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Theodore Boone: The Accomplice

  by John Grisham

(about 182 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:

can’t do anything right now, so it’s best to go home and get some rest.” “Rest? I won’t sleep a wink. Can I at least see them? Woody is only thirteen.” “Sorry, ma’am, but we have rules regarding visitation. Trust me, though, both boys are safe. And by the way, they’re good boys. I’ve talked to them.” “I guess I should say thanks but that doesn’t quite feel right. After all, they’re charged with armed robbery.” “And underage drinking.” “Of course. Anything else?” “Not that I know of.” “Why didn’t they call me? They both had phones.” “Well, I’m not sure about that. The phones were confiscated when they were arrested, standard procedure.” Randolph flipped through his paperwork. “Don’t know why they were not allowed to call home. Somebody else must’ve screwed up.” “Screwed up? These are my kids we’re talking about. Where are their phones now?” “In custody. They can’t have phones in their cells. Another rule.” “A lot of rules around here and none of them seem to be working. It’s pretty rotten that you don’t allow a thirteen-year-old boy to call his mother when he’s being thrown in jail.” “You’re right. I agree. I’ll speak to my supervisor. Sorry about that.” “You’re sorry that somebody else screwed up. This is insane. Why can’t I talk to them now?” “Because it’s almost two in the morning. Lights out at midnight back there. I’m sorry, ma’am, but at least your boys are safe.” “Safe? Forgive me but things don’t appeared, making a quick exit and holding an entire case of canned beer. He yanked open his door, tossed the beer into Woody’s lap, jumped in, and shifted gears. The Mustang roared away from the store, spraying gravel all over the place. “Beers please!” Garth said, obviously proud of himself. Woody pulled off two cans and handed them to the front. He was finished for the night. “How’d you get the beer?” he asked when the store was out of sight. “Just told the guy I was thirsty, needed to borrow some beer.” Garth popped a top and slugged his beer. “Come on,” Tony said. “The guy gives you credit?” Garth smacked his lips and wiped his mouth with the back of his hand. He reached into his left jeans pocket and pulled out something. It was a black pistol, shiny in the darkness. “This is instant credit all over town,” Garth said with a laugh. He turned around quickly, aimed it at Woody’s face, and pulled the trigger. A blast of warm water hit Woody in the eyes. His heart had stopped in a split second and his mouth opened in horror. Garth roared with laughter as he turned his attention back to the highway. Tony was not amused and yelled, “What are you doing? You robbed that guy?” “No, of course not,” Garth said, still laughing. “You can’t rob someone with a water pistol. I just borrowed some beer, and some of his cash, and I’ll go back

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 910.92 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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