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False Accusations

  by Alan Jacobson

(about 461 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:

sidewalk. “So is that it? Life goes on? Is that how I’m supposed to think?” Hellman shrugged. “It wouldn’t hurt. This past year hasn’t been a dream, Phil. As much as you’d like to wake up from it all, you have to accept that it’s happened and you have to deal with it. Your life will be changed forever.” “Just move on, that’s it.” “That’s it. There’s not much else you can do. Just be glad that it turned out this way. You could just as easily have been sitting in court right now instead of Harding waiting for the jury to decide your fate.” Madison sat there, shaking his head. “I can’t describe what this past year’s been like, Jeffrey. I’ve been to hell and back. I guess I should feel fortunate, but all I feel is numbemotionally spent. I’ve been on a rollercoaster for ten months. I’ve had feelings I’ve never had in my life. I’ve done things I’ve never done, been places I’ve never been.” Hellman chuckled, tried to lighten the mood. “You can say that again.” “All my life, I’ve always been liked. Now, people would just as soon spit in my face as shake my hand.” He took a sip of his coffee. “Don’t get me wrong. I don’t mean to say that I’ve never had conflict in my life — you know I have. But conflict is very different from persistent harassment by a psychotic nut. You never know what she’s going to do of December 2, all was quiet in the pristine pocket of rural Carmichael where long driveways wound their way up to five-thousand-square-foot mansions built out of brick, granite, and cedar. One of the older sections of Sacramento, the area had made a gradual transformation from small one-story ranch houses built on one-acre lots to an affluent person’s dream: rather than erecting a large home on a small plot of virgin dirt, it provided them the opportunity to raze an old structure and replace it with a luxury-filled two or three-story centerpiece on acreage studded with ancient, large-trunked, wide-canopied oaks. Four speeding police cruisers suddenly appeared, screeching around the gentle curves of the narrow streets. The cruiserstires violently kicked up dirt and loose rocks, shattering the serenity of the lush green lawns and intricately shaped shrubbery. Their swirling red-and-white lights threw splashes of color onto the tall hedges and stone walls that lined both sides of the street. As the cars converged on the home of Dr. Phillip Madison, the officers and deputies exited their vehicles, the chatter of the police radios creating a primitive form of multiple-speaker stereo surround-sound. A few barking dogs could be heard in the distance. Bill Jennings climbed onto the hood of his Ford and looked over the hedges and beyond the stone wall. After a quick scan of the grounds, he jumped down off the car. “Seaver, take two men and search that semi-detached garage to the west of the house,” he said, pointing

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 2306.76 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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