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Ghost Agent

  by J. T. Baier


(about 358 pages)
89,523
total words
of all the books in our library
34.82%
vividness
of all the books in our library
8.32%
passive voice
of all the books in our library
2.39%
all adverbs
of all the books in our library
0.85%
ly-adverbs
of all the books in our library
1.54%
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
he is apt to be a bit vindictive if I turn up dead. QS-4 may be moonlighting with pharmaceutical companies, but I know government contracts are still their bread and butter. If I die, those go up in smoke.” “I see.” The old man’s eyes narrowed as they always did when he was assessing the viability of a plan. “I think I can sell that to upper management. You’re a brilliant bastard, but you’re still a pain in the ass, Riker.” “Always was.” Riker paused. “One last question. Why involve Franklin? Did you really think I needed a handler?” “It wasn’t for your benefit. It was for his. Look, Franklin’s a pompous, Ivy League asshole sometimes, but I sort of like the kid. He has potential. He just lacks field experience. I thought it might do him some good to work with a guy who’s been around the block a few times. A guy who isn’t afraid to do the right thing even when it’s difficult.” Morrison was quiet for a long moment before he spoke again. “Riker, I’m doing what I can to right the ship at QS-4. If it turns out that I can’t, that ship may need to be sunk. I won’t be able to do that alone. I’ll need people I can trust. I’m hoping Franklin will be one of them, but I’ll need more. I may need the help of someone outside the organization. Do you understand what I’m saying?” Riker didn’t answer. He didn’t food is amazing. Have you tried these?” Simon used his good arm to push over a plate of small morsels with toothpicks sticking out of them. It looked like marbled bites of steak with a light green sauce. The smell was intoxicating. Riker frowned. “I’m glad that you are enjoying the event, but I think we should be concentrating on keeping you alive at the moment.” “You can enjoy food and keep me alive. I don’t want you to run out of energy in the middle of a fight to the death.” Simon pushed the tray a little closer to Riker. With a shake of his head Riker, grabbed one of the hors d’oeuvre and ate it in one bite. The flavor exploded in his mouth, and he thought of a restaurant in New York that had recently surprised him with equally delicious food. He let out a soft yum. “Ha, I told you they were awesome.” Simon’s phone buzzed, and he looked down at a text. “Jessica just arrived. She should be walking in at any moment.” Riker stood up and took a step to the side so he could see the main entrance. The entire venue seemed to take a breath when Jessica stepped inside. Her white dress gave the illusion of weightlessness as it hugged her form. It was sleeveless and cut low enough to show the perfect curves of her chest. The dress was long and waved lines of fabric touched the ground, covering her feet

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 1790.46 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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