this is a SHAXPIR project
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  by Brad Thor

(about 377 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:

what you’re saying is you can’t do it,” replied Harvath. “No,” returned McCauliff, “What I’m saying is that I don’t want to do it. Not if you’re asking me to hide it from my superiors.” “That’s exactly what I’m asking you to do.” “I could get fired, Scot. What would I do then?” “If you get fired, I’ll make sure you get work over at Homeland Security.” Even though he was all the way down in Bethesda, Maryland, McCauliff laughed so loud, it sounded like he was standing on the street right next to them. “Thanks, but no thanks. I’d rather collect unemployment.” “For Christ’s sake, Kevin, this is serious. Have you seen what’s happened up here?” “Of course I have. It’s all over the place. Worse than 9/11, they’re saying.” “And it could get worse still if you don’t help.” “Scot, you’re going to have to tell me what I’m doing this for.” “For me, Kevin.” “We’re close friends and all, but that’s not good enough.” “I’ll take your sister to dinner again, okay? How about that?” said Harvath. He knew the analyst’s sister had a thing for him. After the last time McCauliff had helped him out on a hush-hush case, that had been the payment he’d asked for in return. “We weren’t in the middle of a national crisis that time. We’re not supposed to be diverting any resources right now. If I get caught, I’m going to need a cover story.” “And I don’t have to go to the toilet. When he approached the bedroom door, his heart caught in his throat. “Hands on top of your head,” said one of several black-clad figures armed with very nasty-looking assault rifles. Mohammed was stunned. How could the house have been breached? The man in black told him once more to put his hands on top of his head, this time in Arabic. Ignoring the order, Mohammed lunged back into the bedroom toward the PowerBook. As he did, a pair of barbed probes from a TASER X26 ripped through his cotton robe and embedded themselves in the flesh of his back. When the electricity raced through his body, his muscles locked up and he fell like a dead tree trunk, face-first onto the stone floor. His hands and feet were Flexicuffed, and the last thing he saw before being dragged from the room was two of the men going for his laptop. Had they been paying attention, they might have seen Mohammed smile. Seconds later an explosion rocked the small bedroom, and the hallway was showered with titanium shrapnel, chunks of plaster, and pieces of charred human flesh. SCOTTISH HIGHLANDS MAY 29 Eileanaigas House was a twelve-bedroom estate located on the northern end of a private, wooded island in the middle of the River Beauly. In addition to its majestic silver birch, Douglas fir, spruce, and pine trees, the estate also boasted a dramatic gorge, a heated outdoor swimming pool, small formal gardens, an extensive wine cellar

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 1883.10 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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