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Tom Clancy: Line of Sight

  by Mike Maden


(about 421 pages)
105,137
total words
of all the books in our library
49.79%
vividness
of all the books in our library
6.61%
passive voice
of all the books in our library
2.60%
all adverbs
of all the books in our library
0.98%
ly-adverbs
of all the books in our library
1.62%
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
narrow street where his apartment was located. “So, what’s the plan for tonight? Heck, I might even be able to bust out a dance move or two if there’s a club you like.” “I’m sorry, I can’t do anything tonight.” “But I’m leaving soon.” “Don’t remind me.” “Did I do something wrong?” She reached up and touched his troubled face. “No, my love. I’m the one who has failed you. I never should have opened up my heart to you. You have your life back in America, and I have my life here in Bosnia. It was a beautiful spontaneous fling. But it’s over now, isn’t it?” “A fling?” “What else would you call it?” Jack shrugged. “I don’t know.” “Were you planning on staying here forever?” Jack shook his head. She was right. But he said, “You can come to the States with me.” He didn’t pretend to make a play about fund-raising. “That’s very thoughtful of you, but I have my work here.” “Work that almost got you killed today.” “It’s nothing new. Someday, things will get better for us.” “What if they don’t?” “Then they don’t.” “I don’t want you to get hurt.” “How can you stop it?” “Can I at least see you tomorrow?” She shook her head. “I’m sorry, but I can’t. A new group of refugees are arriving tomorrow. I need to be at the center.” “Then I’ll come, too.” “That’s not possible. This group is Syrian. They don’t trust Westerners, especially Americans. I’m city. Let’s go. My treat.” The waitress set the platter of ćevapi in front of Jack. The aroma of the sizzling beef sausages and grill-charred bread triggered his inner, slavering wolf. Aida ordered a half platter of the same. Not sure how to attack his plate with the available utensils, Jack waited for Aida to demo the long-awaited delicacy. She tore off a piece of flatbread, forked one of the finger-sized sausages onto it, and piled a little mound of finely minced sweet onion on top. Jack followed suit. He thought he might cry for his culinary joy. The grilled minced-beef sausages were mildly spiced, the wood-fired bread was smoky and savory, and the raw onions provided a sweet, crunchy heat. The dish was simple but perfectly combined in its flavors and textures. In his travels around the world, Jack had found that “peasantfood was usually his favorite. Poor people could never afford the expensive ingredients of “haute cuisine” and so had to find a way to coax the maximum amount of flavor out of their simpler fare. This ćevapi was the food equivalent of an exquisite Ansel Adams black-and-white photo. “What do you think?” Aida asked between delicate bites. Jack was working a mouthful of food like a hyena devouring an antelope carcass. He took a swig of Austrian bottled water to wash it down. The restaurant didn’t serve alcohol. “Unbelievable. I’ve heard about this stuff. Had no idea how good it could be.” “It’s the best ćevapi in the city

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 2102.74 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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