this is a SHAXPIR project
how does it work?


  by David McCaleb

(about 340 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:

heads were down looking at a magazine or turned to the side, obscured by other passengers. Lori turned up a palm, speaking low. “I think we’re being paranoid. You can’t tell from these.” “Which is why I think we’re being followed. They’re evading. They don’t want to be photographed.” “Or they’re just reading tourist brochures and you’re being paranoid.” “I don’t forget faces.” Lori leaned back, nodding slightly. “True. What do you want to do?” “This train is a slow mover. I could grab one, jump off behind those boulders, and interrogate.” Lori blinked and stared at him blankly. “You shouldn’t be allowed to roam in free society. What if you’re wrong? Maybe my boss told them to follow since someone tried to kill me a few months back—they could be on our side. Plus, you’re not the only one carrying a weapon. This is Colorado, you know. There’s lots of other pistols on this train. One of them makes you as the bad guy, and you’re a casualty of friendly fire.” “I could be nice. Just sit down across from them and ask. Play it as it comes.” Lori closed her eyes. She covered Penny’s ears and whispered. “If I were a tail, that would be a definite sign of aggression.” “So?” Another sigh. “Dial up the fact that we’ve got families here, ours being one. Plus, they’d lie and we’d have no way of proving it. A good tail has flawless backstory.” “Then what the hell am green ridge rushed past. The calloused brown bark of white pines dotted stands of gray-striped sugar maples and the peeling skin of red ones. Across a frontage road sprouted a clump of birch, trunks wrapped with shredded linen-paper covers. The dark, coarse texture of a lone black cherry stood out among them, its crooked limbs wrapping around encroaching branches. He glanced at his palm, half expecting to see the ghosts of calluses from endless weekends gathering and splitting logs on the farm as a child. Red’s father to this day maintained wood heat in winter. “It warms you twice,” he’d say, usually out in the forest, as Red struggled to heft a weighty log into the weathered old farm trailer. Once unloaded in a heap in front of the woodshed, the song of sledgehammers ringing against splitting wedges would mingle for hours with the hollow thunk of axes sinking into wood grain. The air fragrant with the astringent vinegar of white oak, the mellow sweetness of sugar maple. This labor, arduous as it was, had not been without effect. Red had built a compact strength that, throughout high school, punished many a linebacker who underestimated him due to his size. Later, climbing through special operations assignments, he’d often used that deceptive stature to his advantage. He cracked open a window and inhaled the jumbled resinous scent of leaves and needles. Life in these West Virginia mountains seemed to force new growth continually through the earth’s coarse skin, its fertile soil

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 1699.98 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.

similar books by different authors

other books by David McCaleb

something missing?

Our library is always growing, so check back often…

If you’re an author or a publisher,
contact us at to help grow the library.