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Death in Focus

  by Anne Perry

(about 389 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:

we have no idea who’s behind it?” “Not precisely, though there are many cells of anti-government factions where we have useful contacts. But I didn’t contact Newton, and no one from my command did.” Lucas’s mind raced, trying to work out what could have happened, to think of all the possibilities. None of them was good. “We can’t trust Cordell with any of this,” Howard reminded him quietly. “Or anyone else,” Lucas added. “They’d take it to him, eventually. Is he involved in the assassination plot, do you know?” “It’s possible, I suppose. But I have no proof. I’m still working on a plan to test him. If I move too fast, it will be obvious.” “Then I think the best we can do is damage limitation,” Lucas replied grimly. “We haven’t time to prevent the plot. I assume we’ve no idea who’s going to do it, or how, or you would have mentioned it.” “Sniper, probably,” Howard said, his face tight. “But at a rally it could be anyone from anywhere. If we interfere, we could be playing into their hands, making it easier for them.” “There will be security.” Lucas was following another thread. “Whoever it is could well be part of that…” “But that would be suicide.” Howard looked at him. “Someone who’s so desperate he’s prepared to sacrifice himself?” “Possibly. Who’s planning it, that’s the key. And who gave Newton the information, and why?” Lucas asked. “And is it even true?” Howard raised his eyebrows. “Is arm. He swung around, his face surprised and angry. For two seconds, no one moved. Walter stood frozen, horrified. The guard was the first to move. He pushed Elena even harder against the wall with his right hand, then threw all his weight behind a charge at Walter, carrying him back through the doorway into the connecting platform between the two carriages. Walter stepped backward, reaching for the exit doorway and touching the handle. The guard followed after him, missing a step and staggering. He was far bigger and heavier than Walter. If he caught him, it would be over in seconds. He had the uniform, the authority. What he said would be believed. He reached Walter and drew back his arm to lash out at him. He could break his neck with a blow that was just right. Walter staggered against the door, caught hold of it, and threw it open, then dived onto the floor. The guard stumbled. Walter rolled over and used both feet to kick at him as hard as he could. The guard swayed, arms flailing, reaching for the door handle and missing. His mouth opened wide as he slipped out of the doorway into the darkness, his scream lost in the night. Walter climbed to his feet slowly, his face slack with shock. He reached for Elena’s hand to steady himself. “Hang on!” She gripped his hand and leaned backward as he grasped the door, still swinging, and slammed it shut. Then he fell

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 1943.38 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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