this is a SHAXPIR project
how does it work?

Target Omega

  by Peter Kirsanow

(about 473 pages)
total words
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of all the books in our library
passive voice
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all adverbs
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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:

The two qualities are not mutually exclusive.” “You can see what is about to happen here,” Park continued. “What is happening is sheer idiocy. It is incomprehensible. Our governments are vastly underestimating the consequences of this action. They think there will be retaliation only against Iran. They are tragically mistaken.” “Our governments have not mistaken the lack of resolve in the West, however,” Chernin noted. “America and Europe are dissolute. Weak. Yes, they may not confine their retaliation to Iran, but only Iran will be struck militarily.” Park nodded. “That may be so. But many will die here and in Israel. The world economy will be in shambles, in chaos. Our countries will not be insulated from the effects.” “My bosses believe that after the dust has settled, we will be positioned to pick up the pieces and to profit. We have resources—oil, gas, minerals—that the West must have. They must deal with us,” Chernin said. “The only reason anyone must deal with my country is to buy stability. We produce nothing. We cannot even feed ourselves. The only thing of consequence that we have is our military—our nuclear capability.” “That is a very big reason.” “But the people will remain destitute, probably more so when our role in the project is revealed, as it eventually will be.” Park shook his head. “There is nothing for me to return to except misery. I will not go back.” “What do you plan to do? Your security people are fountains, miniature waterfalls, and ponds along the way. After riding for nearly a quarter mile, they rounded a perfect circle of hedges and came to a large manicured lawn punctuated by geometrically shaped plots of brilliant flowers. Sitting one hundred yards beyond the expanse of emerald grass was a series of wide-terraced, marbled steps—similar in appearance to those in front of the Capitol Building—that led to Dwyer’s four-story home. Matt turned the cart to the right and proceeded up an asphalt ramp to the east patio, where Dwyer was seated in a cushioned redwood chair, looking at his smartphone. He wore a blue suit, white shirt, and bright yellow tie. Standing ten feet behind him in front of the French doors leading to the house was Matt’s clone, also wearing a firearm on his hip. On the table in front of Dwyer were several carafes of coffee, pitchers of various juices, a plate of Canadian bacon, sausage, and scrambled eggs, baskets of rye and wheat toast, bowls of nearly every fruit imaginable, and several platters of assorted pastries. Dwyer looked up when the cart approached and rose to his feet, a broad grin on his face. He appeared to be in his midforties, easily six feet five inches tall, and had the build of a recently retired NFL offensive lineman. He still looked fairly fit but could stand to lose a few pounds. He had a large head and short, thick hair so blond it appeared nearly 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 2362.98 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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