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Appetite for Risk

  by Jack Leavers

(about 449 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:

city.’ ‘Do we know what sort of car they’ll be in?’ I asked. ‘Yes, it’s a black BMW saloon, registration number 190100. In Arabic numerals of course.’ I nodded. ‘That’s fine, the numbers are the only things I can read.’ ‘For the pickup, we’ve got a long day and you probably don’t know how long you’ll be, so I want us to RV at Khor Az Zubayr port by sixteen hundred hours at the very latest. That should give us, and you, plenty of time to get done what’s needed. It’s a safe haven – you’ve seen the detachment there – so if you’re early you can wait for us without any problem. But if you’re going to be late, then you need to let me know ASAP. I really need you to be there by sixteen hundred though. Is that all right?’ ‘Thanks, that’s great.’ I turned to Ax. ‘Is Sheikh Mustafa definitely going to be there? He’s my primary reason for the meeting and I really need to meet with him.’ ‘Yes, he’ll be there. The president is away, so as the deputy president he’s hosting you.’ ‘Good. Any idea how many others will be there?’ ‘I don’t know, Mr John. There hasn’t been much time. Maybe not so many.’ ‘Right. And these guys coming to pick me up with Hassan, you know them?’ ‘No. I had a contact to the Sheikh, but I don’t know who else will be there or who they will send.’ ‘But you’re sure everything’s we’d passed through as we’d driven south from Diyarbakir; snow-capped mountain peaks, craggy gorges, and large hills in the border area, which eventually rolled into smaller hills and undulating terrain as we travelled further south. The mountains always stretched away on our left as we drove; an epic landscape which merged into Turkey to the north and then Iran to the east as we progressed in an arc through the northern reaches of Kurdistan Region territory near Zakho and Duhok, down to the east of the regional capital Erbil, and onwards towards our destination, the city of Sulaimaniyah. In the late afternoon we descended along a winding road from yet another craggy peak and arrived at a small collection of restaurants and shops. A kilometre away, behind a large dam, sunlight glistened off the surface of a large expanse of blue water. ‘That’s Dukan Lake,’ said Ali. ‘The dam provides electricity for Suli, so everyone is happy when the lake is full. We’ll have something to eat here and then drive the last forty-five minutes. Do you want to wash your hands?’ After using the sink in the outside bathroom, we joined the others in a glass-fronted restaurant. The plastic tablecloth and functional chairs gave it the feel of a school canteen. Even before we ordered, a waiter laid out several starters, dips, and portions of hot flatbread across the table. I’d already viewed the grisly toilet block, so I opted for the safe bet of chicken, rice and beans

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 2247.08 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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