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  by Stephen Leather

(about 53 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:

it.’ ‘He was cursed by a gypsy, is that what you’re saying? He was cursed and now he’s in the ICU?’ ‘I’m just telling you what I’ve been told. You’ve got previous in the supernatural heebie-jeebie world so I need you to see what’s going on.’ ‘And who’ll be paying for this?’ ‘You’ll be doing it out of the goodness of your heart,’ said Chalmers. ‘Yeah, well, I’d be happier with five hundred quid a day plus expenses,’ said Nightingale. ‘Like I said, you’ll do it out of the goodness of your heart, and if you don’t I’ll make your life a misery. And that’s in the short term. Long term, private investigators are going to be licensed, and getting the all-clear from the Met is going to be a necessity for any gumshoe planning to ply his trade in London.’ ‘Are you threatening me, Chalmers?’ Chalmers smiled cruelly. ‘Damn right I’m threatening you. I’ll do whatever I need to do to get Simon Roach out of that hospital bed. But I shouldn’t have to threaten you, Nightingale. It wasn’t so long ago that you were a cop. Simon Roach is a good cop who needs help and so far as I can see you’re the only person who can save him. You can’t walk away from that responsibility.’ Two of the SOCOs walked towards Chalmers. The superintendent handed Nightingale a piece of paper. ‘That’s the number of Roach’s inspector, Ian McAdam. He’ll fill you in. Do what you can but she had the bright, inquisitive eyes of a young child. She was dressed from head to foot in black – a tight polo-neck sweater, leggings and elf-like ankle boots. She was barely five feet tall and Nightingale knew that she was standing on a wooden box to reach the cash register. ‘I haven’t needed much in the way of witchcraft supplies lately,’ he said. ‘Tea?’ she asked. ‘You read my mind, Mrs Steadman.’ ‘Do me a favour and turn the sign on the door around, will you?’ she asked. ‘I haven’t had a break and neither of my assistants turned up today. Young people, they’ve no sense of responsibility, have they?’ ‘Definitely not,’ said Nightingale, turning the sign around so that it was showingClosed’. Mrs Steadman stepped down off her box and walked around the counter, her boots clicking on the wooden floor. She took him through a beaded curtain and waved him to a circular wooden table and chairs, illuminated by a brightly coloured Tiffany lampshade. A gas fire was burning and Nightingale took off his raincoat and sat down as Mrs Steadman busied herself making tea. ‘I’ve got a bit of a problem, Mrs Steadman,’ said Nightingale, and he told her what had happened to Simon Roach. ‘That’s awful,’ she said as she carried over a tray on which there was a brown ceramic teapot, two blue and white striped mugs and a matching milk jug and sugar bowl. ‘Simply awful.’ She sat down and poured tea

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 264.82 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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