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The Man Called Kyril

  by John Trenhaile

(about 374 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:

he was safe. Now he would rest awhile. There was no danger of them leaving the house: wait, he had said, and he knew they would. He’d give them time to become drowsy, off their guard. It was too painful to sleep. After a while he gave up trying to doze and began to review the plan he had made before leaving London. Kyril was no longer working for Stanov, or anyone else. He was working for himself. If it had been a matter of simple loyalty, of doing the job, he would have gone back to Moscow in the hope that Lisa had been detected, and reported inability to complete the mission because Loshkevoi was being held incommunicado. However disappointed Stanov might have been at the outcome, he would not have blamed Kyril for something outside his control, no fault of his. But it was no longer a matter of simple loyalty. Kyril had been lied to, used, squeezed into a role in a play which he never fully understood, one where the script was constantly being rewritten between and behind the scenes. Now he was looking for one thing only. The truth. If he owed Vera nothing else, he owed her that. Somebody was trying to prevent him from talking to Loshkevoi. The same somebody who was responsible for Vera’s death. But if Sculby could be believed, Loshkevoi was responsible for his own imprisonment, he had pleaded guilty, and that was, it could only have been, on someone’s grassy saucer of land set into the hillside, well-protected from the wind by fir trees on three sides, with a dramatic view over the plain across which they had recently driven. This was not a place you would find by accident. Yevchenko took a thick blanket from the basket and spread it over the nadir of the saucer before sitting down and dispensing tea. Seated on the blanket Bucharensky did not feel cold. At first he found it mildly amusing to watch the two old men bicker over the jars and containers in the huge basket, but once they began to unpack Beluga caviar, and salmon, and fresh river trout and venison his amusement was forgotten and he was conscious only of ravenous hunger. He looked away. ‘Eat, Captain. You can’t listen on an empty stomach.’ Bucharensky could hardly believe his ears. After a moment’s hesitation he took a morsel of trout and began to chew it slowly, restraining an urge to stuff his mouth as full as possible. But even while he ate his mind was alert. Why, he asked himself, why this absurd expedition? Stick followed by carrot? He recognised the technique. When Stanov judged the moment ripe he said: ‘So as not to waste words, Captain, you may take it that your period of disgrace is over. In fact you were never in disgrace. We had to be sure of you, that’s all.’ Bucharensky had found an earthenware pot full of apricot jam boiled in brandy syrup

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 1871.34 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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