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Consent to Kill

  by Vince Flynn

(about 678 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:

everyone’s sake. Something told him, however, it was wishful thinking. He’d dealt with this type of man before. Washington was filled with them. They didn’t like losing. Ross would be licking his wounds right now, and trying to figure out a way to get even, or more likely, bury him. Kennedy was the obvious target, but Ross would have to be careful. He would still be afraid of Rapp carrying through on his threat and rightly so. If the president caught Ross wasting his time and resources following Scott Coleman he would be furious. It wasn’t enough to get the man fired, but it would be enough to provoke some genuine anger. Rapp would have to prepare contingencies, find some additional leverage on Ross, and he would have to tell Coleman to be extra careful. An easy move for Ross at this point would be to anonymously put the FBI onto Coleman’s trail. Rapp should have covered that during their meeting. He’d have to call Ross’s right-hand man, Gordon, and make it crystal clear what was at stake. Gordon at least seemed like someone he could deal with. Kennedy was another problem. She would not be happy when she found out what he’d done. He’d put off telling her all day. His excuse to himself was that the timing was never right, but that was lame. He just didn’t want to tell her. She was the one who would be dealing with Ross on a day-to-day basis, though. He’d do the hill through the thick branches of the pine trees and the golden fall leaves of the aspens. Other than the slight rustle of dry fall leaves there wasn’t a sound. Abel left the groceries in the backseat and entered the house. He locked the door behind him and went straight downstairs. The house was built into the side of the mountain, so the basement had an earthy, musty smell. A single door with triple windows offered a shaded view of the valley. The deck from above cast a shadow. It was not quite 4:00 in the afternoon. The German went to a door at the back of the basement, opened it, and turned on a light. A furnace and water heater sat in the far corner. The cement floor was painted a burnt red and was cracked. Skis and poles were hung on a set of pegs. Boots, gloves, goggles, and hats, and a variety of other outdoor accessories were neatly placed on two shelves. A wood pallet with paint cans stacked on top sat in the corner opposite the furnace. Abel grabbed one of the slats and dragged the pallet to the middle of the room. He took a small crowbar hanging on the wall and wedged the straight end into a small crack in the floor. A small section roughly the shape of Australia rose above the rest of the floor. Abel stuck his free hand under the lip and grabbed hold. He tossed the crowbar

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 3391.78 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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