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Stars Like Cold Fire

  by Brent Nichols

(about 282 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:

one has told me what the charges are. No one has offered me counsel. I’ve been held incommunicado, and I don’t know why.” Lines of incredulity wrinkled her forehead. “That’s not how it happens.” “And yet, here we are.” I fought to smother my rising frustration. “Thank you for coming to see me.” “This isn’t how you book legal counsel.” My fists clenched. “I know.” “They’re supposed to assign you counsel after your arrest.” “I’ll be sure to take it up with the people who didn’t arrest me,” I assured her. “Can we move on?” “Why didn’t they assign you counsel?” It was very difficult not to shout at her. “I don’t know. You’ll have to ask ‘them’, whoever ‘they’ are.” “That’s not how it’s supposed to—” “WAKE UP!” Ackerman jumped, and I said, “It’s a conspiracy. I’m being shafted. I don’t have counsel, I wasn’t assigned counsel, and if you make me tell you one more time—” I fought for self-control, and she stared at me, her face pale. When I was sure I could keep my voice level I said, “I’m sorry. Can you tell me what I’ve been charged with?” Her head tilted and she stared into empty air, reading from her implants. “Reckless endanger… That’s odd.” “What is?” “It was reckless endangerment before. Now it’s cowardice.” My stomach tightened. “That doesn’t make any sense,” she went on. “I mean, the two are basically opposites, right? You did too much, or you didn’t do enough.” “I’m being the third morning out from Amethyst I asked Johnson for a hard boiled egg and toast. He couldn’t seem to fry an egg properly to save his life, but I thought boiling might be within his abilities. He plopped a plate in front of me with a couple of slices of burnt toast and an egg, still hot to the touch. I wrinkled my nose at the toast, then lifted my knife and sliced the egg in two. Raw egg pooled on my plate. A bit of the egg white closest to the shell was partially cooked, but the rest was a soggy mess. I was staring at it in dismay when I heard a snicker behind me. I glanced back to see Craigie slouching past on the way to his bunk. Harcourt sat beside me, trying to hide a smirk. I looked at his breakfast. He had a bowl of oatmeal dotted with raisins. When Johnson served me oatmeal, it was plain. Furthermore, Harcourt’s oatmeal wasn’t the familiar congealed brick. His oatmeal looked moist and delicious. Properly cooked, in other words. I thought back to my first breakfast on the ship. I had written it off as a fluke, but the truth seemed suddenly obvious. Johnson knew how to cook. He was ruining my food deliberately. A wave of fury washed over me, and I gripped the edge of the counter, fighting for self-control. My muscles strained until I feared I would tear the counter top from its moorings

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 1408.12 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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