this is a SHAXPIR project
how does it work?

The Cassandra Compact

  by Robert Ludlum


(about 403 pages)
100,861
total words
of all the books in our library
41.51%
vividness
of all the books in our library
8.20%
passive voice
of all the books in our library
2.70%
all adverbs
of all the books in our library
1.01%
ly-adverbs
of all the books in our library
1.69%
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
this is the mission director. What is your status?” “Harry, is that you?” “Dylan?” “It’s me. Thank God, Harry! I didn’t think I’d ever hear another human voice.” “Dylan, what happened up there?” “I don’t know. I’m in the lab. One of the EMUs was showing default. I climbed in to check it out. Then I heard… Jesus, Harry, it sounded like they were being strangled. And the commo gear was down—” “Dylan, hang on, okay? Try to stay calm. Is there anyone else in the lab?” “No.” “And you’ve had no communication with the rest of the crew?” “No. Harry, listen. What—?” “We don’t know, Dylan. That’s the long and the short of it. We got a garbled message out of Wallace but he couldn’t tell us what happened. It had to be something fast and extremely lethal. We’re thinking a bug got loose. Do you have anything like that on board?” Actually what I have is a shuttle that’s one big hot zone. But what he said was: “Christ, Harry! What are you talking about? Look at the manifest. The worst we’re carrying is Legionnaires’ and that’s still in the biofreezer.” “Dylan, you have to do this,” Landon said in a measured tone. “You have to go back into the orbiter and see… and tell us what you see.” “Harry!” “Dylan, we have to know.” “What if they’re all dead, Harry? What am I supposed to do for them?” “Nothing, son. There’s nothing you can do. But we’re EMU. Gripping the handles, she descended the ladder to the lower deck. Tucked behind the cargo and the equipment that the shuttle carried was the air lock. The red light over its door was blinking, indicating a possible malfunction. “Damn wire is all it is,” Megan muttered and pushed off. “Watch this.” Carter tore open a packet of orange juice, held it up, and squeezed out some of the liquid. Forming a rough sphere, the juice floated in front of Carter, who pierced it with a straw and began to sip. In seconds, the solid that was a liquid had disappeared. “Very nice,” Stone said. “You can come do magic tricks at my kid’s next birthday.” “Uh-oh, the sauce is loose,” Randall Wallace called out. Stone turned to find that while he had been talking to Carter, the shrimp-cocktail sauce had lost contact with his spoon. He picked up a tortilla and made a swiping motion to catch it. “Wonder what’s keeping Dylan,” Carter said through a mouthful of chicken with gravy, which he was eating out of a plastic baggie. “Dylan, do you copy?” Stone said into his mike. There was no reply. “Probably in the can,” Carter said. “He has this thing for barbecue beans. Maybe he smuggled some on board.” Beans, along with broccoli and mushrooms, were never on the shuttle menus. Excess gas was much more painful in space, and flight physicians still weren’t sure how gases behaved in microgravity. Carter coughed. “You’re eating too fast

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 2017.22 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.

similar books by different authors

other books by Robert Ludlum

something missing?

Our library is always growing, so check back often…

If you’re an author or a publisher,
contact us at submissions@prosecraft.io to help grow the library.