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The Chamber

  by John Grisham

(about 753 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:

Kravitz & Bane?” “It’s a good firm.” “Did you know they represented me?” “Yes.” “So you’ve been planning this?” “For about five years.” “But why?” “I don’t know.” “You must have a reason.” “The reason is obvious. You’re my grandfather, okay. Like it or not, you’re who you are and I’m who I am. And I’m here now, so what are we going to do about it?” “I think you should leave.” “I’m not leaving, Sam. I’ve been preparing for this a long time.” “Preparing for what?” “You need legal representation. You need help. That’s why I’m here.” “I’m beyond help. They’re determined to gas me, okay, for lots of reasons. You don’t need to get involved in it.” “Why not?” “Well, for one, it’s hopeless. You’re gonna get hurt if you bust your ass and you’re unsuccessful. Second, your true identity will be revealed. It’ll be very embarrassing. Life for you will be much better if you remain Adam Hall.” “I am Adam Hall, and I don’t plan to change it. I’m also your grandson, and we can’t change that, can we? So what’s the big deal?” “It’ll be embarrassing for your family. Eddie did a great job of protecting you. Don’t blow it.” “My cover’s already blown. My firm knows it. I told Lucas Mann, and—” “That jerk’ll tell everybody. Don’t trust him for a minute.” “Look, Sam, you don’t understand. I don’t care if he tells. I don’t care if the world knows that I’m your grandson. I’m boat. “And grab that rope,” Lettner yelled again, pointing to a thin cord hooked to a grapple. Adam unhitched the rope and stepped nervously into the boat, which rocked just as his foot touched it. He slipped and landed on his head and came within inches of taking a swim. Lettner howled with laughter as he pulled the starter rope. Ron, of course, had watched this and was grinning stupidly on the dock. Adam was embarrassed but laughed as if it was all very funny. Lettner gunned the engine, the front of the boat jerked upward, and they were off. Adam clutched the handles on both sides as they sped through the water and under the bridge. Calico Rock was soon behind them. The river turned and twisted its way through scenic hills and around rocky bluffs. Lettner navigated with one hand and sipped a fresh beer with the other. After a few minutes, Adam relaxed somewhat and managed to pull a beer from the cooler without losing his balance. The bottle was ice cold. He held it with his right hand and clutched the boat with his left. Lettner was humming or singing something behind him. The high-pitched roar of the motor prevented conversation. They passed a small trout dock where a group of clean-cut city slickers were counting fish and drinking beer, and they passed a flotilla of rubber rafts filled with mangy teenagers smoking something and absorbing the sun. They waved at other fishermen who were hard

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 3764.30 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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