this is a SHAXPIR project
how does it work?

Surface to Air

  by Gérard de Villiers

(about 237 pages)
total words
of all the books in our library
of all the books in our library
passive voice
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all adverbs
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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:

the CIA station chief. “A matter of mutual courtesy. We do the same thing. Only there’s a hitch.” “What’s that?” “The Russians know perfectly well that Amritzar is being set up by the FBI and doesn’t have any connection with any al-Qaeda movements.” “Maybe they just want to make sure.” “Yeah, maybe…” Woolsey didn’t seem convinced. “So what did you tell them?” “The truth. That the guy wasn’t in our database, that as far as we knew he had never been in touch with any of the groups we’re tracking.” “So what then?” “They thanked us.” “They’re careful.” “No, they’re vicious,” said Woolsey. “We’ve dealt with them long enough to know that. I’m wondering what they’re up to. They don’t do anything by accident.” “That may be true, but how can I help you?” “Langley would like you to go to Moscow. You know the Amritzar couple, and you’ve had a lot of experience with the Russians. We can’t ask the Moscow station to look into it. If there was ever a leak, the bureau people would be furious. Whereas if you show up as an observer on the lookout for dirty tricks, it would be different.” “Is it really important?” asked Malko. “Yes, it is.” Woolsey was still smiling, but his eyes were cold. “No one will know why you’re there,” he continued. “Maybe we’ll just be treating you to a vacation.” Malko didn’t believe a word of it. When the CIA asked him to go someplace, it was and Malko spotted a big wooden building strung with Christmas lights on his left. “It’s over there,” he told the driver. Malko paid him 2,500 rubles and got out. A spotlight lit up the izba’s porch and front door. He rang the bell for number 6, and Julia’s melodious voice answered on the intercom. “I’ll buzz you in,” she said. “My apartment is at the end of the hallway, facing you.” The place smelled of pinewood and fresh paint. Julia was standing on her threshold, framed in a rectangle of light. As he got close, Malko noticed she was wearing perfume, which few Russian women did. She stepped aside to let him in, and their eyes met. “It was nice of you to come out here,” she said. “It’s a long way.” She was wearing a long black skirt with a wide belt, high heels, and a black blouse that molded to her breasts, which were unconfined by a bra, as before. Except for a touch of blue under her eyes, she wore no makeup. Julia’s apartment was very cozy, with paintings, carpets, and lamps everywhere. A wooden staircase led up to a loft. She took him into the kitchen, where she’d set out plates of food: herring, pickles, smoked salmon, salad, and zakuski, along with a bottle of Tsarskaya. Julia opened the vodka, poured two glasses, and handed one to Malko. “Welcome,” she said. They clinked glasses, and he tossed his vodka down at a gulp. “You drink

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 1183.86 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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