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Assassin’s Run

  by Ward Larsen

(about 453 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:

found out I was in the vicinity of Italy—did you really think I might have killed Ivanovic?” “I considered it.” “And?” “You had the opportunity. Certainly the ability. Money could have been a motivation. But no … something told me you would never take that path.” “That doesn’t sound very analytical. You put too much faith in your instincts.” “Do I?” “You approached me in Vieste. If I had been a killer for hire, it might not have ended well for you.” “It didn’t end well. You shot my brand-new dinghy.” Slaton couldn’t contain a grin. “Anyway,” she said, “that’s what brought me here. I came to Italy because I thought it was my best chance to uncover what’s going on with these Russians. And I came to you because I thought you might be able to help.” “Okay. But I’ve tried and it didn’t work out. Does that mean we’re done here?” Her pretty face fell downcast. “You really don’t know how Ivanovic was killed?” Slaton chose his words carefully. “Given what I’ve seen so far, no.” She looked dejected, but seemed to accept his answer. Slaton looked at the picture on the screen one last time. He said, “For what it’s worth, I think your instincts are good. I’ve been where you are before. You have a hunch about something, but the facts are thin and you can’t get backing to pursue it. Sometimes you just have to move on.” “Move on? Is that what you would have vast port complex. They passed row after row of factory-fresh automobiles awaiting trailers that would disperse them across Israel. In the distance Slaton saw a small cruise ship, and the festive lights strung across the superstructure reminded him of those he’d seen on Pyotr Ivanovic’s yacht. The cruise ship was the only thing in sight that wasn’t industrial in nature. Tall loading cranes hovered over the wharves, looking like great birds, and container trucks were being loaded under bright lights. A rail yard was active on the shoreward perimeter, and a new thoroughfare leading north was in the initial stages of construction. Altogether, a busy place that aspired to one day be busier. They eventually reached an isolated tract far from the piers, a little-used stretch of gravel along the perimeter fence. Bloch parked in front of a dilapidated double-wide trailer that was resting on concrete blocks—it actually appeared to lean slightly to one side. Equipment tugs and cargo containers were rowed on either side of the trailer, some of them rusting and discarded, a few pieces looking operable. The fence behind was twelve feet high, the top laced with razor wire, and on the other side was a wide cleared area washed in bright security lights. Beyond that Slaton saw barren desert stretching into rising terrain, the shadows of rough-edged hills evident in the gloom. Bloch pulled the Kia up to the trailer and parked next to two other vehicles—one a generic sedan, the other a white

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 2266.56 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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