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State of the Union

  by Brad Thor


(about 473 pages)
118,125
total words
of all the books in our library
37.67%
vividness
of all the books in our library
8.48%
passive voice
of all the books in our library
2.91%
all adverbs
of all the books in our library
1.01%
ly-adverbs
of all the books in our library
1.90%
non-ly-adverbs
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:

MOST PASSIVE PAGE
MOST VIVID PAGE
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 headed south and crossed the Neva River via the Liteynyi Bridge. The air was cold and damp, much damper than it had been in Berlin. Heavy, snow-laden gray clouds crowded the sky, while a thin layer of silvery flakes covered the streets and sidewalks. As he walked, Harvath reflected on everything that had happened over the last four days, culminating in his misadventures on the Baltic with the two Russian Federal Border Guard Service patrol boats. After a long time in the water, he had finally rendezvoused with the Navy SEAL Team assigned to bringing him the rest of the way into Russia. They were operating a commandeered smuggler’s boat, which thankfully had a fully equipped galley. After changing out of his dry suit, Harvath downed about a gallon of water, then ate a meal of fried eggs accompanied by a cup of black coffee and a hunk of rye bread. They dropped him off just up the coast from a town called Zelenogorsk, where he caught theelektrichka to St. Petersburg. He wore a fisherman’s turtleneck sweater, jeans, boots, and his black leather jacket. He also wore a super lightweight KIVA technical backpack, which contained a hydration system, a change of clothes, and some other goodies the SEALs had provided him with. As he cut through the Mikhailovsky Gardens, Harvath saw his third group of Russian schoolchildren and decided that Fridays in St. Petersburg must be field-trip day. Beyond the gardens, stood his destination—the majestic Hermitage Museum. The museum

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.

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other books by Brad Thor

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