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The Whistler

  by John Grisham

(about 431 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:

littering that she might have said something about. Now, though, it was unimportant. “What’s our priority?” she asked. Cooley said, “Carlita can’t stay on the boat much longer. She’s low on food and water and the harbormaster is pestering her for docking fees. I’d like to rescue her some way and secure his stuffphones, files, anything that needs protecting. But, again, it’s just too risky. There’s a good chance someone is watching and waiting.” “I can do it,” Gunther said. “No way,” Lacy said, surprised. “You’re not getting near this.” “Listen, I have a small plane at the airport. I can be in Key Largo in two hours. They, if they are really there, have no idea who I am. Carlita will know I’m coming so she’ll be ready. She’ll tell us exactly where the boat is located. I’ll be in and out before anybody knows what’s happening. If they wake up and somehow manage to follow us to the airport, there’s no way they can scramble a plane fast enough to chase us. I’ll drop her off somewhere along the way and she can catch a bus to wherever she wants to go.” “What if someone tries to confront you?” Cooley asked. “You heard my sister, sir. I like guns and I’ll have one in my pocket. I don’t frighten too easily anyway.” “I don’t know, Gunther,” Lacy said. Cooley was quickly warming up to the idea. Lacy was not. “We’re going to do it, okay, Sis? It’s came to rest on the shoulder of the narrow road, its mangled front end almost in a shallow ditch. The air bag in the steering wheel exploded onto Lacy’s chest and into her face, and knocked her dizzy. The crown of her head struck the ceiling of the Prius as it caved in, cutting a nasty gash across her skull. The air bag on the passenger’s side failed to open. With no seat belt and no air bag, Hugo smashed into the windshield, shattering it with his head and shoulders. The glass ripped his face to shreds and opened a long cut on his neck. Glass and metal and wreckage sprayed the scene. The right front tire of the truck was spinning. Its driver slowly got out, removed his black motorcycle helmet and pads, and checked behind him. Another pickup was slowing down. He stretched his legs, rubbed his left knee, and walked with a limp to the front of the smashed Prius for a quick look. He saw the lady, her face covered with blood, her air bag draped before her, and he saw the black guy bleeding from his many injuries. He loitered for a moment, then stumbled away and climbed into the second pickup, where he waited and rubbed his leg. He noticed his nose was bleeding. Its driver got behind the wheel and they drove away, slowly, all lights off. The pickup turned into a field, and disappeared. No 911 call was made. The nearest house

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 2156.34 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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