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The Gods of Guilt

  by Michael Connelly

(about 454 pages)
113,514
total words
81st PERCENTILE
of all the books in our library
26.21%
vividness
4th PERCENTILE
of all the books in our library
8.50%
passive voice
65th PERCENTILE
of all the books in our library
2.88%
all adverbs
46th PERCENTILE
of all the books in our library
0.79%
ly-adverbs
25th PERCENTILE
of all the books in our library
2.09%
non-ly-adverbs
72nd PERCENTILE
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:

MOST PASSIVE PAGE
MOST VIVID PAGE
were arrested.” “It was not my gun. I have said this from the very beginning. No one has believed me.” “I wasn’t there at the beginning—at least on your side. But I’m pretty sure I believe you now.” “And you’ll do something about it?” “I’m going to try.” “Do you understand the stakes that are involved?” “I understand that the people who did this to you will stop at nothing to keep their crimes secret—because I’m pretty sure you’re not the only one they did it to. They already killed Gloria Dayton. So we will have to be very cautious until we can get this into open court. Once we are there, it will be harder for them to hide behind their badges and the cover of night. They’ll have to come out and answer to us.” Moya nodded. “Gloria—she was important to you?” “For a time. But what is important to me now is that I have a client in the county jail accused of killing her and he didn’t do it. I have to get him out and I need you to help me. If you help me, I will certainly help you. That all right with you?” “It is all right. I have people who can protect you.” I nodded. I expected that he might make such an offer. But it wasn’t the kind of protection I was interested in. “I think I’m all right,” I said. “I’ve got my own people. But I’ll My face had been on TV and billboards scattered around town last year in the lead-up to the election. I didn’t want to be recognized here. I firmly knocked on the door and then stepped back next to Earl. He had on his Ray-Ban Wayfarers and his standard black suit and tie. I was in my charcoal Corneliani with the pinstripes. Still, standing shoulder to shoulder, both of us wearing shades, I was reminded of the black guy/white guy combo in a popular series of movies I had enjoyed with my daughter during better times. I whispered to Earl. “What were those movies about the two guys who hunt aliens for a secret govern—” The door was pulled open. A woman who looked a bit younger than the thirty-nine Cisco reported for Roberts stood in the doorway. She was tall and lithe and had reddish-brown hair that fell to her shoulders. As far as I could tell, she wore no makeup and didn’t need to. She was wearing gray sweatpants and a pink T-shirt that said GOT FLEX? on it. “Kendall Roberts?” “Yes?” I started to pull my wallet out of my inside coat pocket. “My name is Haller. I’m with the California Bar and this is Earl Briggs. I wonder if we could ask you a few questions about a situation we’re investigating.” I flipped my wallet open and briefly held it up so she could see my bar card. It had the Bar’s scales of justice logo

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 2270.28 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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other books by Michael Connelly

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