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Ghosts of War

  by Brad Taylor

(about 450 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:

didn’t. And now I don’t have to. We have the mission. Whatever those guys were talking about, it’s irrelevant.” I said, “It’s not irrelevant. It’s important. What those two were discussing is much more important than some Torah. I’m sure of it.” “Pike, I don’t own Mossad assets. We have what we need. The rest is just extraneous intel. Smoke and mirrors that have nothing to do with the mission. I can’t ask them to use their cell to translate. They’re busy with other, more pressing taskings.” “You mean you won’t because you don’t want to lose the next contract by being a pest.” He leaned back, looked at Shoshana, then said, “Yes, that’s true. I’m not a member anymore. I have to make a living now. I can’t order people. I can only beg, and that has to be tied to the mission. When the translation comes out, it won’t be anything we don’t already know, and it will hurt my company.” I kicked the table and said, “I don’t give a shit. I’m asking. Not as a friend in a company, but as a compatriot, regardless of where we’re from. This is important.” “Why?” I leaned back and said, “I don’t know why. It just is.” Shoshana was giving me her weird glow, only this time it was with a twist of understanding. She got it, and I was glad to have her on my side. She said, “He feels something. He sees what’s going on.” That wasn’t a sound like a bullwhip cracking split the air, and Knuckles swung the battering ram with both hands, shattering the door inward. He flattened against the wall, and we flowed into the room. I saw an older man wearing a fedora standing over the body of someone in a small kitchen, shouting hysterically. I shot him in the face. I cleared my sector and heard Aaron’s weapon cycle, hitting a man attempting to hide behind a ratty chair, his head flying back and a small pocket pistol clattering to the floor. Knuckles stacked on a door and I ran up behind him, Aaron keeping his weapon focused on the kitchen. Knuckles kicked in the door, and we found a bathroom, too small to hide anyone. For the first time, I heard gunfire that wasn’t suppressed. Someone else was shooting. Aaron returned fire, then slammed back into the entryway, seeking cover behind the brick and saying, “Back room. Off the kitchen.” We slid down our wall, seeing the rounds slap into the top of the stove. I said, “Hi-low.” I took a knee, and then Knuckles squeezed my shoulder. We both turned the corner, firing controlled pairs into the doorway.” The weasel-eyed man heard the snap, sounding like a firecracker, then screaming from outside the bedroom from someone losing control. The fat man loosened his hold on Mikhail’s shoulders, and then they heard the apartment doorjamb splinter, followed by footsteps pounding in. The fat man ran to the door and peeked

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 2248.76 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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