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The Client

  by John Grisham

(about 575 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:

Yes. I’d be an accomplice.” “What would they do to you?” “We’ll worry about that later. I’ve done worse things.” “So you’ll help me?” “Yes, Mark. I’ll help you.” “And you won’t tell anybody?” “We may need Clint.” “Okay, you can tell Clint. But nobody else, okay?” “You have my word.” “And you won’t try to talk me into going back to jail?” “I promise.” There was a long pause. Clint was near panic. “Okay, Reggie. You know the main parking lot, the one next to that big green building?” “Yes.” “Drive into it, just like you’re looking for a place to park. Go real slow. I’ll be hiding between some cars.” “That place is dark and dangerous, Mark.” “It’s Friday night, Reggie. Everything around here is dark and dangerous.” “But there’s a guard in the exit booth.” “That guard sleeps half the time. It’s a guard, not a cop. I know what I’m doing, okay?” “Are you sure?” “No. But you said you’d help me.” “I will. When should I be there?” “As fast as you can.” “I’ll be in Clint’s car. It’s a black Honda Accord.” “Good. Hurry.” “I’m on my way. Be careful, Mark.” “Relax, Reggie. This is just like the movies.” She hung up, and took a deep breath. “My car?” Clint asked. “They’re looking for me too.” “You’re crazy, Reggie. This is insane. You can’t run away with an escaped, I don’t know, whatever the hell he is. They’ll arrest you for contributing. You’ll be SHOES WERE SHARK, AND THE VANILLA SILKS RAN ALL the way to the kneecaps, where they finally stopped and caressed the rather hairy calves of Barry Muldanno, or Barry the Blade, or simply the Blade, as he liked to be called. The dark green suit had a shine to it and appeared at first glance to be lizard or iguana or some other slimy reptile, but upon closer look it was not animal at all but polyester. Double-breasted with buttons all over the front. It hung handsomely on his well-built frame. And it rippled nicely as he strutted to the pay phone in the rear of the restaurant. The suit was not gaudy, just flashy. He could pass for a well-dressed drug importer or perhaps a hot Vegas bookie, and that was fine because he was the Blade and he expected people to notice, and when they looked at him they were supposed to see success. They were supposed to gawk in fear and get out of his way. The hair was black and full, colored to hide a bit of gray, slicked down, laden with gel, pulled back fiercely and gathered into a perfect little ponytail that arched downward and touched precisely at the top of the dark green polyester jacket. Hours were spent on the hair. The obligatory diamond earring sparkled from the proper left lobe. A tasteful gold bracelet clung to the left wrist just below the diamond Rolex, and on his right wrist another tasteful gold

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 2875.96 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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