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The Street Lawyer

  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:

out with every detail because I was in control of the conversation. He was critical of my thievery, but I didn’t try to defend it. The file itself was another complicated issue, one neither of us wanted to explore. “So the Drake & Sweeney bridge has been burned?” he asked as we ate. “Permanently.” “How long do you plan to be a public interest lawyer?” “I’ve just started. I really hadn’t thought about the end. Why?” “How long can you work for nothing?” “As long as I can survive.” “So survival is the standard?” “For now. What’s your standard?” It was a ridiculous question. “Money. How much I make; how much I spend; how much I can stash away somewhere and watch it grow so that one day I’ll have a shitpot full of it and not have to worry about anything.” I had heard this before. Unabashed greed was to be admired. It was a slightly cruder version of what we’d been taught as children. Work hard and make plenty, and somehow society as a whole would benefit. He was daring me to be critical, and it was not a fight I wanted. It was a fight with no winners; only an ugly draw. “How much do you have?” I asked. As a greedy bastard, Warner was proud of his wealth. “When I’m forty I’ll have a million bucks buried in mutual funds. When I’m forty-five, it’ll be three million. When I’m fifty, it’ll be ten. And that’s when I’m a tray of sliced white bread. I took it and followed him to a table. “It’s real complicated. You got bologna here, mustard and mayo there. Half the sandwiches get mustard, half get mayo, one slice of bologna, two slices of bread. Do a dozen with peanut butter every now and then. Got it?” “Yeah.” “You catch on quick.” He slapped me on the shoulder and disappeared. I hurriedly made ten sandwiches, and declared myself to be proficient. Then I slowed, and began to watch the people as they waited in line, their eyes downcast but always glancing at the food ahead. They were handed a paper plate, a plastic bowl and spoon, and a napkin. As they shuffled along, the bowl was filled with soup, half a sandwich was placed on the plate, then an apple and a small cookie were added. A cup of apple juice was waiting at the end. Most of them said a quiet “Thanks” to the volunteer handing out the juice, then they moved away, gingerly holding the plate and bowl. Even the children were still and careful with their food. Most seemed to eat slowly, savoring the warmth and feel of food in their mouths, the aroma in their faces. Others ate as fast as possible. Next to me was a gas stove with four burners, each with a large pot of soup cooking away. On the other side of it, a table was covered with celery, carrots, onions, tomatoes, and whole chickens

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 1960.50 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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