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Cross Country

  by James Patterson


(about 266 pages)
66,574
total words
of all the books in our library
41.06%
vividness
of all the books in our library
8.34%
passive voice
of all the books in our library
3.46%
all adverbs
of all the books in our library
1.01%
ly-adverbs
of all the books in our library
2.45%
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
had I done to deserve this? Who was torturing me? My hands were completely numb and I badly wanted to sleep. I could think of little else and would have given anything just to lie down on the floor. I couldn’t give in, though. Wall-standing. I can do this. I thought about stepping away from the wall and what the consequences might be. I held internal debates with myself. They wouldn’t kill me, would they? What would be the point of it? Finally, I turned my body so that only one hand was on the wall. Did that count? Was it a violation of the rules? Immediately I was kicked hard behind the knees! I went down hard on the floor. Cold to the touch. A bedfinally! But I was yanked right back up and thrown hard against the wall. Still, no one spoke. But I assumed the position. Not just my legs were trembling now. Everything was—my entire body was shaking terribly. Who else was with me in the room? What did they want from me? THEN I WAS talking to Jannie. I was hugging her, and I was so happy that she was all right. “Where’s Ali? Where’s Nana?” I asked in an excited whisper. “Are you okay, sweetheart?” Suddenly I came to and realized that I had been sleeping on my feet. Jannie wasn’t here. It was only me. I had the sense that I was in the second day of captivity. Or may be and radio tower and entered dense rain forest that went on for hours. Sometimes it opened up into clear-cut fields, with stumps like grave markers for miles in every direction. Mostly, though, the road was a tunnel of bamboo, palm, mahogany, and vine-choked trees such as I’d never seen before—with leaves and low scrub slapping and slathering the sides of the truck as we pushed through. Late in the afternoon, we were near the coast, driving through tidal flats and then wide swaths of open grassland that were the antithesis of the jungle we’d just left. I saw a huge colony of flamingos around sunset, thousands and thousands of stunningly beautiful birds, an incongruous sea of pink in the orangish light. Finally we had to stop for the evening. We were both too tired to drive. As I drifted off to sleep, I wondered how many fathers got to tell their kids they’d spent a night in a real African jungle. I WOKE UP some hours later. Moses was already laying out breakfast on the tailgate of the Drifter. Canned sausages, a couple of bruised tomatoes, and a two-liter jug of water to sip from. “Looks good,” I said. “Thank you, Moses.” “There is a river. Over there if you wish to wash up.” He pointed with his chin to the opposite side of the road. I noticed his shirt was soaking wet. “It is not far.” I bushwhacked with my arms, skirting a huge knot of thorny scrub

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 1331.48 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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