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The Boys from Biloxi

  by John Grisham

(about 538 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:

nonchalant about the serious charges facing him. Nothing was wrong, or whatever was wrong could certainly be swept away. Burch would have to teach him humility. “Where were you at the time of the murder?” Burch asked his client. “Not sure. Where do you want me to be?” So far there had been no straight answers. “Well, it looks like the state is putting together a rather compelling case. The cops think they have the murder weapon, though ballistics has yet to report. There are a couple of eyewitnesses, one of whom took three slugs in the face and evidently is claiming you pulled the trigger. We’re off to a bad start here, Nevin. And when the proof is stacked against the defendant, it’s usually helpful if the defendant has an alibi. Is it possible you were playing poker with some buddies in Biloxi while Mr. Fortier was getting shot in Pascagoula? Or could you have been with a girlfriend? It was, after all, Saturday night.” “What time do they think Fortier got shot?” “The preliminary estimate is eleven thirty.” “It was closer to midnight. So, yeah, look, I was playing cards with some friends and then around midnight I went to bed with my girl. How about that?” “Sounds great. Who were your friends?” “Uh, well, I’ll have to think about that.” “Okay, who’s your girl?” “Think about that too. There’s more than one, you know?” “Of course. Get the names straight, Nevin. And these are people who’ll be react. He dropped the phone and reached down to open a drawer, but he was too late. Noll lunged across the desk, slapped him hard in the face, and knocked him out of his chair. The objective was to beat soundly but not to kill. The Boss wanted Cleveland alive, at least for now. Using nothing but his fists, Noll broke both jawbones, split lips, knocked out teeth, closed eyes, lacerated cheeks and forehead, and separated the nasal bone from the cranial cavity. When the thick boy made more sounds, Noll took a heavy ashtray and drove it into the back of his skull. A small side door opened and a platinum blonde of about thirty appeared and, seeing the carnage, almost screamed. She covered her mouth with both hands and looked in horror at Noll. He quickly removed a revolver from a rear pocket and nodded to a chair. “Sit down and shut up!” he growled. She backed into the chair, still unable to utter a sound. From a front pocket, Noll pulled out an eight-inch tube, a silencer, and screwed it over the revolver’s barrel. He fired one shot into the ceiling and the woman shrieked. He fired another shot into the wall three feet above her head and said, “Listen to me, dammit!” She was too horrified to react. He fired another shot into the wall, the same muted thud. He stood above her, pointed the pistol, and said, “Tell Cleveland he’s got seven days to shut

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 2689.98 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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