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The Fifth Justice

  by John Ellsworth

(about 328 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:

he has been nowhere near the hospital if he’s even her husband.” “You will not believe this, but that’s a huge relief,” he told the doctor. “Because you thought the injuries involved her with her rapist?” “I did. She tells me she wants to go home with him. She doesn’t want to see her children. I must do everything with his approval. Where is all of this coming from?” Dr. Gorski placed her hands on her hips and shut her eyes. She nodded, then looked at Andrew, studying his face. “Chloe has suffered a profound personality injury. Much of what she is thinking is not reality based.” “We’ve been—I knew she—” “I’m sure you saw evidence, unexplained things, before.” “What can we do? Is there something more that I should do? Did I not do the right things before?” “We think a long-term care facility is crucial since we’ve stabilized her meds.” “Could that be in Chicago? That’s where we live.” “Sure, why not?” “I can take her there?” She shook her head and gave him an appraising look that said he was missing something here; he wasn’t getting it. “She couldn’t go with you, Mr. Constance. She’ll need ambulance transport, and she would need to be taken against her will. But you’re her husband, so you do have the final say-so.” “Yesterday, they told me she had to agree to going with me. She can be forced?” “Yes, but I wouldn’t ever do that.” “You’re saying I don’t their headlights. Neighborhood windows were yellow with inside lights, and the sweet smell of fireplaces swept over Marcel’s truck as he waited, engine running and drawing the outdoor air into the driver’s compartment. Marcel was wearing black pants, ankle boots, and a navy button-down shirt with a red-and-blue foulard necktie. His tan blazer lay on the seat beside him, covering the Colt. he had removed from his waistband holster. It was a big gun, the 1911 model Colt, so it felt good to remove it and lay it aside. The thought crossed his mind he needed to watch his midsection because he hadn’t worked out in two days. It was time to find a local gym that night and hit the weights and elliptical. He sighed, his eyes fastened on Reno’s driveway but his thoughts on the roam. Just after six-thirty, he snapped alert when a windowless white van pulled into the driveway, and its taillights flared as it stopped. He lifted binoculars to his eyes and waited. Within seconds, a large man jumped out of the passenger side and stepped back to the sliding door. He pulled the door open; a head came peeking out. Then another. The light was dim, and there was no side light on the house illuminating the vehicle, so Marcel couldn’t make out who or what he was watching. One-by-one the van’s occupants climbed out of the second and third rows of the vehicle and stood huddled along its side. The figures were undersized

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 1640.20 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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