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Cat & Mouse

  by James Patterson

(about 357 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:

once and for all. I was going to call you anyway. I was planning to call you tonight. I would have. “You’re nervous now, and so am I. God, am I nervous,” she said quietly. “I know I’ve hurt your feelings, and I don’t like that. It’s the last thing I meant to do. You don’t deserve to be hurt.” Christine was shivering a little. Her voice was shaking, too, as she spoke. “Alex, my husband died because of the kind of violence you have to live with every day. You accept that world, but I don’t think I can. I’m just not that kind of person. I couldn’t bear to lose someone else I was close to. Am I making sense to you? I’m feeling a little confused.” Everything was becoming clearer to me now. Christine’s husband had been killed in December. She said that there had been serious problems in the marriage, but she loved him. She had seen him shot to death in their home, seen him die. I had held her then. I was part of the murder case. I wanted to hold her again, but I knew it was the wrong thing to do. She was still hugging herself tightly. I understood her feelings. “Please listen to me, Christine. I’m not going to die until probably in my late eighties. I’m too stubborn and ornery to die. That would give us longer together than either of us has been alive so far. Forty-plus years. It’s a droopy, badly hand-painted banner over the doorway between the living room and dining area. The banner read: Congratulations, Alex! Better luck next lifetime, Gary S.! Sampson led me into the backyard, where even more friends were waiting in ambush. Sampson had on baggy black shorts, a pair of combat boots, and his shades. He wore a beat-up Homicide cap and had a silver loop in one ear. He was definitely ready to party, and so was I. Detectives from all around D.C. had come to offer their hearty congratulations, but also to eat my food and drink my liquor. Succulent kabobs and racks of baby-back ribs were arranged beside homemade breads, rolls, and an impressive array of hotsauce bottles. It made my eyes water just to look at the feast. Aluminum tubs overflowed with beer and ale and soda pop on ice. There was fresh corn on the cob, colorful fruit salads, and summer pastas by the bowlful. Sampson grabbed my arm tight, and hollered so I could hear him over the noise of joyful voices and also Toni Braxton wailing her heart out on the CD player. “You party on, Sugar. Say hello to all your other guests, all your peeps. I plan to be here until closing time.” “I’ll catch you later,” I told him. “Nice boots, nice shorts, nice legs.” “Thank you, thank you, thank you. You got that son of a bitch, Alex! You did the right thing. May his evil, hair-bag ass burn

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 1783.04 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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