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The Rooster Bar

  by John Grisham

(about 392 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:

by ICE agents. She was sent to El Salvador, where she was reunited with her family of undocumented workers who had been removed a month earlier. The problem was the student had been born in the U.S. and had full citizenship. Her appeals and paperwork still languished somewhere deep in the bureaucracy. Zola told them she had found a dozen cases of U.S. citizens being ensnared in ICE raids and removed, and each arrest had happened after the detention of family members. She was living in fear and it was debilitating. Mark and Todd listened with sympathy. When she finished, and the tears had stopped, Mark said, “Well, we’ve found a great hiding place, and there’s room for you.” “Where?” she asked. “Upstairs. We’re sharing a dump on the fourth floor, no elevator I might add, and there are two rooms just below us. Maynard says we can have it for very reasonable rent.” “Who’s Maynard?” “Our boss,” Todd said. “He owns the place.” “It’s not very nice,” Mark said. “But you would have your privacy, or some of it.” “I’m not rooming with you guys.” “No, not at all. We’ll be on the fourth floor and you’ll be on the third.” “Does it have a kitchen?” “Not really, but then you don’t need to cook anyway.” “How about a bathroom?” “That could be a problem,” Todd said. “The only bathroom is on the fourth floor, but we can make it work. It’s not ideal, Zola, but we’re Todd slipped into Gordy’s apartment without a sound and found both Mark and Zola asleep. He shook Mark’s arm and whispered, “My turn.” Mark stood, stretched his stiff joints and muscles, and walked across the hall, where he fell onto Zola’s sofa. Before dawn, Gordy got out of bed and put on his jeans, sweatshirt, socks, and denim jacket. Holding his hiking boots, he stood by the door and listened. He knew they were in the den, waiting for him to make a move. He gently opened the bedroom door and listened. He took a step into the den, saw their silhouettes on the sofa and in the chair, heard their heavy breathing, and silently walked to the door. At the end of the hallway, he put on his boots and left the building. At the first hint of sunlight, Zola awoke and sat up. Seeing the bedroom door open she jumped to her feet, turned on the lights, and realized Gordy had managed to escape. “He’s not here!” she yelled at Todd. “He’s gone!” Todd scrambled out of the chair and walked past her to the bedroom, a small square space where hiding would be impossible. He poked through the closet, looked in the bathroom, and yelled, “Shit! What happened?” “He got up and left,” she said. They stared at each other in disbelief, then walked over to break the news to Mark. The three hurried down the stairs and along the first-floor hallway to the building’s rear door

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 1958.16 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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