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The Hate U Give

  by Angie Thomas

(about 382 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:

don’t feel like talking about it.” “So you can be mad at me, but you can’t even tell me why?” “It has nothing to do with you.” “Yeah, it does if you’re giving me the silent treatment,” he says. “You wouldn’t understand.” “Maybe you should let me determine that myself?” he says. “Here I am, calling you, texting you, everything, and you can’t tell me why you’re ignoring me? That’s kinda shitty, Starr.” I give him this look, and I have a strong feeling I look like Momma and Nana right now with their “I know you didn’t just say that” glare. “I told you, you wouldn’t understand. So drop it.” “No.” He folds his arms. “I came all the way down here—” “All the way? Bruh, all what way? Down the street?” Garden Heights Starr is all up in my voice right now. “Yeah, down the street,” he says. “And guess what? I didn’t have to do that. But I did. And you can’t even tell me what’s going on!” “You’re white, okay?” I yell. “You’re white!” Silence. “I’m white?” he says, like he’s just hearing that for the first time. “What the fuck’s that got to do with anything?” “Everything! You’re white, I’m black. You’re rich, I’m not.” “That doesn’t matter!” he says. “I don’t care about that kinda stuff, Starr. I care about you.” “That kinda stuff is part of me!” “Okay, and… It’s no big deal. God, seriously? This is what you’re pissed about? This is I should be worried about some unknown dudes seeing me in my pajamas, but that’s the beauty of sleeping in tanks and basketball shorts. They won’t see much. The kitchen’s standing-room-only. Guys in black slacks, white shirts, and ties are at the table or standing against the wall, shoveling food in their mouths. They have tattoos on their faces and hands. A couple of them give me quick nods and mumble “S’up” through mouths full of food. The Cedar Grove King Lords. Damn, they clean up nicely. Momma and Aunt Pam work the stove as skillets full of bacon and eggs sizzle, blue flames dancing beneath them. Nana pours juice and coffee and runs her mouth. Momma barely looks over her shoulder and says, “Morning, Munch. Your plate’s in the microwave. Come get these biscuits out for me, please.” She and Aunt Pam move to the ends of the stove, stirring the eggs and turning the bacon. I grab a towel and open the oven. The aroma of buttery biscuits and a heat wave hit me head-on. I pick the pan up with the towel, and that thing is still too hot to hold for long. “Over here, li’l momma,” Goon says at the table. I’m glad to put it down. Not even two minutes after I set it on the table, every last biscuit is gone. Goddamn. I grab my paper towelcovered plate from the microwave before the King Lords inhale it too. “Starr, get those other plates

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 1910.72 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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