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The Racketeer

  by John Grisham

(about 410 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:

laughs and lights another cigarette. “That’s the easy part, Reed. When you’ve been in this business as long as I have, you can always spew some bullshit and get people talking. I figured his mother still has a healthy fear of anyone connected to the prison system, so I told her I was a federal prison agent and needed to chat with her boy.” “Isn’t that impersonating an officer?” “Nope, no such thing as a federal prison agent. She didn’t ask for a card, and if she had, then I would’ve given her one. I keep a bunch of cards. On any given day, I can be one of many different federal agents. You’d be amazed how easy it is to fool people.” “Did you go to the bar?” “I did, but I didn’t go in. I wouldn’t fit. It’s just off the campus of Radford University, so the crowd is a lot younger than me. It’s called Bombay’s and it’s been around for some time. According to city records, it changed hands on May 10 of this year. The seller was one Arthur Stone, and your boy Nathan Cooley was the buyer.” “Where does he live?” “Don’t know. Nothing in the land records. I suspect he’s renting, so there would be no record of that. Hell, he could be sleeping above the bar. It’s an old two-story building. You’re not going there, are you?” “No.” “Good. You’re too old and you’re too black. It’s an all-white crowd.” “Thanks. I’ll white shirts and one of blue plaid, all with button-down collars; two pairs of khakis and one pair of pre-washed and faded jeans; a brown leather belt; a stack of boxers, neatly folded; two white T-shirts; several pairs of socks still in the wrappers; a pair of brown moccasins that look presentable; and the ugliest pair of black loafers I’ve ever seen. Overall, not a bad start. “Thanks,” I say. Hanski continues, “Toothbrush, toothpaste, shaving stuff, all in the bathroom. There’s a small gym bag over there. Anything else you need, we’ll run to the store. You want some lunch?” “Not now. I just want to be alone.” “No problem, Mal.” “It’s now Max, if you don’t mind.” “Max Baldwin,” Surhoff added. “That was quick.” They leave and I lock the door. I slowly strip out of the prison garbolive shirt and pants, white socks, black thick-soled, lace-up shoes, and boxer shorts that are frayed and worn thin. I put on a pair of the new boxers and a T-shirt, then crawl under the covers and stare at the ceiling. For lunch, we walk next door to a low-budget seafood joint with a drive-through and all the crab legs one can eat for $7. 99. It’s just Hanski, Surhoff, and I, and we enjoy a long meal of mediocre seafood that is, nonetheless, delicious. With the pressure off, they actually crack jokes and comment on my wardrobe. I return the insults by reminding them that I’m not a white

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 2048.32 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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