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The Bishop’s Pawn

  by Steve Berry


(about 385 pages)
96,127
total words
of all the books in our library
40.08%
vividness
of all the books in our library
7.87%
passive voice
of all the books in our library
2.58%
all adverbs
of all the books in our library
0.88%
ly-adverbs
of all the books in our library
1.69%
non-ly-adverbs
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
that has happened. Frustration has brought forth an idea that the solution resides in violence. I simply cannot get across to those young people that I embrace everything they feel. It’s just tactics we can’t agree on. I feel their rage, their pain. But the system is choking them, and us, to death. Foster: It can’t be the entire system. Parts have worked in our favor. The other parts you can fix. King: No. I can’t. I’ve tried and look where we are. The reality is we live in a failed system. Capitalism will never permit an even flow of economic resources. A privileged few will be rich beyond conscience, and almost all others are doomed to be poor at some level. Foster: But we’ve had successes. Desegregation is happening. King: I’ve come to believe that we are integrating into a burning house. Foster: What would you have us do? King: It’s time, Ben, we become firemen. PAUSE] Foster: No. No. Not that. King: We’ve talked about this at length. You knew this day would come. Foster: I’m not going there. King: Ben, it’s vitally important you listen to me. Don’t you think I’ve considered this in every way possible? I’ve thought of little else these past few months. Can’t you see how hard this is for me? And don’t forget, it’s not you who’s going to die. Foster: It doesn’t have to be you, either. King: There is no other way. You’ve seen what we’re facing. The SCLC is street, the air filled with the sweet, sticky smell of freshly mowed grass. The houses were small, single-story, concrete-block rectangles, most with tile roofs and painted either white, pale blue, or yellow. Lots of tall trees signaled that the neighborhood had been here awhile. An enormous brown-and-white dog pounded across one of the front yards, charging with a canine friendliness, a light in its eyes, paws upraised, tail flailing like a whip. Coleen showed the animal a little attention, but it quickly lost interest and padded away. The address we sought was at the end of a long street, another ordinary sort of place, one of the white-painted houses. The same dark-blue, late-model Taurus with tinted windows and the correct Brevard County tag sat parked on the street, the short driveway filled with a flat-bottomed bass boat on a trailer. We walked to the front door and I knocked. It was answered a few moments later by the same man from the cemetery. He appraised me with a careful gaze. But his words sent a chill down my spine. “What took you so long?” Bruce Lael seemed like a man who still breathed the past. He wore a pair of dirty cargo shorts, a loud Hawaiian shirt, and tattered flip-flops. His house cast a measure in simplicity, everything neat and orderly. The living room reminded me of the one at my grandfather’s house back in Georgia, complete with an upholstered sofa, high-backed chairs, flat beige walls, and a brick fireplace

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 1922.54 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 Steve Berry

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