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Camino Island

  by John Grisham

(about 339 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:

anything that might be valuable.” “You’ve already said this. You’re a writer living at the beach for a few months in the family cottage. You’re hard at work on a novel. It’s the perfect story, Mercer, because it’s true. And you have the perfect personality because you’re genuine. If we needed a con artist we wouldn’t be talking right now. Are you afraid?” “No. I don’t know. Should I be?” “No. I’ve promised you that nothing we put before you will be illegal, and nothing will be dangerous. I’ll see you every week—” “You’ll be there?” “I’ll come and go, and if you need a buddy, male or female, we can arrange to have one nearby.” “I don’t need a babysitter, and I’m not afraid of anything but failure. You’d be paying me a lot of money to do something I can’t begin to imagine, something important, and you obviously expect results. What if Cable is as smart and tough as you think he is and reveals nothing? What if I do something stupid and he gets suspicious and moves the manuscripts? I can see a lot of ways to screw this up, Elaine. I have no experience and no clue.” “And I love your honesty. That’s why you’re perfect, Mercer. You’re direct, sincere, and transparent. You’re also very attractive and Cable will immediately like you.” “Are we back to sex? Is that part of this job description?” “No. Again, what you do is up to you.” “But I have Slowly, she began to crawl, a slow, awkward, unnatural movement for her. As she labored along, pulling with her front flippers and pushing with more power with her rear legs, she paused frequently to study the beach, to look for dry land and for danger, for a predator or any unusual movement. Seeing none, she inched ahead, leaving a distinctive trail in the sand, one that would soon be found by her allies. One hundred feet ashore, at the toe of a dune, she found her spot and began flinging away loose sand with her front flippers. Using her cupped rear flippers as shovels, she began forming the body pit, a round shallow burrow four inches deep. As she dug she rotated her body to even the indentation. For a creature of the water, it was tedious work and she paused often to rest. When the body pit was finished she began digging even deeper to construct the egg cavity, a teardrop-shaped chamber. She finished, rested some more, then slowly covered the egg cavity with the rear of her body and faced the dune. Three eggs dropped at the same time, each shell covered with mucus and too soft and flexible to break upon landing. More eggs followed, two and three at a time. While laying, she didn’t move, but appeared to be in a trance. At the same time she shed tears, excreting salt that had accumulated. Mercer saw the tracks from the sea and smiled. She carefully followed

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 1693.34 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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