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The Rainmaker

  by John Grisham

(about 668 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:

tend to the place, and there’s no rent.” “What do you mean by tending to the place?” “General upkeep, nothing heavy. Momma says you’ve been a good yard boy this summer, just keep doing what you’ve been doing. We’re having the mail forwarded, so that won’t be a problem. Anything major comes up, call me. It’s a sweet deal, Rudy.” It is indeed. “I’ll take it,” I say. “Good. Momma really likes you, you know, says you’re a fine young man who can be trusted. Even though you are a lawyer. Ha, ha, ha.” “What about her car?” “I’m driving it to Florida tomorrow.” He hands me a large envelope. “Here are the keys to the house, phone numbers for the insurance agent, alarm company, stuff like that. Plus my address and phone number.” “Where is she staying?” “With us, near Tampa. We have a nice little house with a guest room. She’ll be well taken care of. A couple of my kids are nearby, so she’ll have lots of company.” I can see them now, falling all over themselves to be of service to Granny. They’ll be happy to smother her for a while, they’re just hoping she doesn’t live too long. They can’t wait for her to die so they’ll all be rich. It’s very hard to suppress a grin. “That’s good,” I say. “She’s been a lonely old woman.” “She really likes you, Rudy. You’ve been good to her.” His voice is soft and sincere, and I’m a detached garage in the backyard. The concrete is heavily lined with flowers and shrubs and vines and decorative saplings. The rear lawn is heavily shaded with trees as old as she. There’s a brick patio with flower boxes filled with vividly colored bouquets. She actually hugs me as I present this small gift. She rips off her gardening gloves, drops them in the flowers and leads me to the rear of the house. She has just the spot for the geranium. She’ll plant it tomorrow. Would I like coffee? “Just water,” I say. The taste of her diluted instant brew is still fresh in my memory. She makes me sit in an ornamental chair on the deck as she wipes mud and dirt on her apron. “Ice water?” she asks, plainly thrilled with the prospect of serving me something to drink. “Sure,” I say, and she skips through the door into the kitchen. The backyard has an odd symmetry to its overgrowth. It runs for at least fifty yards before yielding to a thick hedgerow. I can see a roof beyond, through the trees. There are lively little pockets of organized growth, small beds of assorted flowers that she or someone obviously spends time with. There’s a fountain on a brick platform along the fence, but there’s no water circulating. There’s an old hammock hanging between two trees, its shredded cord and canvas twisting in the breeze. The grass is free of weeds but needs clipping. The garage catches

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 3341.24 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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