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State Of War

  by Tom Clancy


(about 411 pages)
102,849
total words
of all the books in our library
41.05%
vividness
of all the books in our library
9.25%
passive voice
of all the books in our library
2.79%
all adverbs
of all the books in our library
0.88%
ly-adverbs
of all the books in our library
1.91%
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
silat teacher, who had been a part of Toni’s life since she was thirteen, would be coming back to occupy the spare bedroom in a few days, to be nanny and live-in great-granny to her child. Everybody was healthy. Life could be a lot worse. She had a lot to be thankful for. A whole lot. Ames Medical Clinic New York City, New York Ames sat in his inner office at the clinic, brooding. Something was wrong. Junior had not called, and Ames’s attempts to contact him had failed. Junior had never kept Ames out of the loop before. And then there was that little incident at the clean office, with the cops staking it out. Could there be a connection? Probably not, he decided. Most likely it was just what he’d thought: The hacker had gotten busted and tried to bargain his way out of trouble. It might not have even been him on the phone the day before the meeting. With that vox-changer Thumper used, it could have been anybody. It could have been some cop. The only thing Thumper had to give to them was the location of that office, nothing else, so that’s what he would have given them. He couldn’t see how Junior could be connected to that. He certainly didn’t think Junior had been arrested. Junior was smarter than the hacker, at least when it came to street work. If he had been picked up, he’d sit tight, get word to Ames he’d been bald, bullet-shaped head gleamed in the flashing lights from the dance floor. Three sets of heavy gold chains glittered on his chest in the large gap of the lime-green polyester shirt he wore unbuttoned down to his navel. He moved his hands in the air, tracing a Coke-bottle shape, and laughed. His two friends, who looked as if they could have been cast in a Superfly movie, laughed uproariously at his apparently obscene comments. One man wore a black hat with big peacock feathers in the band, a poster boy for “pimp of the week,” and the other sported black leather pants and a jacket, both studded with chrome buttons. A few safety pins through his cheek and a mohawk and he’d be a punk rocker. Thankfully, they weren’t quite to that era yet. A few people moved on the dance floor, fairly graceful considering the platform shoes they all wore. The chukkita-chukkita-chukkita of the disco beat was underscored by a lot of percussion, particularly cymbals, and a nasally male singer. What awful music. Jay glanced around the room and caught a view of himself in one of the mirrored pillars that framed the dance floor. He wore amber-tinted horn-rimmed glasses and a brown leather jacket. A thick gold medallion with an up-raised fist lay on his chest, framed in a gap that was nearly the equal of the fat man’s, and his dark blue bell-bottomed jeans almost completely hid the snakeskin boots he was wearing. He’d combed his hair

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 2056.98 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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