this is a SHAXPIR project
how does it work?

Jack & Jill

  by James Patterson


(about 417 pages)
104,352
total words
of all the books in our library
41.52%
vividness
of all the books in our library
8.80%
passive voice
of all the books in our library
3.76%
all adverbs
of all the books in our library
1.49%
ly-adverbs
of all the books in our library
2.28%
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
of student papers written at John Jay and Quantico. There isn’t very much on assassins. Not that I’m aware of. I guess it’s hard to get subjects to interview.” “I could get a subject for you to interview,” Jeanne Sterling said. “I think it might be important to Jack and Jill.” “Where are you going with this?” I had a lot of questions for her suddenly. Familiar alarms were sounding inside my head. A soft, pained look drifted across her face. She inhaled very slowly before she spoke again. “We’ve done extensive psychological testing on our lethal agents, Alex. So has the Army, I’ve been assured. I’ve even read some of the test reports myself.” My stomach continued to tighten. So did my neck and shoulders. But I was definitely glad I’d taken the time to visit Langley. “Since I’ve been in this job, about eleven months, I’ve had to open a number of dark, eerie closets here at Langley and elsewhere. I did over three hundred in-depth interviews on Aldrich Ames alone. You can imagine the cover-ups that we’ve had over the years. Well, you probably can’t. I couldn’t have myself, and I was working here.” I still wasn’t sure where Jeanne Sterling was going with this. She had my full attention, though. “We think one of our former contract killers might be out of control. Actually, we’re pretty sure of it, Alex. That’s why the CIA is on the crisis team. We think one of ours might be model. He wore a gray topcoat with a paisley silk scarf. A sleek, slender woman in a black dress was with him. A Burberry raincoat was casually thrown over her arm. She was laughing at something Fitzpatrick had said. She threw her head back like a beautiful, spirited horse. A wisp of her warm breath met the cool of the night. The woman was at least twenty years the senator’s junior. She wasn’t his wife, Sam knew. Dannyboy Fitzpatrick rarely if ever slept with his wife. The blond woman walked with a slight limp, which made the two of them even more intriguing. Memorable, actually. Sam Harrison concentrated fiercely. Measure twice, measure five times, if necessary. He took stock of all the details one final time. He had arrived in Georgetown at eleven-fifteen. He looked as if he belonged in the chic, attractive, fashionable neighborhood around Q Street. He looked exactly right for the part he was going to play. A very big part in a very big story, one of the biggest in America’s history. Or some would say American theater. A leading-man role, to be sure. He wore professorial, tortoiseshell glasses for the part. He never wore glasses. Didn’t need them. His hair was light blond. His hair wasn’t really blond. He called himself Sam Harrison. His name wasn’t really Sam. Or Harrison. For that night’s special occasion, he’d carefully selected a soft black cashmere turtleneck, charcoal gray trousers, which were pleated and cuffed, and light-brown walking boots

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 2087.04 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.

similar books by different authors

other books by James Patterson

something missing?

Our library is always growing, so check back often…

If you’re an author or a publisher,
contact us at submissions@prosecraft.io to help grow the library.