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1st to Die

  by James Patterson


(about 325 pages)
81,222
total words
of all the books in our library
45.40%
vividness
of all the books in our library
7.88%
passive voice
of all the books in our library
2.69%
all adverbs
of all the books in our library
0.95%
ly-adverbs
of all the books in our library
1.74%
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
could be her killer.” “I’m afraid I don’t understand. I already told you what I know. My sister didn’t exactly confide in me. We lived very different lives. I’m sure you’ve put two and two together already—there was a lot I didn’t approve of.” “You said something to me the first time we talked. Old habits are hard to crack. What sort of habits were you referring to?” “I’m afraid I don’t know what you mean. The Cleveland police are handling this, Inspector. Can’t we just let them do their job?” “I’m trying to help you, Ms. Bloom. Why did Kathy move away from San Francisco? I think you know. Was someone abusing her? Was Kathy in trouble?” Hillary sounded frightened. “I appreciate what you’re trying to do, but I’m going to hang up now, Inspector.” “It’s going to come out, Hillary. It always does. An address book. Her phone bill. It’s not just Kathy. There are four others, back in California. They were just as hopeful about the rest of their lives as your sister. Just as deserving.” There was a tiny sob in her voice. “I have no idea what you’re talking about.” I felt I had one last chance. “Here’s the really ugly truth about murder. If I’ve learned one thing as a homicide detective, it’s that the lines don’t stay fixed. Yesterday you were an innocent victim, but now you’re in this, too. This killer will strike again, and you will regret whatever you didn’t I felt him hold me close. A tingle raced down my spine, one that I almost didn’t recognize anymore. “You’ve got it, don’t you, Raleigh?” I said. “What’s that, Lindsay?” Soft hands. KATHY AND JAMES VOSKUHL were having their first dance—and to break with tradition, it was a rocker. The driving beat of “La Bamba” jolted through the brightly lit atrium of the Rock and Roll Hall of Fame in Cleveland. “Everybody!” the groom shouted. “Rock and roll! Join us!” Hip young girls with dyed hair and wearing shiny green and red prom dresses—sixties style—swung around on the dance floor, their partners in retro silk shirts, Travolta-like. The bride and groom, having changed into party garb, joined in, butting thighs, whooping, arms in air. It almost ruined everything, Phillip Campbell thought. He had wanted her in white. And here she was, sweaty red-streaked hair, cat-eye-shaped glasses, a tight green dress. This time, Kathy, you’ve gone too far. Forty tables, each with the likeness of some rock and roll icon as a centerpiece, filled out the Great Hall of the museum. A glittery banner that hung from the glass roof proclaimed: James and Kathy. After a loud crescendo the song ended. A throng of sweaty wedding guests milled back toward their tables, catching their breath, fanning themselves. Waiters in black waistcoats scurried about the room, filling wineglasses. The bride went over and embraced a happy couple in formal dress. Mom and Dad. Phillip Campbell couldn’t take his eyes

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 1624.44 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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