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Fatal Serum

  by Sam Black

(about 217 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:

could be worked out. We had returned to early spring in the States, having left the end of summer in New Zealand. Jennifer worked for a large law firm in Chicago. She had been with the firm for five years, working her tail off for a promised partnership in October. She had begun to hate the firm. Her father had warned her when she had taken the job. He had a small law practice in Oakbrook, Illinois, where Jennifer had grown up. The wedding would be small. A few friends and immediate family would be sent invitations. The reception would be open and would be held at Gargiano’s in Oakbrook. Jennifer would check on the availability. Jennifer, baptized Methodist, and I-I left the Presbyterian Church after graduating high school. I still believed, but my faith had dwindled. We were going to be married in the Snowden’s Methodist Church in Oakbrook. My brother, Randy, would be my best man. I had studied and worked part-time for so many years, my social friends had left the scene. At almost thirty, I had maybe one friend, Robert Hayes, a cop in Denver, the guy who had lent me the money to see Holloway. Robert Hayes and his wife would be attending the wedding. Robert wasn’t the smartest oar in the water, but he was the most honest person ever made. Robert had been working homicide for the past four years. He had the body of a Greek God. His name should have been maybe a steak, baked potato and a small salad.” “We don’t have any steak here at the hospital, but we can get you some fresh fruit: kiwi, grapes, oranges, mango, and pineapple. You should eat fresh fruit now that you are being fed through the IV.” “Okay, fruit it is.” Minutes after I received my fruit plate, Jennifer came running into my room. “Jennifer!” I screamed. BACK AT THE LANGHAM HOTEL They discharged me two hours after Jennifer had arrived. We took a cab back to the Langham Hotel. We laughed and hugged one another; yet, fear ran through our veins about what could have happened. Jennifer ordered room service: Two medium rare T-Bone steaks with two baked potatoes, garden salad and assorted vegetables. No liquor. We ate slowly, savoring every bite. After setting the empty dishes outside the door on the floor, we both stripped down and entered the shower together. For the past ten years, we have not been able to keep our hands off each other, whether naked or dressed. We were both exhausted, but the sexual energy riveted throughout our bodies. “I want you, Sam,” Jennifer purred in my ear. I want you, my love.” We rinsed the soap from our wet bodies. I dried Jennifer with a large, soft bath towel and she did the same for me. We collapsed onto the bed, with the sun shining behind the drapes on the window. We were asleep within minutes and slept until awakened by loud pounding

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 1085.82 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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