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The Sound Of Crying

  by Nigel Cooper

(about 370 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:

was this?’ ‘Just over two weeks ago now.’ ‘Where did she go?’ ‘That’s just it, I have no idea, she didn’t say, she just stormed out of the house with whatever she’d crammed into her case and drove off.’ ‘You’ve tried calling her mobile I presume?’ ‘Of course, it’s switched off, has been pretty much since she ran off like that.’ ‘Did you try leaving a message?’ ‘I can’t, just keep getting a message saying number currently unavailable and there’s no option to leave a message.’ ‘Friends, family?’ ‘I’ve tried everyone, they haven’t heard from her either; they’re just as concerned as I am. Thing is, I’m really worried.’ ‘That’s understandable, John.’ ‘No, you don’t understand, there’s something else, something she said as she left.’ ‘What did she say?’ ‘She said that if there was nothing the police could do then there was something she could do. She was talking about revenge, avenging our children’s deaths. I think she’s going to do something stupid.’ ‘I wouldn’t worry too much about th—’ ‘No, really, you don’t know her like I do, once she gets an idea into her head she’s like a dog with a bone. Trust me, this is her new hobby horse, whatever it is she’s planning to do, she’ll go through with it.’ DC Dubois could see that John was deadly serious, she felt the atmosphere in the room change and she believed him. ‘Ok, we’ll see what we can do to find her,’ she said. ‘I don’t ankles and wrists also tied and he too had been stripped of his clothes and had a red rubber ball gimp strap strapped around his head and mouth. Both boys were shaking and sobbing, terrified for their lives. The red record light started to flash on the digital camcorder’s foldout LCD screen as somebody pressed the record button. The audio level meters started to twitch as the camcorders microphone picked up the sobs of the boys. Then, a man dressed in full clergy dress stepped into the camcorders frame from the left hand side. In addition to his black clergy uniform, he also wore a full-head black leather gimp mask with holes cut out for the eyes and a zipper across the mouth, the zip open. The audio decibel meters on the camcorder started to climb a little higher as Jamie’s anxious and petrified muffled cries increased in volume. His twin brother, Edward, tied face down on the bed, could not see what was going on. The man slowly removed his white clerical collar and placed it on a vacant space at the end of the trestle table. Then he removed his clergy uniform until he was down to his underpants, vest and socks. Taking his time, he removed his socks first, then his vest, then, to Jamie’s horror, his underpants. He turned to face the boys and just stood there, motionless, totally naked except for the scary looking black leather gimp mask, a stark contrast to his pasty white

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 1850.88 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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