looked uncharacteristically tired around the eyes

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 1918.78 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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