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The Confession

  by John Grisham

(about 527 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:

Plexiglas, you’ll have to stay on the other. You talk by phone. It’s ridiculous, but then this is Texas.” “No hugs, no kisses?” Andrea said. “No. They have their rules.” Roberta began crying, quiet sniffles with big tears. “I can’t hug my baby,” she said. One of her brothers handed her a tissue and patted her shoulder. After a minute or so, she pulled herself together and said, “I’m sorry.” “Don’t be sorry, Roberta,” Robbie said. “You’re the mother, and your son is about to be executed for something he didn’t do. You have the right to cry. Me, I’d be bawling and screaming and shooting at people. Still might do it.” Andrea asked, “What about the execution itself? Who’s supposed to be there?” “The witness room is divided by a wall to separate the victim’s family from the inmate’s family. All witnesses stand. There are no seats. They get five slots, you get five slots. The rest are given to the lawyers, prison officials, members of the press, and a few others. I’ll be there. Roberta, I know you plan to be a witness, but Donté is adamant that he doesn’t want you there. Your name is on his list, but he doesn’t want you to watch.” “I’m sorry, Robbie,” she said, wiping her nose. “We’ve had this discussion. I was there when he was born and I’ll be there when he dies. He may not know it, but he’ll need me. I will be a witness.” Robbie wasn’t sanitary gloves and masks, and when everyone had put them on, Robbie handed him the camera and told him to start filming. He instructed Aaron to step down and slowly open the lid. He did so. There was no corpse, only bones, the skeletal remains of someone, Nicole they assumed. Her hands and fingers were laced together below her ribs, but her feet were near her knees, as if Boyette had been forced to fold her to fit her in the toolbox. Her skull was intact but a molar was missing. She’d had perfect teeth; they knew that from the photographs. Around the skull there were strands of long blond hair. Between the skull and the shoulder, there was a length of black leather, the belt, they assumed. Next to the skull, in the corner of the box, there appeared to be clothing. Keith closed his eyes and said a prayer. Robbie closed his eyes and cursed the world. Boyette stepped back and sat on the edge of the tractor tire, in the weeds, and began rubbing his head. With Fred filming, Robbie directed Aaron to gently remove the roll of clothing. The articles were intact, though frayed along some of the edges and stained in places. A blouse, blue and yellow with some type of fringe, and a large ugly hole made by either insects or decaying flesh. A short white skirt, badly stained. Brown sandals. Matching bra and panties, dark blue. And two plastic cards, one her driver’s

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 2636.68 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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