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Crusader One

  by Brian Andrews & Jeffrey Wilson

(about 461 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:

Rostami or manufacture evidence that someone else is responsible. Boko Haram, Al-Shabaab, ISIS—I don’t give a shit—just get me a sacrificial lamb.” “I don’t have Rostami. He’s in the wind,” he said. “Or maybe he’s dead.” “Do you think the Americans already have him?” “No,” Modiri said. “If they had him we would know. They would have publicized his capture to paint us the villain to the world.” “Maybe they are just waiting for the right time.” “I think that time has passed, but let’s say for argument’s sake they kept it from the media; they certainly would have informed the Zionists,” Modiri said. “But if they’d informed the Zionists, I would know because I have a highly placed source in their intelligence community.” “Ah yes, the fabled Broken Mirror… but why did we hear nothing from your source two days ago? Hmmm? Where was your loyal Zionist double agent when we needed him most before the Israeli attack?” “I don’t know, sir. I assume my asset could not get word to us because of the elevated security. An attempt to do so could have proven disastrous.” “The attack was disastrous!” Esfahani shouted, slamming his fist down on the desk. “With all due respect, sir, would it have changed anything? We anticipated an attack was coming; it would have been confirming intelligence only. The outcome would have remained the same. The capabilities of the Artesh are what they are. We are outgunned. It is the simple truth.” “You’re blaze, the charred remains of what appeared to be a boat came into view. “We may have a RIB,” Dempsey said. His heart rate picked up, and he flipped down his NVGs and turned back to the dark woods behind him. Scanning over his rifle, he methodically searched a 180-degree arc, but nothing caught his attention. No movement. No crouching figures. Turning back toward the light, he flipped up his night vision and said, “Clear.” A beat later, Munn’s voice in his ear: “Clear.” “What about you, Zero? Anything?” “I hold no heat signatures outside ten meters.” “Check,” Dempsey said and lowered his assault rifle to a combat carry. Staring into the inferno, he approached the charred remains of the boat. The gas from the fuel tanks was long consumed, leaving the twisted, melted mess in the center of a twenty-five-foot circle of scorched earth. The fire was moving into the canopy above now, but patches of bark on the giant oak’s trunk were still sizzling and popping, sending blue tendrils of smoke skyward. A gust of wind blew embers into his face. A beat later, the smell hit him—the nauseating fetor of cooked flesh. This was not the first time he’d encountered charred human remains. “Looks like two bodies,” Munn said, crouching down beside the smoldering remains of the boat. Dempsey squinted at the outline of two or maybe three smoking piles of flesh. Just past Munn, he saw a charred boot with a hunk of burned leg

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 2304.86 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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