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The Summer Guests

  by Mary Alice Monroe

(about 372 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:

on a horse again.” “Grace—” he said dismissively, as though what she’d said were a joke. “I mean it, Charles. My family is my life. I will do anything to protect you and Moira. Even be the bad guy in this scenario. I’m not saying don’t have horses. Have as many as you want. I know you need horses in your life. Take care of them. Love them. But you don’t have to ride a horse to love them. I don’t want you to ride anymore.” She swallowed hard. “Love me more. Love me enough not to ride.” Charles’s shoulders drooped in defeat. He came to Grace’s side of the bed and placed a comforting hand on her shoulder. They were at an impasse. Spent. “Please, don’t cry. You know I can’t bear to see you cry.” “Charles, I’m begging you.” “I can’t promise you not to ride.” She pinched her lips, conceding that point. “Okay. But don’t buy that horse. Butterhead is a wonderful horse, I admit. I’d love to ride her too. Who wouldn’t? But she is a jumper. That’s what she’s trained to do. That’s what you are trained to do. It’s in both your blood.” She shook her head. “You wouldn’t be able to keep your promise not to jump. It would be inevitable.” He sighed heavily. “I won’t buy the horse.” She heard his defeat and it saddened her. But there was nothing else she could say to change the way things were. She couldn’t tension. The house had the elegant aura and comfort of an old home, with its tapestries, velvets, and oriental rugs—and all the advantages of newer construction: central heating, efficient plumbing, a bathroom for each bedroom, and the expansive, modern kitchen Grace called the heart of the home. The rear of the kitchen had large, paned windows overlooking the garden, lush with mature boxwoods, hydrangeas, and perennials. It was a small, neat park bordered by a fence that kept her small terrier in and the deer out. Beyond the iron fence was a thick forest, the branches of the trees screening the small lake on the other side from view. The recent addition was a kidney-shaped swimming pool. Grace had had it built for Charles after his terrible accident two years earlier. The rest of the farm’s seventy-five acres was fenced rolling pastures. Grace gave the stew another stir, then reached for the bottle of burgundy and poured the entire contents into the stew. “I hope you saved a glass for me,” Charles said, entering the room. Grace looked up and smiled, even as her sharp eyes swept over the sheen of sweat on his face and his slight limp. Charles approached, one of his thick, graying brows rising over his pale-blue eyes. He picked up the empty wine bottle from the counter. “That was a damn good bottle of wine for stew.” Grace offered her cheek for a kiss. He smelled of leathery sweat and horse feed, a scent

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 1862.38 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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