this is a SHAXPIR project
how does it work?

The People vs. Alex Cross

  by James Patterson


(about 321 pages)
80,354
total words
of all the books in our library
48.65%
vividness
of all the books in our library
6.59%
passive voice
of all the books in our library
2.26%
all adverbs
of all the books in our library
0.67%
ly-adverbs
of all the books in our library
1.58%
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
was irritated. “And you didn’t think it smart to alert me or Naomi? We’ve lost twelve, maybe fifteen hours of—” “The news was pretty devastating. I guess I wasn’t thinking straight.” She sighed and said, “Well, I’m trying. My people are still working on those videos despite what the FBI tells you. And I do have a bit of good news. The saliva tests are done. I’ve put in a call to an old chemist friend in San Francisco just to make sure I’m interpreting the results correctly, but let’s just say they’re interesting.” “Can they clear me?” “Given our inability to impeach the videos, no, it’s not enough. But if I’m right, with luck, we’ll be able to muddy the prosecution’s waters a bit, show there were mitigating circumstances.” I started kneading my forehead and said, “Mitigating circumstances? Sounds to me as if I should be getting my affairs in order.” There was a long pause before Anita said, “Always better to be prepared.” THE FOLLOWING TWENTY-FOUR hours were some of the lowest of my life. When Bree came home, I took her for a walk and told her what Anita had said. We held each other for the longest time. “I can’t believe this is happening,” Bree said. “Makes me wonder what I did to deserve this.” “No self-pity. What do we do?” “No self-pity, and we move to protect you, Nana, and the kids,” I said. “I can’t have you all being punished for something you didn’t other blondes stashed? One hundred yards beyond the creek crossing, I lost the tracks and drove on through virgin snow to a turnabout walled in by pines. A dead end. But Edgars had come this way. I was positive. That ice had absolutely been freshly broken, and those tracks … I drove back, shining the headlights on the crossing, seeing ice covering the creek upstream. I used my flashlight to look downstream. The ice there had been broken up to where the stream disappeared beneath a steep embankment, eight, maybe ten feet high, and covered with green and tan vegetation frosted with new snow. Where the hell had they gone? I couldn’t imagine any machine climbing straight up the side of that wall of … I looked closer at the embankment. Green plants? That was impossible. The leaves had fallen. The ferns were dead. I drove into the creek and rolled slowly to the embankment, headlights on and my flashlight playing around. Even through the frosting of snow, I could see I hadn’t been looking at plants but at thin strips of dull green, gray, and brown cloth, thousands of pieces sewn into a huge swath of camouflage fabric that hung from a stout length of black metal bolted into the rocks above me. I grabbed the radio again and turned it on. The static was weaker. I triggered the transmit button, said, “This is Alex Cross, come back.” Almost immediately a garbled, oddly familiar voice answered. “Batra?” I said. The voice

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 1607.08 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.