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  by James Patterson

(about 243 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:

knew it would be on the news. We made arrangements for the kids to be driven home. Juliana and Jane are making dinner and ensuring that everyone does their homework. There’s nothing you need to worry about.” But that’s what I did. I was a father. I worried. Then I remembered Juliana’s phone call. “What was Juliana’s big news? Please tell me it has nothing to do with a wedding dress or falling in love with a boy across the country.” Mary Catherine gave me a smile. That’s what I needed. “No, nothing like that. My guess is that Jane will be the first one to give us that kind of news.” “Please don’t tell me she’s decided not to go to college and wants to travel the world alone.” Seamus said, “Don’t be an ass. That girl is saddled with your practical nature. She has big news, and you’re going to be happy no matter what it is. Your job is to just be proud.” “I’m always proud, but I can be worried, too. I’m a father.” “And I’m your grandfather, and I never worried that much about you.” It didn’t matter how old I got—my grandfather still treated me like I was an eighth grader. And somehow, though I would not admit it openly, I liked it. Mary Catherine indulged me. “Juliana landed a TV role. It’s a locally produced drama. She’s very excited about it, so no matter what she says, don’t ask questions about who’s style. Clemency wore everything perfectly. English riding boots halfway up her calves, her riding pants tucked neatly into the boots. And Gabriela looked just like an outlaw from a 1950s movie. Right down to the red bandanna tied around her neck. Her wild dark hair poked out from underneath the tiny Stetson. Alex helped the girls saddle their own horses. She wanted them to be self-sufficient as well as understand how to keep the horses calm and healthy. She showed Gabriela the proper way to ease the bit into the horse’s mouth. The little girl focused on the lesson completely. Clemency lately had favored a colt named Samuel. Alex didn’t think her daughter got the joke that someone had named the horse after the famous gun manufacturer Samuel Colt. Gabriela had recently been riding a pony named Biscuit. Alex could see why. The little horse had a wild mane and was full of energy. They were made for each other. When Alex was growing up, her British riding instructor had always referred to horses like Biscuit as a Welsh cob. That was not a term you heard frequently in Colombia. Out of respect for the man who was very important during her formative years, Alex still called Biscuit a Welsh cob. As much as she relaxed at times like this, she always stayed aware of her surroundings, conscious of how many enemies an assassin makes during his or her career. Her 9mm Beretta hung in a bag from her saddle

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 1215.38 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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