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Order to Kill

  by Vince Flynn & Kyle Mills

(about 400 pages)
total words
of all the books in our library
of all the books in our library
passive voice
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all adverbs
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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:

to take, sir?” Krupin didn’t answer immediately, instead staring out across the desk. “After a great deal of thought, I’ve decided that Rapp has to be dealt with, Grisha. The Pakistan operation has been going well since he’s been gone. Scott Coleman’s men have been reasonably effective, but the other CIA teams are faltering without Rapp’s leadership.” “Then you’ve been successful?” He knew little of what was happening in Pakistan and he preferred to keep it that way. Unfortunately, it was becoming clear that his continued ignorance and lack of involvement weren’t going to be possible. “Successful? Yes. To some extent.” “Perhaps it would be better to accept that partial victory and suspend your operation until Rapp moves on?” “I don’t have enough material to achieve my ultimate goal. In this case, I’m afraid there are no partial victories.” “Do you have a sense of how you would like this to play out?” “We’re aware of a high-level Pakistani mole codenamed Redstone who is on the CIA’s payroll. We’ve used back channels to feed him intelligence that the al Badr terrorist group is going to make an attempt on a nuclear warhead being moved through Faisalabad tomorrow. Redstone has been a reliable informant for the Americans and I think that they will take him at his word.” “So, we’re drawing Rapp into a second trap after the first failed?” “It was a mistake to put Gusev in charge. I should have never allowed Marius to do it. That’s why I’m collapsed and rolled onto his scorched back in the gravel. Consciousness came and went as the sound of the battle raged around him. Gunfire. Shouts. The screams of the wounded. When he finally managed to open his eyes, he saw the silhouettes of armed men standing over him. One of them unwrapped the scarf hiding his face before putting a bottle of water to Rapp’s split lips. “What have they done to you, brother?” LOCATION UNKNOWN RAPP regained consciousness in frustrating fits and starts. Sound came first—the mechanical growl of distant vehicles, wind whistling through cracks in walls. Muffled voices. Then came the pain. Oddly, the worst of it emanated from the part of his back that had been burned by the road. His head was a close second. Dull instead of sharp, but pounding with impressive intensity. He let his eyelids rise slightly, adjusting to the glare before fully opening them. The woman hovering over him was in her early thirties, with hair covered by a scarf and a pretty face marred by a prominent black eye. She was dabbing at his forehead with something but scurried off when she saw that he was awake. Rapp was lying on a bed wearing nothing but Eric Jesem’s shit-stained boxers. The wounds he’d suffered all appeared to have been cleaned, stitched, and bandaged. His nose was of little use but he could taste rubbing alcohol in the air. The room was small, consisting of nothing more than four concrete walls

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 2000.02 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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