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The Summons

  by John Grisham

(about 334 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:

rang?” “Returning yours. How’s it going?” “Well, I was doing fairly well until I got a letter from the old man. You get one too?” “It arrived today.” “He thinks he’s still a judge and we’re a couple of delinquent fathers, don’t you think?” “He’ll always be the Judge, Forrest. Have you talked to him?” A snort, then a pause. “I haven’t talked to him on the phone in two years, and I haven’t set foot in the house in more years than I can remember. And I’m not sure I’ll be there Sunday.” “You’ll be there.” “Have you talked to him?” “Three weeks ago. I called, he didn’t. He sounded very sick, Forrest, I don’t think he’ll be around much longer. I think you should seriously consider—” “Don’t start, Ray. I’m not listening to a lecture.” There was a gap, a heavy stillness in which both of them took a breath. Being an addict from a prominent family, Forrest had been lectured to and preached at and burdened with unsolicited advice for as long as he could remember. “Sorry,” Ray said. “I’ll be there. What about you?” “I suppose so.” “Are you clean?” It was such a personal question, but one that was as routine as, How’s the weather? With Forrest the answer was always straight and true. “A hundred and thirty-nine days, Bro.” “That’s great.” It was, and it wasn’t. Every sober day was a relief, but to still be counting after twenty years was disheartening. “And I’m mouth shut. After the first cup of coffee, Ray relaxed and began to enjoy the waves of conversation and laughter around him. Dell was back with enough food for eight; pancakes, a whole hog’s worth of sausage, a tray of hefty biscuits with a bowl of butter, and a bowl of somebody’s homemade jam. Why would anyone need biscuits to eat with pancakes? She patted his shoulder again and said, “And he was such a sweet man.” Then she was gone. “Your father was a lot of things,” Harry Rex said, drowning his hotcakes with at least a quart of somebody’s homemade molasses. “But he wasn’t sweet.” “No he was not,” Ray agreed. “Did he ever come in here?” “Not that I recall. He didn’t eat breakfast, didn’t like crowds, hated small talk, preferred to sleep as late as possible. I don’t think this was his kind of place. For the past nine years, he hasn’t been seen much around the square.” “Where’d Dell meet him?” “In court. One of her daughters had a baby. The daddy already had a family. A real mess.” He somehow managed to shovel into his mouth a serving of pancakes that would choke a horse. Then a bite of sausage. “And of course you were in the middle of it.” “Of course. Judge treated her right.” Chomp, chomp. Ray felt compelled to take a large bite of his food. With molasses dripping everywhere, he leaned forward and lifted a heavy fork to his mouth

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 1672.36 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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