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  by M. L. Buchman

(about 342 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:

pinned him as being from Southern California. A home boy, not that Mike would ever admit to being from there himself. “Kinda weird, huh?” It still surprised Mike as well that this could somehow be part of his job. “Fuckin’ A.” “I didn’t start out with the National Transportation Safety Board.” “You dudes are with the NTSB?” “What did you think we were?” “CIA. That’s Groom Lake right over there, so we figured you had to be spooks. Kinda freaking us out to be assigned to watch you.” “That’s what we thought you were.” And Mike would keep how freaked out he was to himself. “Nah. Just security. Didn’t sign on to spend all day standing around in the fucking desert, but the pay is good. Good pay in the NTSB?” “Better’n I was getting,” Mike had learned early on to ease his language halfway from its carefully studied region-neutral state to match however the person he was speaking with spoke. It was that fine line between being accessible and being patronizing. He’d suffered more than a few poundings in high school before he’d figured that out. Besides, it was only half a lie. At least this time. He was followed in silence for two more pairs of samples and flags. “What were you before?” Silence worked wonders when used right. “Advertising.” He kept the answers short, which seemed to fit the guard’s patterns. “Thought there was buttloads of cash there.” “Can be. Wasn’t.” Had been until the FBI had to turn their boats through long sweeping arcs to race back down the course. An incautious turn caused a boat to capsize and toss its paddlers into the water. The crowd sighed with disappointment, then cheered them as they waved their paddles over their heads even as they tread water. Mei-Li’s favorites were the traditional boats. These were far longer than the “twenty” boats. She and Mui shared a friendly debate over which boat was prettiest. Which paddlers were the strongest. Which drummer had the best flourishes. Unlike the fiberglass and even composite-built racers, these boats were built of traditional woods. Teak shone, mahogany shimmered. As many as fifty rowers wore brightly traditional clothes rather than a team shirt. Gold shirts matched one boat’s gold detail work and red matched another’s. Flags fluttered fore and aftred with golden calligraphy—announcing the dragon’s name or calling for blessings from the gods. The drummer didn’t beat upon some tom-tom, but rather a vast drum over a meter wide that boomed across the water like the footsteps of the Jade Emperor himself, coming down from heaven to watch the show. Their ornate dragon heads reached high out of the water, far above the paddlers’ heads, seeming to strive forward even when they sat still. Everyone hushed as Daoist priests “awakened the dragons” by dotting their eyes with a fine paintbrush moments before their first race. They looked perfect as they slid along the water, ready to fly from the water and soar

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 1709.88 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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other books by M. L. Buchman

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