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The Deadliest Game

  by Tom Clancy

(about 231 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:

I still don’t get is why anyone would do that.” “A grudge,” Leif said. “Or the attacker is crazy. Never mind… there’s still time to work that out. But whatever the cause, whoever it is that’s doing this, they’ve stopped being patient about it. They’re hitting people before they actually fight Argath, when it just looks like there’s a possibility they might beat him.” “Yeah. All right. I see your point. Sowhat’ll we do? Go try to warn them? Which kingdoms were in question?” “Errint and Aedleia,” she said. “I know them slightly: they’re northern neighbors of Orxen. I’ve got more than enough transit to get us there. We can be there tonight. Their battles weren’t scheduled to happen right away. It’s just possible that we can—” “What? Get them not to go ahead with a campaign that they’ve been planning, and that they really want? That’s gonna be a good trick.” “We’ve got to try. We didn’t try hard enough last night… and look what happened. You want to see these new targets run off a road… or worse? And what about all the others who might shortly be in the same situation? There have to be other players who’ve been waiting their chance to take Argath on. After these guys, they’ll be a threat, too. If we can find out what other players are eager to fight him, we may be able to find some other connecting strand, some line of data that’ll lead us to whoever’s echoing around her. It came from the kitchen. Her mother’s favorite kettle, the one with the train whistle in its spout, was now banging and clattering and whistling as if it was about to explode; and Megan’s ride was outside, honking her horn. Megan tore out into the kitchen to get the kettle off the stove before it burned its bottom out. No tea, she thought, but as she turned the stove off, and grabbed her computer pad and books and disks and house keycards off the kitchen table and dashed for the door, she was grinning with sheer exaltation. Sarxos, here I come! VIRTUAL DOMINION OF SARXOS: GREENMONTH 23, YEAR OF THE DRAGON-IN-THE-RAIN The tavern had only one room, and its roof was leaking. The rain, which was falling softly and steadily outside, was coming in through a bare place in the thatch, dripping morosely on the cracked slate hearth of the fireplace, and hissing and steaming where it hit. Smoke from the badly vented fireplace was rolling around, blue as smog, underneath the blackened rafters. A few sputtering lamps hung from those rafters, their light swimming in the smoke, some of the light actually making its way down to the ancient, massive, knife-scarred wooden tables underneath. At those tables sat a motley assortment of people, eating and drinking: peasant farmers in from the fields, nobles ostentatiously sitting on their folded-up cloaks so that they wouldn’t have to physically touch the benches, mercenary soldiers in scarred leather armor, well-dressed

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 1155.86 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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