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Power and Empire

  by Marc Cameron

(about 595 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:

If is true, I hope I fight you. You are small. You no problem for me to break.” Magdalena withdrew her hand and dragged her bucket across the room. She would learn, someday, that letting down her guard brought nothing but pain. Pain, in one form or another, had been a constant companion since her father had died and her mother had told her to “open her kitchen.” At first the hurt had been in her heart. She’d never been her mother’s favorite. This she knew. But even in a culture where daughters often opened their kitchens to help the family, it should have been her choice. Her father had once beaten a boy who had just looked at her. He would never have suggested she do such things. Her mother, on the other hand, had said she might even learn to enjoy her work. That was a joke. She’d learned to endure the searing pain, the ache of the illnesses that were a foregone conclusion when you slept with upward of twenty different men a week. The act itself was painful enough, but the men were all so much bigger than her that it was nearly always brutal—even when the men pretended they were being nice. Her back and shoulders suffered wrenching injuries she would surely carry for the rest of her life. But even that pain she’d learned to push to the back of her mind. She’d thought her life was bad in Costa Rica. It had last minute. Even the odor of roast lamb, a smell she usually found intoxicating, did nothing for Meiling’s nerves. She stood by as if awaiting the gallows while the foreign minister and his guests inhaled her perfect bacon-and-leek quiche appetizer. She hardly heard Madame Li’s praise at the first expertly stacked bite of pink lamb, mint sauce, and delicate Yorkshire pudding. Table talk was light, with Madame Li deftly steering everyone away from politics. Meiling grew more anxious with every bite of food the guests ate, bringing them closer to the end of the meal—and she to her fate. Dessert service saw her hoping to be swallowed up by the draperies. Minister Li tapped on his crystal glass with his silver spoon, making certain he had everyone’s attention. “I have prepared a small surprise for our lovely wives,” he said, as if he had prepared the white ramekins himself. Each of the guests had their own crème brûlée, but the ramekins for the women were marked with a small flower of burnt sugar on the crust. It had taken Meiling an hour to prepare the delicate blossoms. Madame Ip, the birdlike woman who shouldn’t have even been there, tapped on the crust of her dessert, hitting it several times with the tiny spoon as if she didn’t quite have the strength to break through the caramelized sugar. She squealed when she finally cracked it, and, forgetting about the creamy custard, used the spoon to dig around in the dessert

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 2976.82 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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