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The Appeal

  by John Grisham

(about 440 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:

Stop all television ads right now.” “That’s impossible, Ron. They’re already in the pipeline.” “So I’m not in control of my own campaign, is that what you’re telling me, Tony?” “It’s not that simple.” “I’m not leaving the house, Tony. Pull all the ads right now. Stop everything, and I’m calling the editors of these newspapers. I’m admitting my mistakes.” “Ron, come on.” “I’m the boss, Tony, it’s my campaign.” “Yes, and you’ve got the race won. Don’t screw it up with only nine days to go.” “Did you know that Darrel Sackett was dead?” “Well, I really can’t—” “Answer the question, Tony. Did you know he was dead?” “I’m not sure.” “You knew he was dead and you deliberately ran a false ad, didn’t you?” “No, I—” “You’re fired, Tony. You’re fired and I quit.” “Don’t overreact, Ron. Settle down.” “You’re fired.” “I’ll be down in an hour.” “You do that, Tony. You get down here as quick as possible, and until then you’re fired.” “I’m leaving now. Don’t do anything until I get there.” “I’m calling the editors right now.” “Don’t do that, Ron. Please. Wait until I get there.” The lawyers had little time for newspapers on Sunday morning. By eight o’clock they were gathering at the hotel for what would surely be the most important day yet. There had been no indication from Jared Kurtin as to how long he might negotiate before heading back to Atlanta, but it was assumed that round one would be chef had whipped up a tasting menu that began with caviar and champagne, then moved on to a lobster bisque, a splash of sautéed foie gras with trimmings, fresh Scottish game hen for the carnivores, and a seaweed bouquet for the veggies. Dessert was a gorgeous layered gelato creation. Each round required a different wine, including dessert. Carl cleaned every plate put before him and drank heavily. He spoke only to the banker because the banker had heard the news from down south and appeared to be sympathetic. Brianna and Sandy whispered rudely and, in the course of dinner, hammered every other social climber in the crowd. They managed to push the food around their plates while eating virtually none of it. Carl, half-drunk, almost said something to his wife while she tinkered with her seaweed. “Do you know how much that damned food cost?” he wanted to say, but there was no sense starting a fight. The celebrity chef, one Carl had never heard of, was introduced and got a standing ovation from the four hundred guests, virtually all of them still hungry after five courses. But the evening wasn’t about food. It was about money. Two quick speeches brought the auctioneer to the front. Abused Imelda was rolled into the atrium, hanging dramatically from a small mobile crane, and left to hover twenty feet off the floor for all to see clearly. Concert-style spotlights made it even more exotic. The crowd grew quiet as the tables were cleared

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 2199.88 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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