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  by Tom Clancy

(about 431 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 boat had been empty. Somebody had been there recently, there were signs of occupation, but Jay had just missed him. And because the boat had been easy to clamber up and into, he did not figure that the man who’d been there would be coming back. He was more certain than ever it was the hacker he sought. It was easier to find Leigh, and once he found him, he knew his real target couldn’t be far away. He was right. Leigh had led him to this place, and the hunt was back on. Jay had asked Chang to hold off having Leigh arrested and sweated, for two reasons. First, Jay wanted a shot at finding the hacker on his own. Second, if the Chinese got the guy, they would pry things out of him that the U.S. military surely would not want them to have. If this didn’t work, he’d have to give Chang the go-ahead—if he hadn’t already decided to do it anyhow—and they’d get the ID from Leigh, who surely must know who it was he had been watching. But Jay wanted his chance first. It wouldn’t take longhe’d either pass or fail in a hurry. Pass—and it would go a long way to making him feel as if he’d done his job; fail—and they could always take the other road. But they’d have to give up some things to do it. If Jay could catch him, it would be see. Paradise Road Eden The temperature was warm enough so that you could take your shirt off and be comfortable, but not so warm that you got too hot just walking around. Maybe around eighty or so. There were some high clouds in the pure blue sky, and a gentle breeze that ruffled the trees a little. A manicured lawn stretched in front of the cottage, short grass that felt great under bare feet. A white-painted wooden picket fence surrounded the lawn and house. A medium-sized dog, a party-colored mutt, slept in the shade of a big oak tree next to the house, feet twitching as he chased imaginary rabbits in his dreams. Framed in the big kitchen window, working on lunch, were three gorgeous women: a tall, busty, blonde, wearing a string bikini top; a redhead with hair down to the middle of her back, in a tube-top; and a dark-skinned, curly-haired brunette without any clothes at all covering her perfect breasts. The trio looked out through the window, smiled, and waved. The hammock was strung between two sycamore trees; next to the hammock was a small table upon which was an ice chest full of bottled beer, an appetizer pizza piled high with three kinds of meat and two cheeses, and a humidor full of good Cuban cigars. Mounted on the tree above the foot of the hammock was a holoproj set, and the images of the players in the championship American-style football game danced in the shade

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 2152.54 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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