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The Holcroft Covenant

  by Robert Ludlum

(about 667 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:

man who telephoned Miss Tennyson,” he said, not asking a question. “I’m known simply as Oberst—colonel-which was not my rank, but I’m afraid it will have to do.” “This is Noel Holcroft. He is an American, and he is the man.” Helden took a step to her left, revealing the gun in her hand. “He is here against his will. He did not want to talk with you.” “How do you do, Mr. HolcroftT’ The colonel nodded, offering no hand. May I ask why you’re reluctant to speak to an old manT’ “I don’t know who you are,” replied Noel as calmly, as he could. “Further, the matters I’ve discussed with Miss Tennyson… are confidential.” “Does she agree?” “Ask her.” Holcroft held his breath. In seconds he would know how convincing he had been. “They are,” said Heiden, “if they are true. I think they are true.” “I see. But you must be convinced, and I am the devil’s advocate without a brief.” The old man lowered himself back into the wheelchair. “What does that meanT’ asked Noel. “You won! t discuss these confidential matters, yet I must ask questions, the answers to which could allay our anxieties. You see, Mr. Holcroft~ you have no reason to be afraid of me. On the contrary, we may have a great deal to fear from you.” “Why? I don’t know you; you don’t know me. Whatever it is you’re involved with has nothing to do with me.” “We must all be my hand. Get out of the car.” He preceded her up the short path to the door of the house~ Except for the dim light in the windows, it was dark. The surrounding trees filtered the moonlight to such a degree that only muted rays came through the branches, so weak they seemed to disintegrate in the air. Noel felt her hand reaching around his waist, the barrel of the gun in the small of his back. “Heres a key. Open the door. It’s difficult for him to move around.’ Inside, the small room was like any other one might Imagine in such a house deep in the French countryside, with one exception: Two walls were lined with books. Everything else was simple to the point of primitivenesssturdy furniture of no discernible design, a heavy oldfashioned desk, several unlit lamps with plain shades, a wood floor, and thick, plastered walls. The books were somehow out of place. In the far comer of the room sat an emaciated man in a wheelchair. He was between a floor lamp and a short table, the light over his left shoulder, a book in his lap. His hair was white and thin, combed carefully’over his head. Holcroft guessed he was well into his seventies. In spite of his punt appearance, the face was strong, the THE HOLCROPT COVENANT 159 eyes behind the steel-rimmed spectacles alert. He was dressed in a cardigan sweater buttoned to the throat, and a pair of corduroy trousers. “Good evening

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 3335.78 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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