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The Innocent Man

  by John Grisham

(about 451 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:

Do you want me to load him down with about a hundred milligrams of—” “I’m not telling you what to do,” Judge Miller interrupted. At 8:45 the following morning, Ron was escorted into the courtroom. Judge Miller addressed him by saying, “Mr. Williamson, yesterday you had expressed your desire not to be present during the preliminary hearing.” “I don’t want to even be up here,” Ron said. “I didn’t have anything to do with this killing. I never—I don’t know who killed her. I don’t know anything about it.” “Okay. Your conduct and your disruptive behavior—you can reclaim your right to be present if you so desire, but you’ll have to promise and be willing not to be disruptive and disorderly. And you’ll have to do that in order to reclaim that right. Do you wish to be present?” “No, I don’t want to be here.” “And you understand that you have the right to be here and listen to all the witnesses’ testimony?” “I don’t want to be here. Whatever you all do I can’t help it. I’m tired of being crazy about this. It’s suffered me so much; I just don’t want to be here.” “Okay, and that’s your decision. You do not wish to be present?” “That’s correct.” “And you’re waiving your right to confront witnesses by doing that under the Constitution?” “Yes I am. You all can charge me on something I didn’t do. You all can do anything you want to do be red fingernail polish, was the word “die.” Another red substance, probably catsup, was smeared over her body, and on her back, also in catsup, were the words “Duke Gram.” There were several small bruises on her arms, chest, and face. He noticed small cuts inside her lips, and shoved deep into the back of her throat and extruding out through her mouth was a blood-soaked greenish washcloth, which he carefully removed. There were abrasions and bruises across her neck, in a semicircle. Her vagina was bruised. Her rectum was quite dilated. Upon examining it, Dr. Jordan found and removed a small, metal, screw-type bottle cap. His internal examination revealed nothing unexpected—collapsed lungs, dilated heart, a few small bruises along the scalp but no underlying brain injury. All injuries had been inflicted while she was still alive. There was no indication of binding on her wrists and ankles. A series of small bruises on her forearms were probably defensive wounds. Her blood alcohol content at the time of death was low, . Swabs were taken from her mouth, vagina, and anus. Microscopic examinations would later reveal the presence of spermatozoa in her vagina and anus but not in her mouth. To preserve evidence, Dr. Jordan clipped her fingernails, scraped off a sample of the catsup and nail polish, combed out the loose pubic hairs, and also cut a portion of hair from her head. The cause of death was asphyxiation, which was caused by the combination of the washcloth choking

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 2254.76 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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