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The Sum of All Fears

  by Tom Clancy

(about 1,320 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:

are that you can leave? You have a degree of freedom I do not. Use it.” “Nice try, man. If you were in my position, you wouldn’t leave. Same reason, even. I’m not a quitter. Neither are you. It’s that simple.” “Pride can be a destructive force,” the Prince pointed out. Jack leaned forward. “It’s not pride. It’s fact. They do need me. I wish they didn’t, but they do. Problem is, they don’t know it.” “Is the new Director that bad?” “Marcus is not a bad person, but he’s lazy. He likes his position better than he likes his duties. I don’t suppose that’s a problem limited to the American government, is it? I know better. So do you. Duty comes first. Maybe you’re stuck with your job because you were born into it, but I’m just as stuck with mine because I’m the guy best able to do it.” “Do they listen to you?” His Highness asked sharply. Jack shrugged. “Not always. Hell, sometimes I’m wrong, but there has to be somebody there who does the right thing, at least tries to. That’s me, sir. That’s why I can’t bug out. You know that just as well as I do.” “Even if it harms you?” “Correct.” “Your sense of duty is admirable, Sir John.” “I had a couple of good teachers. You didn’t run and hide when you knew you were a target. You could have done that—” “No, I could not have done so. If I had gymnasium, and the men were “encouraged” to pump iron until their exposed skin looked as taut as a drumhead. Their forearms, exposed below rolled-up sleeves, were thicker than the lower legs of most men, and already tanned brown beneath what were often sun-bleached blond hairs. Their mostly blue eyes were always hidden behind dark glasses in the case of the officers, and tinted Lexan shields for the rest. They were outfitted in fatigues of an urban-camouflage pattern, a curious design of black, white, and several shades of gray that allowed them to blend in with the stones and whitewashed stucco of Jerusalem in a way that was eerily effective, especially at night. Their boots were the same, not the spit-shined elegance of parade soldiers. The helmets were Kevlar, covered with cloth of the same pattern. Over the fatigues went camouflaged flak jackets of American design that merely seemed to increase the physical bulk of the soldiers. Over the flak jackets came the web gear. Each man always carried four fragmentation grenades and two smokes, plus a one-liter canteen, first-aid packet, and ammo pouches for a light total load-out of about twelve kilos. They traveled about the city in teams of five, one noncom and four privates per team, and twelve teams to each duty section. Each man carried a SIG assault rifle, two of which had grenade launchers slung underneath the barrel. The sergeant also carried a pistol, and two men in each team carried radios. The teams on patrol

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 6600.90 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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