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Hide and Seek

  by James Patterson


(about 290 pages)
72,470
total words
of all the books in our library
42.38%
vividness
of all the books in our library
9.06%
passive voice
of all the books in our library
3.80%
all adverbs
of all the books in our library
1.37%
ly-adverbs
of all the books in our library
2.43%
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
told him once he arrived. “I think I should be doing something more, but I can’t think what it might be.” “He’ll come back,” Barry said. “He has something good to come back to. Don’t forget that.” “You always overestimate me, and underestimate Will. He could have killed himself, Barry. I’m really afraid for him. His father committed suicide.” “People like Will don’t,” Barry said. “He knows what he’s doing.” “How can you say that? You don’t know Will. You don’t know how hard he takes things.” Barry shrugged. He didn’t believe it. In a way, neither did I. I thought that Will would come back. He loved me, and he loved the kids. He had to come back. “I fantasize finding him in a ditch somewhere. Just because the police haven’t found him—” “They haven’t because he doesn’t want to be found. I understand how terrible this is for you, but you’re overreacting, Maggie. He’s probably on the bender of benders. He’ll come back when it’s over.” Would he? I was afraid that maybe I didn’t know everything about Will. I hadn’t been with him in Rio. Who had? What furies drove him then? Which were driving him now? Perhaps he wasn’t telling me the truth. And how could he just disappear? I saw a picture in my mind—Will and Allie riding Fleas across the lot in back of our house. He had to come back. It was inconceivable that he wouldn’t. AND EVENTUALLY, HE did. I was silver trays bearing glasses of champagne. Others circulated iced shellfish and caviar, canapés of crabmeat, tea sandwiches, cheeses, fruits, pâtés. A great orchestra led by Harry Connick Jr. began to play from a highly polished pine-wood platform installed at the entryway to an enormous yellow-and-white-striped tent, which would later serve as the ballroom. Maybe not the wedding of the decade—but quite the blowout, I had to admit. I smiled, felt incredibly warm and fulfilled inside, and started to get into it. A huge, striped tent shaded half an acre of lawn between the main house and the duck pond. Inside, bands of children ran between the dining tables covered with pale yellow linen cloths, and graced with wicker centerpieces filled with bachelor’s buttons, baby’s breath, and yellow rosebuds. The music ranged from Strauss waltzes to Carly Simon to Patsy Cline. After a formal, sumptuous sit-down dinner, and just before dessert, Barry got up and sang his “Light of My Life” to a standing ovation from the guests, Will, and me. Then my friend Harry Connick spoke, his voice cutting through the continuing murmur of the crowd: “The bride will now cut the cake. Maggie, get your butt up here. C’mon, shy girl. Time to be the center of attention again.” Waiters arrived bearing three gargantuan wedding cakes. On each stood a marzipan man in a soccer outfit and a marzipan woman leaning against a piano. Will and I mashed cake into each other’s mouths, photos of our messy bites

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 1449.40 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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