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  by John Grisham

(about 398 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:

The biggest problem is the entourage. You’ll attract all manner of friends, new and old, and everybody will want something. You’re lucky to have a friend like Murray.” Sooley laughed and said, “He ain’t gettin’ nothin’.” They shared a good laugh. Arnie said, “You’ll need him. And you’ll need his mother.” “My mother?” “Yes. Ida. I had a long chat with her this morning.” “No! You gotta be kidding. Don’t tell me she called you.” Murray was shaking his head, humiliated. “She did.” “I’m so sorry, Arnie. So sorry.” “Sorry for what?” “She’s just butting in. I can’t believe this.” “Relax, Murray. We had a good talk. She considers you two to be her boys and she’s just being protective.” “I’m sorry.” “Don’t be. My mother died when I was ten years old. Be thankful she’s there.” Murray and Sooley exchanged confused looks. “What does she want?” Sooley asked. “Well, she asked to see the agency agreement you and I will sign. Fine with me. I’m an open book, Sooley. There are no secrets, no hidden language. She’s a lawyer and it’s a good thing for her to take a look. Any objections?” Sooley raised both hands, palms up, and said, “Look, whatever Miss Ida wants is fine with me. I can’t say no to her.” Murray said, “She’s tough. She’ll probably want to cut your four percent.” Arnie laughed and said, “That’s not gonna happen. I’m sure Miss Ida and I can find plenty of common ground. I’ve been may have been crying. A soldier ordered him to lay down the weapon and he did so. He fell to his knees, touched his fingertips to his chin, and begged for his life. The two soldiers stood over him. One kicked him in the face and knocked him flat, facedown. The other raised his Kallie and fired away, strafing the boy’s back and head. Tak! Tak! Tak! Tak! When all was quiet, the passengers cautiously lifted their heads and watched as the soldiers cleared the road, then dragged the six dead bodies to the cargo truck and piled them together near the fuel tank under the driver’s seat. In no hurry, they searched through all pockets and kept the money and valuables. They confiscated their weapons and found two sat phones in the cab. They turned a valve, drained the diesel from the tank, and let it run over the dead bodies. One soldier ripped off a tee shirt from a corpse, soaked it with lighter fluid, and wrapped it around a large rock. They backed away, lit the tee shirt, and tossed it at the cargo truck. Whoosh! The noise startled even the soldiers and they stepped back again. The fire roared and engulfed the truck and sent thick, black exhaust boiling upward. Flames shot from the dead bodies as the clothing caught fire, then the flesh began sizzling. The soldiers laughed and admired their work. The bus driver swept glass from his dashboard and resettled into his seat

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 1988.72 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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