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Reaper of Justice

  by Freya Atwood

(about 323 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:

Meg. I’m gonna be there.” I couldn’t see Catherine. I kept glancing around the courtroom, but my sister was nowhere to be found. Maybe she’d seen the crowd of reporters clamoring by the front doors of the courthouse and freaked out. Who could blame her if she had? Walking into the courthouse had been like entering a tunnel of noise. Miss Corver! Miss Corver! My name being flung at me from all directions, from the mouths of total strangers. If the red carpet feels anything like that, I don’t think I’d want to be famous. Jim was also absent. But that was understandable. I didn’t want him to be there. I mean, I did, but I knew he had more important things to worry about. Also missing; Donald Calhan. That absence gave me a particular satisfaction. He undoubtedly knew I’d gone running my mouth to Internal Affairs about his camera. He was probably terrified that I’d do the same here. Didn’t have the balls to show up. A black belt with no balls. And where was Zoe? Maybe she figured the trial would be too painful. I couldn’t say I blamed her if she had. I could tell things would soon be underway. Judge Williamson had gotten settled behind the bench. The jury box, to my right, was still empty. They’d be brought in last. In between me and the jury box was the prosecution table. Kemp and I hadn’t really made eye contact, let alone said hello. He’d been to let the jungle of her belongings encroach past a certain point; her couch and coffee table were spotless and devoid of clutter. A tiny place to exist, surrounded by a mess of one’s own making. Quite the metaphor for life in general, I reflected, as I took a seat on the floral-print couch. Mrs. Campbell had disappeared into the kitchen. We heard a drawer bang, a grumble. A minute later she came back with a plate of cookies. I saw a fleck of ash fall from her cigarette onto the food. “Some cookies,” she said, as she placed the plate down in from of us on the coffee table. “Thank you,” Aiden said, taking one with some kind of jammy glaze. I hoped it was jam at least. He took a bite and chewed. Chewed a lot. He seemed to be having a little difficulty swallowing. He smiled at Mrs. Campbell and shook his head. “Tasty,” he managed to say, once he choked down the bite. Mrs. Campbell stared at us for a second, her cigarette still dangling, then said, “You must be new friends of Jamie’s. I don’t think I’ve seen you before.” She nodded toward me. I was about to open my mouth and respond — although I didn’t exactly have any words planned — when her son appeared. He seemed slightly out of breath. He wore basketball shorts, a t-shirt, and white socks. “Mom, those cookies are so old.” James looked at Aiden. “You don’t have to eat

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 1616.44 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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