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The Row

  by J. R. Johansson

(about 372 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:

what could have turned Daddy into a murderer. Is it possible that this monster was always inside David Beckett? Could it have been lying dormant until something or someone woke it? At which point, it could’ve become too hard for this killer to go back to the gentleman’s façade again—or maybe he chose not to. I’ve never heard that one before, but it isn’t exactly groundbreaking. Could Mr. Beckett have an undiagnosed adult-onset mental illness? Could he be seeing and hearing things that aren’t real? If so, he’s an expert in the art of deception. I shake my head. These theories could be presented about anyone who’d been accused of murder. Nothing so far is specific to my father’s situation. No clues. This isn’t helping me. Perhaps the happy home life Mr. Beckett appears to have isn’t everything he would have us believe. Could this be the reason the victims in this case have similar features to the defendant’s wife, Amy Beckett? Could this supposed happy home be more like a nightmare? We already know he had at least one affair. Could he have been that unhappy? Did David Beckett kill these women to fulfill some deep-rooted desire to kill his wife? Taking a deep swig of my Coke, I sit back in my chair. The affair information was nonsense. I’d known this since the trial. The prosecution had accused Daddy of having an affair with one of the victims, but Daddy had denied it. And when I’d been It’s like a diner lifted straight out of the sixties. They play old music like the Beatles and Elvis and it always reminds me of the music Daddy used to play around the house and how Mama would laugh. But that was long before prison bars stood between them. The seats are covered in bright red vinyl, records adorn the walls, and the ceiling is painted deep blue with tiny white pinpricks of light spread across it in constellations that mimic the nighttime sky. Galaxy is both old and new. It’s kitschy and cool, and I love everything about it. On a Wednesday afternoon, the mall isn’t too busy, but there are about ten tables already taken with late lunch customers. I order a thick Oreo milkshake and start studying the people around me. One nearby table is full of teens. I scoot to the edge of my booth and pretend to scroll through my phone as I try to eavesdrop on their conversation. Before I get a chance to hear much, though, I feel an impact against my right sandal. When I bend over, the first thing I see is a red Matchbox car. I pick it up and squint at it. “Sorry about that. Driving skills obviously need improvement.” A deep voice speaks from the booth behind mine and I spin to face it. My first thought isn’t exactly articulate: Wow, hotness. His warm eyes are a slightly lighter shade of brown than his dark olive complexion. Hot

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 1858.94 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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other books by J. R. Johansson

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