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Sleeper 13

  by Rob Sinclair

(about 455 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:

really don’t have the full details of all the plans. Only one man does.’ ‘Wahid.’ ‘But he’s mine. That’s the condition. I’ll tell you everything I know, but Wahid is mine.’ ‘What do you mean, yours?’ ‘Let me find him. Let me kill him.’ ‘I can’t do that. Not only is there absolutely no legal or ethical basis for me to agree but it’s simply too big a risk.’ ‘Then you’ll never hear from me again. Bye, Rachel.’ He pulled the phone away from his ear and could hear Cox protesting. He paused. ‘Aydin, are you still there?’ He pulled the phone back into place. ‘That’s the condition.’ ‘I can’t agree. I’m sorry, Aydin. But… if you get to him first, then there’s nothing we can do really, is there?’ Was she speaking hypothetically? It didn’t matter – he just had to do what he could to make sure the authorities didn’t beat him to Wahid. ‘They’re not dark,’ Aydin said. ‘What? How do you mean?’ ‘They’re not dark,’ he said again. ‘They’ve been communicating for the last sixty hours.’ ‘That’s not possible, we’ve––’ ‘The messages, just like the data on the computers, are coded. It’s time consuming, but you can crack them. Every number in the messages represents a single word. Each can be found in the Quran. Passage, paragraph, word number.’ ‘Aydin, we’ve intercepted nothing. There are no messages to decode.’ ‘You’ve been looking in the wrong places. Tell your experts they’re using frequency hopping, they’ll understand.’ That was yellow gravel driveway that led up to a white Roman-style villa, a turning circle in front, complete with fountain topped with water-spitting cherubs. Cox parked the car and before she’d stepped from it the large wooden door to the villa was opened to reveal a plump middle-aged woman in plain blue linen trousers and matching top – a uniform by the looks of it, a nurse or maid perhaps, though which it was Cox wasn’t sure. She smiled at the woman. ‘Please, he’s inside.’ Cox nodded and carried on in, breathing a sigh of relief at the welcome moderate temperature inside. The last reading on her car’s thermometer had been thirty-one celsius. Inside the villa it felt half that, though Cox didn’t note any air-conditioning units, the cool ambient temperature achieved the old-fashioned way through the design of the building itself, with overhead fans keeping air moving through the shaded spaces. Cox followed the woman across tiled floors, through airy rooms, taking in what she could of the elaborate layout. As well as crammed bookcases almost everywhere in sight, there were statues and ornaments and paintings depicting and originating from a wide range of different times and cultures; Ancient Egypt, Ancient Greece, Ancient Rome, Persia, the Far East among them. They moved through into a garden room where the shuttered doors were wide open to reveal a cascade of water features in the manicured garden outside. There were two wicker seats in front of the open doors, the straggly white hair

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 2274.32 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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