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Total Power

  by Vince Flynn & Kyle Mills

(about 394 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’ve been doing a lot of thinking. But I’m not sure what conclusions I’ve come to. None good. That I can tell you. The power went out ten days ago and I don’t have any reliable reports of the government having fixed anything. As far as I can tell, basically the lights are on in a few military outposts, a couple of ports, and some off-grid hippie communes. That’s it. If you want to know where we’re headed, you don’t have to look any further than New Orleans. Their water’s completely out and the place is in the process of melting down. Based on the reports I’m getting from people on the ground, the military’s in full retreat. They don’t have the manpower, they don’t have a supply chain, and, even worse, they don’t seem to have a plan. In a week, I’m not sure there’s going to be a New Orleans. And in two, I’m not sure there’s going to be a New York or LA or Chicago… Well, you get my point.” He paused and Alton’s smiled broadened. This was exactly what he needed. He was feeling better already. “I don’t think this is temporary anymore. I think the power’s going to be out for months. Maybe longer. So, a lot of the advice I’ve been giving you is bullshit. I’m sorry for that. I truly am. And I wish I had some new speeches to make or relevant podcasts that I could dig up. But I don’t still wearing black fatigues but the balaclava was gone, revealing a handsome face and close-cropped blond hair. The gun strapped to his thigh was hidden by the cabinets but the dried blood on his sweater was visible even in the dim light. “I like it, too,” she heard herself say. “So, you can build a fire. Can you cook?” She nodded. “Go to it, then. I’m gonna hit the shower.” When he reappeared again, he was wearing jeans and a gray sweatshirt. No visible weapon, unless you counted the wine bottle in his hand. Not that he’d need one if he decided to get rid of her. She’d met enough men like him during her training that she knew with great precision what he was capable of. “I found some canned clams and linguini. So, I made pasta.” “Perfect,” he said, sounding vaguely relieved. “I was afraid you’d make Russian.” He slid the bottle toward her across the counter. “It’s from my cellar. I think it’s supposed to be good.” “You don’t know?” “Not really. A friend of mine gave me a list of what I should buy.” He pointed to the sweater she was wearing. “In fact, that’s hers.” Voronova grabbed a couple of glasses and an opener off a rack and started working on the cork. She had a thousand questions that she didn’t really want to know the answers to. Better to just keep her mouth shut and pour. He took a sip, shrugged, and then downed

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 1971.96 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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