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The Judges List

  by John Grisham

(about 380 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:

that conveyed anything but remorse. “Why does it have to be considered work? Why can’t we talk as friends?” “Because we’re not friends yet, Jeri. We are acquaintances who met for the first time about a month ago. We may become friends one day, once the work that brought us together is finished, but we’re not there yet.” “I see.” “The word ‘friend’ gets tossed around loosely, don’t you think?” “I suppose.” “And whatever the reason for this call, it’s not about friendship. It’s probably on the business side.” “It is, Lacy. And I’m sorry to bother you.” “It’s Saturday morning, Jeri, and I was sleeping.” “Got it. Look, I’ll hang up now, but first let me say what I want. Okay?” “Sure.” “There is a good chance that Bannick knows about the complaint and knows that you’re digging through his past. I can’t prove this, but I have come to believe that he has some type of superpower, extrasensory, something. I don’t know. But he is extremely bright and diligent, and well, I guess I might be a bit paranoid. I’ve been living with him for so long I just assume that he’s everywhere. Be careful, Lacy. If he knows you’re on his trail he might do anything.” “I’ve thought about that, Jeri.” “Okay. Goodbye.” She was gone, and Lacy immediately felt lousy for being so abrupt. The poor woman was a wreck and had been for many years, and Lacy should have been more patient. But it was her hands and arms ached from being twisted like a pretzel. Her ankles too were stuck together. She was lying on a quilt. She could feel what seemed to be leather behind her, like a sofa. The air was warm, even smoky. She was alive, at least for now. As her head slowly cleared and she put together two thoughts, she became aware of the soft popping noises of a fire. A man coughed, not far away. She dared not move. But her shoulders were screaming and she couldn’t help but squirm. “It’s probably time for you to come around,” he said. The voice was familiar. She jerked and struggled and managed to sit up. “My arms are killing me,” she said. “Who are you?” “I think you know.” The sudden movement made her nauseous and she was afraid she would vomit. “I’m sick,” she mumbled as acid filled her mouth. “Lean forward and puke all you want.” She swallowed hard and quick and choked it back. The heavy breathing made her sweat. “I need some air, please. I’m suffocating.” “That’s one of my favorite words.” He stepped over, leaned down to her face, and yanked off the hood. Jeri gawked at the pale mask with the pockmarks and scars, and screamed. Then she gagged and retched and vomited on the floor. When she finished, he gently reached behind her and unlocked the handcuffs. She pulled her hands free and shook her arms as if to get the blood moving

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 1901.36 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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