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Red Specter

  by Brian Andrews & Jeffrey Wilson


(about 486 pages)
121,477
total words
of all the books in our library
44.81%
vividness
of all the books in our library
6.90%
passive voice
of all the books in our library
2.48%
all adverbs
of all the books in our library
0.83%
ly-adverbs
of all the books in our library
1.65%
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
is how you greet me?” the Russian President said. “Bright Falcon is under attack!” “I know.” “I shouldn’t have to ask this question, Arkady. Is it the Americans?” “I do not have confirmation, but who else could it be?” the old spymaster said. “The audacity,” Petrov shouted. “The unbridled audacity to attack us on Russian sovereign soil. This is an act of war, Arkady. An act of war I tell you!” “It is aggressive and unprecedented, but we have been aggressive, too. We’re already at war with the Americans; it’s just neither side has the balls to admit it. Cyber offensives, false flags, propaganda, proxy operations—both sides have been doing it for a long time now. This is probably payback for Turkey. I think it’s safe to assume Warner knows what you did.” “What I did? No, what you did. All that shit was your idea. Not mine. I went along with it because I trusted you, but now I’m starting to wonder if you’re losing your edge. Maybe it’s time for you to actually retire.” “You’re upset, Mr. President. And you have every right to be, but now is not the time to make snap decisions you might later regret.” “Who are you to lecture me? I’m the President of Russia, not you, old man.” Arkady held his tongue until he’d quelled the urged to fire back. You are a president of my creation, you ass. And you will remain so at my pleasure. Instead he said, “You’re man in a tracksuit, outside a yoga studio, to set up a meeting with one of the most dangerous Russian Vory bosses in Europe. Strange world. Dempsey nodded and shoveled some salad onto a plate, then reached over and loaded a spoon with charred octopus. “You know you really shouldn’t eat octopus,” Munn said, his brow furrowed. “Why’s that?” Dempsey said. “E. coli or some shit?” “No,” Munn said, shaking his head. “’Cause it’s like eating bottlenose dolphin or gorilla meat.” “You mean they’re endangered species?” Grimes asked. “No, but they’re really friggin’ smart—probably sentient. It just ain’t right.” “You know what else is smart?” Dempsey said, spearing a hunk of charred boar meat from Munn’s container. “Pigs. Pigs are really smart. Smarter than dogs, they say, which means pigs are probably sentient, and you’re eating one right now. But you already knew that, and you’re still eating it. And do you know why, doc?” “Why?” “Because pig is fucking delicious,” Dempsey said, pulling the meat off his fork with a snarl. “And so is charred octopus, especially when it’s dripping in garlic butter. So shut your yap.” “Is this what you guys were like downrange?” Grimes asked, looking back and forth between them. “Yeah, pretty much, except downrange there was no delicious pig or octopus to eat,” Dempsey said through a laugh. “What did you guys eat, by the way?” “Dirt,” Munn said with a mouth full of boar. “And sand,” Dempsey added. “Dirt and sand, mmm, delicious

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 2429.54 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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