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Assassin’s Game

  by Ward Larsen

(about 469 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:

could do.” “And?” “I’ve had some time to think. There may be a way out. To begin with, we can’t sit here. Sooner or later we’ll be found.” Her eyes cast down. “I know.” “There might be a way to make everything work—but I can only do it from Geneva.” Her gaze snapped up. “Geneva?” He hesitated. “If I go there, if I start that process … maybe I can find an opening, some other way. But it has to begin there. And I’ll need your help to pull it off.” “My help?” She cocked her head uneasily. “What do you want me to do?” He gave her what was essentially a mission briefing, details he’d nailed down in the silent hours as he’d laid awake and held her. “It probably won’t work exactly as I’ve said, but do what you can, improvise. None of it should be dangerous, but if you see something you don’t like, anything at all, just go to the authorities.” “Is a wife protected from testifying against her husband in Sweden?” “Probably. But it doesn’t matter. Go ahead and tell them the truth. There’s only one thing I need you to hold back—tell them you don’t know where I’ve gone. The rest is in your favor. They’ll threaten to prosecute if you don’t cooperate, but that’s only a bluff. The worst thing you’ve done is take this boat, and your reasons were justifiable.” “How encouraging.” She locked her eyes to his. “But you haven’t thick, greasy rail of the boat. She never hesitated, hitting the last board like a long jumper taking flight. She soared over the void with arms outstretched and slammed into the side of the boat. On impact she bounced away, and Christine clawed out for a handhold. Her right hand found something and she clamped down for all she was worth, fingers and nails biting into a coarse mesh. She was hanging over the side, hips and legs dragging through the icy harbor, upper body wrapped to the steel hull. Her hand began to slip, and she groped with the other until she felt a second handful of thick hemp. A docking line. Christine reasserted her grip, then pulled and kicked and twisted until she got a leg up. Finally, she pulled herself up over the rail and collapsed to a wet steel deck. Her ribs stung with pain. Doubled over, she stumbled amidships along the port side. There was no sign of the crew. The boat kept gaining speed, muscling through the water and building a stiff breeze over the deck. Christine collapsed, her back against the wheelhouse, and tried to catch her breath. Only then did she venture a look back. The two men were on the dock, talking and gesturing. One pulled out a phone. She closed her eyes and pushed back against the cabin, drawing her knees into her aching chest. Christine reached into her back pocket and pulled out her phone. It was soaking wet

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 2345.62 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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