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Calico Joe

  by John Grisham

(about 180 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:

appears, and he orders coffee. When she’s gone, he says, “What are you trying to prove?” “Nothing. What I’m trying to do is force you to face the consequences, for one of the few times in your life.” “Aren’t you the wise one?” “I’m not trying to be wise, Warren. You have a lot of unfinished business in your life, and this is one loose end you can wrap up before you’re gone.” “I’m not going anywhere. I’m fighting this thing tooth and nail, and my doctors know a hell of a lot more than you do.” I am not going to argue about whether he is dying. If he thinks he is in the lucky 5 percent who will live for five years, I am in no position to say otherwise. His coffee arrives, and the waitress asks about the others who might be joining us. “It’s just the two of us,” I say. “Are you ready to order?” “Sure. I guess I should have a waffle. Blueberry, with sausage.” “Nothing for me,” he says gruffly, waving her away. “Who do you think will print this crap?” he asks. “Do you read Sports Illustrated?” “No.” “There’s a senior writer there named Jerry Kilpatrick. Baseball is his favorite beat. A Chicago guy, my age. I’ve talked to him twice, and he’s interested in the story, and the truth. Joe Castle will never be forgotten in Chicago, and Kilpatrick thinks the story would be great. Especially after you’re gone.” “You don’t two scoops of vanilla at an ice cream shop two doors down and listen to some casual town gossip as I watch the languid foot traffic on the sidewalk. After killing an hour, I drive three blocks west and higher up the bluff to a house at 130 South Street where Mr. Rook has lived for the past forty-one years. He is waiting, standing on the front porch, already in his drinking clothes. The house is a rambling old Victorian, with wide, sweeping covered porches, high arching windows, painted gables, all different colors, the most dominant being a soft pastel maize. The small lawn and flower beds are as neat and colorful as the house. “A beautiful place,” I say as I walk through the swinging gate of a white picket fence. “It’s a hand-me-down. My wife’s family. Welcome.” He is wearing a white linen shirt with a tail that falls almost to his knees, a pair of bulky white britches that bunch around his bare ankles, and a pair of well-worn and scuffed espadrilles. He is holding a tall, slender beverage glass with a straw in his right hand, and with his left he waves at the side porch and says, “Follow me. Fay’s back there somewhere.” I follow him over the creaking boards and under the whirling ceiling fans. The porch is crowded with white wicker furniture—rockers, stools, drink tables, a long swing covered with pillows. Fay is Ms. Rook, a spry little woman with white hair

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 900.92 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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