this is a SHAXPIR project
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  by M. L. Buchman

(about 314 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:

herself had placed at the “friend’s” instruction—only to have it answered by a Zaslon agent. Vesna had liked the woman who’d answered; she’d been kind and funny. She had also been livid when Vesna had mentioned Arfist, Harper. Harper was not a Russian name. Was it an American one? She didn’t know. But whoever the Zaslon agent had been, she hadn’t sounded like a traitor. Vesna asked herself, “What if she hadn’t been a defector?” Then had the plane really been shot down from the sky? She’d tried calling the number only once—careful to use a disposable phone. The phone call had gone to voicemail. Vesna hadn’t left a message. Should she report this? It was her duty. It was what she was paid for. But if she reported it, she’d have to expose how she’d heard everything, and that would expose Gregor and his American connection. And she knew exactly what would happen to Vesna herself after they were done interrogating her. The Zaslon agent’s last instruction had been to take good care of her man. Very good care. Yes, Vesna pressed back against Gregor. Yes. She would listen to the Zaslon agent, say nothing, and do her duty—to herself. Elayne was surprised at her treatment. Holly and Mike had watched her like she was nothing. That wasn’t a surprise. At least they also hadn’t been dancing happily as she’d walked in chains across the hangar floor. Of the others, only the pilot Jon Swift had other scent. Cabbage and dry-cold. Aging, untuned exhaust from the Zhiguli, and dry-cold. The sagging industrial zone that surrounded the gleaming gray-and-glass facade of the Progress Space Rocket Centre’s entrance, squatting atop a flight of concrete steps like a sleeping bear ready to awaken and crush them, smelled of rust and hydraulic fluid… and the dry-cold scent. A woman with shoulder-length bronze-brown hair and a classically Russian just-too-tight dress was coming down the front steps of the Progress Rocket Space Centre toward them. “Wow! Talk about made for the camera,” Tom spoke up and shouldered the Red 8K camera he’d been practicing with since they picked him up at Ramstein. He made the move look as if he’d done it a thousand times, rather than never having touched a studio camera until a few hours ago. The woman certainly was: bright smile, smooth walk, and had clearly just brushed her hair to a shine and redone her makeup. She was remarkably photogenic. Holly had last slept on the steel deck of a C-130 Hercules from Spieden Island to Kentucky, though mostly not-at-all because of Miranda’s damn question about whether she was sleeping with Mike. Clarissa had arranged for a change of clothes to be waiting for Holly in Germany—casual up-scale Euro that didn’t feel like her at all. Holly supposed that the slender black slacks, a trim matching blazer over a white silk, open-collar blouse, and wrap-around shades to go with the quick dye job into jet black hair

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 1569.08 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.

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