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Roses Are Red

  by James Patterson


(about 280 pages)
70,067
total words
of all the books in our library
39.90%
vividness
of all the books in our library
9.14%
passive voice
of all the books in our library
3.44%
all adverbs
of all the books in our library
1.28%
ly-adverbs
of all the books in our library
2.16%
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
This was the way it had been between us for months. I noticed that Christine’s eyes were red rimmed. She’d been crying. “You’re off on another murder case now, Alex. I suppose that’s good—it’s your life. You’re obviously very skilled at it.” I couldn’t keep silent. “I’ve offered to leave the police department, to go into private practice. I’d do that, Christine.” She frowned and shook her head. “I’m so honored.” “I’m not trying to fight you,” I said. “I’m sorry, go ahead. I didn’t mean to interrupt.” “I have no life here in Washington anymore. I’m always afraid. Petrified is a better word. I hate going into the school now. I feel as if my life has been taken away from me. First George, and then what happened in Bermuda. I’m afraid that Shafer is coming back for me.” I had to speak. “He’s not, Christine.” “Don’t say that!” She raised her voice. “You don’t know. You can’t!” The air in my lungs was slowly being sucked away. I wasn’t sure where Christine was going with this, but she seemed on the edge. It was like the night she’d had a nightmare that Geoffrey Shafer was in her house. “I’m moving away from the Washington area,” she said. “I’ll leave after the school year. I don’t want you to know where I’m going. I don’t want you looking for me. Please don’t try to be a detective with me, Alex. Or a shrink.” I couldn’t believe what I’d pounds. “Hello, Ms. Green. I’ve always liked you, you know. I’m a little diffident, though. I should say that I used to be shy. I’m getting over it.” He reached out and touched her small breasts. He was surprised to find that Ms. Green wore a push-up bra under her blouse. Not quite the little dippie-hippie she seemed to be. He unbuttoned her blouse, then pulled it off and stared at her breasts. He unbuttoned the dead girl’s jeans. Then he inserted a finger inside her panties. The flesh was a little cool. She had a silver ring in her belly button. He touched it. Pulled on it like a pop-top. She was wearing satiny gray platforms with high heels, and he carefully took those off her feet. He pulled the tight jeans down and then wriggled them off, too. Ms. Green’s toenails were painted bright blue. The Mastermind unclasped the lacy push-up bra and kneaded her smallish breasts. He rubbed them together with his palms. Then he pinched the tiny, perfect nipples hard. He’d wanted to do that from the first time he saw her. He’d wanted to hurt her a little, or maybe a lot. He looked out the farmhouse window, then around at the dead bodies again. “I’m not grossing any of you out, am I?” he asked. He dragged Ms. Green by her bare feet to the faded rug at the center of the room. Then he took off his own trousers. He was getting hard

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 1401.34 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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