this is a SHAXPIR project
how does it work?

State of the Union

  by Brad Thor

(about 473 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:

has already been put into action and there’s nothing you can do about that.” “The hell there isn’t,” replied Harvath. “Oh, really? What are you going to do?” “Whatever it takes to stop them.” “Good luck,” responded Alexandra, sliding her chair away from the table again. “Wait a second. You said you thought this was the worst thing Russia could ever undertake.” “And I meant it.” “So why aren’t you doing something?” “I am. On my own.” She wasn’t making any sense. “Then what did you mean by now that the plan has been put into action, there’s nothing we can do about it?” “I said there’s nothingyou can do about it.” “Okay, hold on a second. We keep losing focus here.” “I’m losing nothing, Agent Harvath, except my patience with having my time wasted.” “I understand,” replied Scot. “I can see, after what happened to your father, regardless of who was responsible for the leak, why you would be reluctant to tell me what you know.” “Can you?” “Yes, I can, but we need to work together on this.” “Why is that? Do you have some sort of information that may prove helpful to me?” “Maybe,” replied Harvath. “I think you’re lying. I don’t think you have anything at all to offer. If you did, you wouldn’t be here.” She was right. She had him. She was his only lead. He needed to get her to cooperate. “No matter what you think, you can’t do this alone. I can the bedrooms he assumed faced the front of the building and kicked it open. Three very attractive young women and one balding, overweight middle-aged man had shattered the window and were frantically trying to pry loose the decorative fleur-de-lis ironwork that stood between them and a one-story drop to freedom. “Stand back,” ordered Harvath as he laid Nixie on the bed and took aim at the grating. He fired five shots in quick succession, sending sparks and chunks of masonry in all directions. When Harvath lowered his pistol, the middle-aged client quickly moved back to the window and began shaking the ironwork for all he was worth. He was a man possessed, and when the grating failed to give way, he began crying, convinced he was going to die. Spent, the man fell to the floor and continued to sob. “Passen Sie auf!” yelled Herman as he set Kiefer down on the floor and after picking up an antique bureau, ran at the ironwork-covered window with all his might. There was the sound of splintering wood and groaning metal as the improvised battering ram struck its target head on and the fleur-de-lis grating tore from its moorings and fell with a crash onto the sidewalk below. Wheezing, Herman withdrew the dresser from the window and shoved it into the corner. Immediately, the sobbing man began scampering out the window. “Hey,” yelled Harvath. “Get back here.” Herman reached through the window, grabbed the man by his trousers and yanked him back

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 2362.50 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.

similar books by different authors

other books by Brad Thor

something missing?

Our library is always growing, so check back often…

If you’re an author or a publisher,
contact us at to help grow the library.