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  by Brandon Clark

(about 324 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:

that are coming into DC. We just have to tell them that they’ll be eliminating the competition.” “You’re going to make the blood run in the streets,” Hector said. “And if they don’t buy it, you’re as dead as if Vlad had caught you at Union.” “Then, I guess we have to make a compelling argument.” “I don’t like this,” Hector said. “You don’t even know how to approach these guys. Much less get them to trust you.” “We don’t need them to trust us,” Haley said. “They just have to take the intel we give them and use it.” “What makes you think they won’t kill you when they’re done?” Dana said. “They’ll have seen you take down one gang. They may not want to risk you doing the same to another.” “I’ll have to just stay useful,” Haley said. “One problem at a time.” “I don’t like it,” Hector said. “If you’ve got something better, I’m all ears.” Hector sighed. “Do you have any idea how to get in touch with DS-13?” he asked. “I’ll find them,” Haley said. “If they’re not on PRoM they’ll have to be on Linen Street.” “Don’t be so sure,” Dana said. “I don’t think they’re as high tech as they Volkags. Mostly just old school drugs and guns.” “There’s no way they aren’t somewhere.” “I’m sure they are somewhere,” Hector said. “But if they cops can’t pin them down, I doubt you’ll be able to.” “We can do things the cops can’t The smell of roasted coffee beans was replaced by ozone, the windows darkened, and the lights changed from the warm orange to a muted blue. Jazz music drifted through the air, but instead of speakers, it came from four-piece band standing on the bar. Two baristas stood behind the marble counter. One stood at the register and took orders, passing them along to the other who was making drinks before handing them back to the girl at the register, who then gave it to the customers. Both wore the blue aprons of their real-world counterparts, and their blonde hair was pulled back in ponytails that poked through the tops of their blue visors. They were pretty and identical, with one notable exception. The girl at the register had a thick goatee of dark black hair. Bonnie stepped up to the counter and leaned over the register. “Why don’t you go outside and make sure the newest customer sees you first?” The girl nodded and walked around the counter and out the door. Bonnie watched as she crossed the parking lot and stopped next to the red sports car. The door swung open, and Hamills stepped out. His light-brown hair hung loosely around his shoulders, barely contained by a camo trucker hat. He wore a bright-orange hunting vest, and two rifles were strapped to his back, the barrels poking up over each shoulder. His jaw was sharper and more square, and Bonnie thought he stood a few inches taller. She watched

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 1,622 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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