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The Break Line

  by James Brabazon

(about 372 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
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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:

or at least hadn’t briefed me on—was that their tactics made the activities of the rebels in the last war look positively restrained. That the major was reaching to the Psalms and a supernatural explanation was understandable. You can’t name what you don’t know, and the face of his trooper frozen in horror was beyond anything either of us had experienced. If the methods the rebels had used to wipe out that village were being applied in occupied Musala—and other towns—the consequences would be horrific. Roberts’s grandfather would not have survived. Sonny Boy had been deeply disturbed, actually driven mad, by something he’d encountered in-country. For days I’d wondered what that something could have been. After shining my torch on the face of that dead squaddie, I felt one step closer to finding out. Before it was too late, I needed to discover what had frozen his face in mortal terror. I had no desire either to be transfixed like that myself or to be consigned to a “research facility,” like Sonny Boy had been. I couldn’t ask Sonny Boy, of course. But if I could find Micky, the American he’d been hanging around with in Freetown, I might get closer to the truth of what was happening up north. One thing was certain: London didn’t know, or didn’t want me to know, that not only didn’t it look like an ordinary rebel insurgency; it didn’t look like a rebel insurgency at all. The fact that they’d I nodded. Juliet prized the crown top off a heavy green bottle of the local lager and poured half of it into a chilled schooner. The wiry muscles in her forearm tensed as she lifted the bottle. Beads of moisture welled up around the glass as it filled with the amber liquid. We were sitting at the bar. It was getting hotter. Although the palms shaded us, the bar itself shielded us from the small mercy of the breeze blowing in from across Cockerill Bay. A smell of dead fish and rotting vegetation rose as the tide ebbed in the creek. From a kitchen out the back, an old woman produced a plate of fried plantain and grilled snapper. She was sweating hard, and Juliet thanked her in Krio, but the woman didn’t speak. When she turned to leave, I saw that her right eye was missing. The side of her face was a mass of scar tissue. I looked at the food and I remembered I was hungry. I’d last eaten a meal on the way to see Sonny Boy in Brinton. The plantain took on a reddish hue from the palm oil used to fry it. Salt crystals were scattered over the fish. The skin was blistered and blackened in places by the coals it had been cooked on. “I think I’m about to eat your lunch, Juliet,” I said to her. I broke off some of the flesh with my fingers and ate it. It was 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 1861.78 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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