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Along Came a Spider

  by James Patterson

(about 426 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:

Ms. Warner had been handpicked by Jerrold Goldberg, and Goldberg could have had any prosecutor he chose. He had chosen her over James Dowd and other early favorites for the job. Carl Monroe was there, too. Mayor Monroe couldn’t stay away from the crowds. He saw me, but didn’t come over, just flashed his patented smile across the broad concourse. If I hadn’t known exactly where I stood with him, I did now. My appointment to divisional chief would be my last upgrade. They’d done that to prove I had been a good choice for the Hostage Rescue Team, to validate their decision, and to cover up any possible questions about my conduct in Miami. Leading up to the trial day, the big news around Washington had been that Secretary of the Treasury Goldberg was working on the prosecution case himself. That, and Anthony Nathan being the defense attorney. Nathan had been described in the Post as a “ninja warrior in court.” He had regularly been making front-page news since the day he’d been retained by Soneji/Murphy. Nathan was a subject that Gary wouldn’t talk to me about. On one occasion, he’d said, “I need a good lawyer, don’t I? Mr. Nathan convinced me. He’ll do the same for the jury. He’s extremely cunning, Alex.” Cunning? I asked Gary if Nathan was as smart as he was. Gary smiled and said, “Why do you always say I’m smart when I’m not? If I were so smart, would I be up at seven, or six, or five, I always come down to the kitchen to find a light blazing and Nana already eating breakfast, or firing it up over her stove. Most mornings, it is the very same breakfast. A single poached egg; one corn muffin, buttered; weak tea with cream and double sugar. She will also have begun to make breakfast for the rest of us, and she recognizes the variety of our palates. The house menu might include pancakes and either pork sausage or bacon; melon in season; grits, or oatmeal, or farina, with a thick pat of butter and a generous mound of sugar on top; eggs in every shape and form. Occasionally a grape jelly omelet appears, the only dish of hers that I don’t care for. Nana does the omelet too brown on the outside, and, as I’ve told her, eggs and jelly make about as much sense to me as pancakes and ketchup. Nana disagrees, though she never eats the jelly omelets herself. The kids love them. Nana sat at the kitchen table on that morning in March. She was reading the Washington Post, which happens to be delivered by a man named Washington. Mr. Washington eats breakfast with Nana every Monday morning. This was a Wednesday, and an important day for the investigation. Everything about the breakfast scene was so familiar, and yet I was startled as I entered the kitchen. One more time, I was made aware of how much the kidnapping

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 2129.90 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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