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  by James Swallow

(about 537 pages)
total words
of all the books in our library
of all the books in our library
passive voice
of all the books in our library
all adverbs
of all the books in our library
of all the books in our library
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:

and know you’re wondering when I will lie to you again, run away again. So I’m doing it now. It’s the best way.’ There was a long inhale of breath, and Marc sensed she was frustrated at being unable to articulate her feelings. ‘I keep saying I am sorry. This is the last time I will do that. If you don’t believe me by now, then you never will.’ There was another long pause. ‘You’re asking yourselves why you didn’t see what I was before this. I’m good at masks. You want to know why I didn’t neutralise Arquebus before Ghost5 triggered it. I had to wait until it went active before I could kill it. Before Madrigal committed to the hack, I couldn’t be sure if the data Lex left behind for me would work. Then I would have been dead and no one could speak for… for someone I loved.’ Marc saw Lucy’s expression soften. ‘I had to play a long game,’ Kara continued. ‘I put everyone at risk to do that, but now it is done and I am not sorry. If this was looped, I’d do it over again. No changes.’ She fell silent for a moment, and then Kara said one more thing before the recording ended. ‘I am not coming back.’ Lucy’s expression hardened once again. ‘And that’s it? What, we grant forgiveness and then we let her go?’ She looked away. ‘I can’t do that. There’s a long road from where I am two cartridges in a shallow angle at the concrete floor, and the rounds skipped off where they hit. Bursting into searing bright points of crimson fire, the flares ricocheted away on trails of chemical smoke. Fox could only recoil from the dazzling flames and his shots toward Lucy went wild. The third cartridge spat from the launcher rocketed across the chamber, fired as Marc burst into motion through the haze, the rain and the Halo’s rotor wash. He heard a high-pitched, mewling cry as the flare struck the double agent in the chest, burning through his white shirt. The man had come storming toward Marc, gun raised, and run straight into the shot. Screaming, he clawed wildly at his torso as a thousand-degree fireball burned through flesh and bone into his chest cavity. Marc caught sight of Lucy diving for cover toward one of the other SCIF cabins as Null and the others opened fire, bullets whistling through the choking, smoke-wreathed air. Marc threw himself in the other direction and out of the line of attack, running, stumbling, determined to survive. Overhead, the Halo and its cargo slipped away into the grey sky and vanished, the thud of the rotors swallowed by the rainstorm. The chemical smoke from the flares seared the back of Lucy’s throat as she gulped down breaths of air. She fought against the reaction of her body, smothering the urge to cough. Skidding out of the line of fire, she heard the snap of bullets deflect

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 2687.02 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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