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The Last Juror

  by John Grisham

(about 442 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:

was the color of the sheet. I stood beside him for a moment to make sure he wasn’t breathing. I had never been called upon to pronounce someone dead, but this was not a close call—Mr. Max looked as though he’d been dead for a month. I walked back down the stairs where Wilma and Gilma were waiting right where I’d left them. They looked at me as if I might have a different diagnosis. “I’m afraid he’s dead,” I said. “We know that,” Gilma said. “Tell us what to do,” Wilma said. This was the first corpse I’d been called upon to process, but the next step seemed pretty obvious. “Well, perhaps we should call Mr. Magargel down at the funeral home.” “I told you so,” Wilma said to Gilma. They didn’t move, so I went to the phone and called Mr. Magargel. “It’s New Year’s Day,” he said. It was apparent my call had awakened him. “He’s still dead,” I said. “Are you sure?” “Yes, I’m sure. I just saw him.” “Where is he?” “In bed. He went peacefully.” “Sometimes these old geezers are just sleeping soundly, you know.” I turned away from the twins so they wouldn’t hear me argue about whether their brother was really dead. “He’s not sleeping, Mr. Magargel. He’s dead.” “I’ll be there in an hour.” “Is there anything else we should do?” I asked. “Like what?” “I don’t know. Notify the police, something like that?” “Was he murdered?” “No.” “Why would unheard of in Clanton. She apologized because the tomatoes were store bought; hers were still on the vine and wouldn’t be ready until summertime. The corn, okra, and butter beans had been canned from her garden last August. In fact, the only real “freshvegetables were the collard greens, or “spring greens” as she called them. A large black skillet was hidden in the center of the table, and when she pulled the napkin off it there were at least four pounds of hot corn bread. She removed a huge wedge, placed it in the center of my plate, and said, “There. That will get you started.” I had never had so much food placed in front of me. The feast began. I tried to eat slowly, but it was impossible. I had arrived with an empty stomach, and somewhere in the midst of the competing aromas and the beauty of the table and the rather long-winded blessing and the careful description of each dish, I had become thoroughly famished. I packed it in, and she seemed content to do the talking. Her garden had produced most of the meal. She and Esau grew four types of tomatoes, butter beans, string beans, black-eyed peas, crowder peas, cucumbers, eggplant, squash, collards, mustard greens, turnips, vidalia onions, yellow onions, green onions, cabbage, okra, new red potatoes, russet potatoes, carrots, beets, corn, green peppers, cantaloupes, two varieties of watermelon, and a few other things she couldn’t recall at the moment. The pork chops

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 2212.40 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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