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Last Patriot

  by Brad Thor

(about 356 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:

should have had twenty minutes, but another patrol unit had been right on their heels. If the men had been allowed to take Nura and Salam at one of their homes as Dodd had suggested, they wouldn’t be having this problem right now. Sheik Omar, though, had had other plans. His greatest flaw was that he liked to make statements. When Omar discovered that Nura and Salam already had a rendezvous planned at the Jefferson Memorial, he decided that would be the perfect place to kill them. He saw it as laden with ironic symbolism. In reality, it had been laden with incredible complications, not the least of which was the security camera system. Salam had survived and was in police custody, but Omar didn’t seem to be losing any sleep over it. Dodd could only trust that the evidence they had planted would be enough to convict Salam for Nura’s murder. The car bombing outside the café in Paris had also been overkill, just as Dodd had said it would be. Omar still didn’t care. Once he set his mind on a course of action, he stuck with it regardless. Killing Anthony Nichols up close in his hotel room would have made more sense. It would have been quiet and efficient-the way these things should be done. But Omar didn’t want quiet and efficient. He wanted to send another message that would be heard loud and clear. It was loud and it was clear, all right. The problem was he recalled the hours she had spent among the colorful sponges and corals just offshore. Removing his clothes, the assassin slid into a pair of trunks and walked down to the beach. He’d dealt with sand extensively over the last several years-in his hair, in his eyes, his food, his weapons, but not between his toes where it really belonged. It felt good as the warmth radiated up through his body. Dodd walked into the wet sand and allowed the sea to lap at his feet. Slowly he moved forward until he was up to his waist in the warm water. After marking the time on his watch, he submersed himself beneath the surface and began swimming. He pulled with long, powerful strokes for over half an hour. When he stepped back onto the beach, his breathing was shallow and his pulse rapid. His mind felt clear and sharp. Outside the cottage, he cleaned the sand from his feet and then opened the screen door and stepped inside. He stripped out of his swimsuit and rinsed off in a hot shower. With his hair slicked back and a towel wrapped around his waist, he retrieved his backpack, a glass, and walked out onto the wraparound veranda. He placed everything on the table, sat down, and powered up his satellite phone. As it worked to establish a signal, Dodd opened one of the bottles of Arundel rum he’d bought at the airport in Tortola and poured three fingers into his glass

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 1782.24 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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