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Mary, Mary

  by James Patterson


(about 289 pages)
72,316
total words
of all the books in our library
32.48%
vividness
of all the books in our library
8.79%
passive voice
of all the books in our library
3.85%
all adverbs
of all the books in our library
1.33%
ly-adverbs
of all the books in our library
2.52%
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
Would it happen again today? Another high-profile murder? And then it did. A CALM, MEASURED FEMALE voice said, “Nine-one-one, what is your emergency?” “This is Arnold Griner at the Los Angeles Times. I’m supposed to call a Detective Jeanne Galletta, but I don’t… I can’t find her number on my desk. I’m sorry. I’m a little rattled right now. I can’t even find my Rolodex.” “Sir, is this an emergency call? Do you need assistance?” “Yes, it’s definitely an emergency. Someone may have been murdered. I don’t know how long ago this happened, or even if it did for sure. Has anyone called about someone named Marti Lowenstein-Bell?” “Sir, I can’t give out that kind of information.” “It doesn’t matter. Just send someone to the Lowenstein-Bell residence. I think she’s been killed. I’m almost sure of it.” “How can you be sure?” “I just am. Okay? I’m almost positive there’s been a murder.” “What is the address?” “The address? Oh, Jesus, I don’t know the address. The body is supposed to be in the swimming pool.” “Are you at the residence now?” “No. No. Listen, this is a… I don’t know how to make this clear to you. It’s the Mary Smith murder case. The Hollywood celebrity killings. Do you know what I’m talking about?” “All right, sir, I think I understand. What was the name again?” “Lowenstein-Bell. Marti. I know her husband’s name is Michael Bell. You might find it under that. I don’t know for certain if she’s stained-glass doors into a soaring lobby. Redwood beams rose six floors overhead, and Tiffany lamps dotted the lower level, which centered on an enormous fieldstone fireplace. I barely noticed any of it, though. I was already thinking about Inspector Hughes up in room 456. Amazing—I was on vacation. JAMILLA GREETED ME at the door, lips first, a delicious kiss that warmed me from head to toe. I didn’t get to see much of her wraparound baby-blue blouse and black pencil skirt until we pulled apart. Black sling-back heels put her at just about the right height for me. She sure didn’t look like a homicide cop today. “I just got in,” she said. “Just in time,” I murmured, reaching for her again. Jamilla’s kisses were always like coming home. I started to wonder where all this was going, but then I stopped myself. Just let it be, Alex. “Thanks for the flowers,” she whispered against my ear. “All of the flowers. They’re absolutely beautiful. I know, I know, not as beautiful as me.” I laughed out loud. “That’s true.” I could see over her shoulder that the hotel’s concierge, Harold Larsen, had done a good job for me. Rose petals were scattered in a swath of red, peach, and white. I knew there were a dozen long-stems on the bedside table, a bottle of Sauvignon Blanc in the minifridge, and a couple of carefully chosen CDs in the stereo—best of Al Green, Luther Ingram, Tuck and Patti’s Tears

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 1446.32 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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