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Assassin’s Silence

  by Ward Larsen


(about 501 pages)
125,125
total words
of all the books in our library
47.24%
vividness
of all the books in our library
7.47%
passive voice
of all the books in our library
2.99%
all adverbs
of all the books in our library
1.24%
ly-adverbs
of all the books in our library
1.75%
non-ly-adverbs
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:

MOST PASSIVE PAGE
MOST VIVID PAGE
eyes. He was unique, both in what he was capable of and what he was asked to do. I worked with him a few times, yes, but most of my time was spent in the IDF. In the military we had rules of engagement, boundaries.” Her eyes were riveted. “It was warhas been for as long as you and I have been on this earth. But you want specifics?” “I want to understand. I’ve seen David stare for an hour at a painting in the National Gallery. I’ve seen him do stonework that’s nearly a work of art. But I’ve glimpsed his other side too. When he’s on a mission … there’s something different about him. He’s so focused and relentless, almost like a machine.” “That’s how you have to be, at least if you want to survive.” “I’ve had that briefing. But I’d like you to go through one mission for me. Tell me what he did.” He drew a deep breath. “All right. I won’t try to convince you how deserving our target was. If a mission reached David, any moral or ethical questions had been finalized. A kidon has to trust that, which in itself is no easy thing. There was one time David and I were assigned to go after a man who—” “Did he have a name?” Stein hesitated. “Jameel. If there was a first name I don’t remember it.” She nodded. “He was a guy who had good reason to think Mossad might be different. Gone were the thick precast seawalls, replaced by piles of concrete riprap that had been bulldozed to the shoreline. Foot-long steel cleats were absent, as were the broad finger piers planked in pressure-treated timber. In their place were makeshift wooden wharves that might have been assembled by a storm, a collision of wooden pallets and planks and old mooring lines. Some were kept afloat by oil drums, others strapped to derelict boat hulls, all of it joined together with a seeming aversion to right angles. The vessels berthed here—there had to be fifty—were equally rough-hewn, their decks stained with rust and seabird droppings, and when they rolled on the swells their undersides evidenced a hidden battle beneath, barnacles fighting algae for parasitic dominance. Some of the craft were powered by sail, but most had some manner of diesel propulsion, and the smell of fuel oil hung heavy on the air. The few seamen Slaton saw reflected the fleet, not professionals in their prime suited in crisp white liveries, but leathered old men and young boys whose uniforms were shredded T-shirts and worn sandals, and who moved with a sun-infused languor. It was all just as he remembered. He found the boat he wanted moored close to shore. Kosmos was forty feet of warped wood and chipped paint, a stout and wide-beamed bitch whose diesel exhaust stack was black with soot and whose worn rigging sagged in the warm afternoon air. Old, tired, and fitted for longline fishing

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 2502.50 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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