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A Time to Die

  by Mark Wandrey


(about 615 pages)
153,821
total words
of all the books in our library
53.12%
vividness
of all the books in our library
6.35%
passive voice
of all the books in our library
2.59%
all adverbs
of all the books in our library
1.01%
ly-adverbs
of all the books in our library
1.57%
non-ly-adverbs
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:

MOST PASSIVE PAGE
MOST VIVID PAGE
did tend to become a tad flirtatious after a few glasses of wine. “Yeah, that’s me. How have you been, David?” “Great, was hoping to see you again sometime.” Lisha nodded. I bet he was. Antisocial introverted type. Flirting with him had been like giving a steak to a starving puppy. “Listen, David, I didn’t call socially. I have some really important data that I want to get out into the field, and all my other contacts have gone dark.” “I know, they’re restricting phone traffic. I’m surprised you got through to me. This is the first call outside of the CDC I’ve gotten all morning.” “I have a friend at FEMA,” Lisha admitted, but stopped there. She might need him again, and burning the man was a guaranteed way of ending that friendship permanently. “Handy. What do you have?” “I have some data on an invasive virus that is likely global by now. I think it’s behind all these outbreaks of insanity we’re seeing.” The line was silent for a long time. “Lisha, what do you know about strain delta?” “Is that what you’re calling it?” More quiet followed. “Lisha, I don’t know what I can say.” “I didn’t call you to help me, I called to help you. I have a series of encrypted files I’m going to send through this call, if you initiate a link.” “I can lose my job for doing that, we’re under lockdown. Fuck, I shouldn’t even be talking to you now!” “We’re herbivore transit a tiny grove in the woods, picking and eating the more tender shoots from grasses of the early spring evening. The rabbit was thin and wary, knowing subconsciously that hungry predators would savor its flesh. The fox certainly coveted the flesh, it desperately needed it to survive. The winter had been long and harsh, keeping creatures like the rabbit in their burrows weeks longer than normal. Hunger gnawed at its being like a primal scream. Finally, after all the waiting, the rabbit moved towards the fox who watched with hungry eyes, barely moving. Inch by inch, succulent fresh clover to wild grain sprouts the rabbit moved closer. Then the time was right. The same ancient instincts that kept the fox still spoke that the prey was close enough, and it was time to pounce. Muscles tensed, whiskers twitched, and it leaped. The sky exploded with light and fury, a thunderous roar followed a half second later. The fox’s leap was off by inches and the rabbit spun, wiggling sideways and escaping the hungry jaws, leaving the fox with only a few wisps of fur for the effort. The light and roaring sound grew in intensity, chasing the fox under the gnarled roots of an ancient oak tree exposed by many seasons of rain and snow. Running was out of the question, in seconds the light grew to many times that of the noonday sun and the sound was a physical force of pain. The fox had been shot

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 3076.42 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 Mark Wandrey

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