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  by John L. Lynch

(about 351 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:

subject. “What have you found?” “We’re piecing together the obelisk and rounding up the human remains. It’s early to tell, but I’ve studied their DNA,” he paused. “And?” “They aren’t us. No common ancestor for at least a hundred and fifty thousand years. They aren’t modified humans.” “Then where did they come from? Were they here the whole time?” “No, I don’t think that’s credible. It also doesn’t fit what we observed.” “Clones?” “Of old Neanderthal remains? No, I checked that. They have about forty thousand years of mitochondrial genetic drift. Exactly what you’d expect of natural evolution.” “Sothey’ve been evolving for forty thousand years, somewhere else?” Rajiv was glad Thelmia’s mind was still sharp. “Yes, it is the only remaining possibility.” Thelmia waved her hand in frustration. “Am I asking all the questions? Where, Rajiv? Where did they come from?” Rajiv smiled. “I don’t know.” “Of course not. You scientists!” “You’re supposed to ask, ‘what do you know?’ Rajiv laughed. “I’m sorry for disappointing you.” Thelmia had brightened. “The obelisk has something to do with it. It’s… strange.” Rajiv didn’t mention the light he’d seen. “It may be some sort of transportation device. Or maybe a beacon. Neanderthals arrived here while we were prisoners. I didn’t see or hear a vehicle, but I don’t think they walked here.” “Some sort of gate?” “I don’t know. I couldn’t speculate. And a gate would have to go somewhere. Then you’d be asking where it went, and I’d say I don’t along the lakeshore. Solid forest overhung the landward side of the road. Shadows of branches and leaves swayed across the pavement. The light blue sky darkened to the south where mountainous thunderheads grew steadily all morning. The lake spread out like the ocean. Morning mist evaporated over the waves. Reflections of clouds and trees rippled along the grainy beach. The barely visible far shore was really an island, making the lake seem smaller than it was. A flotilla of triangle-sailed fishing boats lay anchored in the deep water. Men on deck pulled at ropes and nets. They drove between steep hills covered with trees or crops. Buses piled high with people and animals swayed uncomfortably around the curves in the road. Toyota pickups were everywhere, modified with benches or machine gun mounts as needed. The cracked asphalt forced her to drive slowly and carefully. Tree branches clogged the road twice. Hugo and Cid moved them aside. On the eastern horizon, the ancient Mountains of the Moon, the Rwenzi range, rose thousands of feet above the forest and cropland. The peaks disappeared into the clouds. It was cool there, snowy peaks feeding lakes of jade and emerald. Thelmia drove away from the mountains, down toward the heat. They reached the border of the Ugandan zone at noon. Hugo reached into his duffel bag as Thelmia pulled up to the checkpoint. Five bored soldiers with AKs stood around a rope drawn across the road. They wore slapdash fatigues and soft, wide-brimmed hats

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 1754.18 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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