this is a SHAXPIR project
how does it work?

The Hunting

  by Stephen Leather

(about 328 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’s for our records, sir. I’ll need your name.’ ‘Okay, fine. My name’s Salmaan Yousif.’ ‘And who else is with you, sir?’ ‘My friend. Abdullah Rarmoul.’ ‘So there’s just the two of you?’ ‘Yeah. Now can you come and get us?’ ‘What is your location, sir?’ ‘I don’t know. We’re in a forest. All I can see are trees.’ ‘That doesn’t help me, sir. There are hundreds of thousands of acres of forest. You could be anywhere.’ ‘Yeah, but what is the range of your radio?’ ‘My radio, sir? Twenty kilometres on a good day.’ ‘Right, so you must be twenty kilometres away or closer? That’s not too far, is it?’ ‘Sir, a twenty kilometre radius would mean you could be anywhere within twelve hundred square kilometres.’ Sid cursed under his breath. ‘Look officer, my friend and I have no food or water, no shelter, no nothing, and there’s a madman with a gun trying to kill us. Can’t you track my signal or something?’ ‘On a phone that might work, but you can’t track a radio signal, sir. Do you have a gun?’ ‘A gun? Why?’ ‘Because if you fire your weapon the sound might carry and I might hear it.’ ‘I don’t have a weapon,’ said Sal. ‘Could you light a fire?’ ‘I don’t have a lighter.’ ‘If you could light a fire and make smoke, I would possibly be able to see that.’ ‘Okay,’ said Sal. ‘We’ll try.’ ‘And are there any identifying features where you are help.’ He walked to the edge of the clearing and looked around. He saw Sid in the distance pulling a branch off a tree and walked over to him. ‘What are you looking for?’ asked Sid. ‘More willow?’ Raj shook his head. ‘The willow bark’s a painkiller. I want something to act as an antiseptic to stop the wound getting infected.’ Raj moved slowly through the undergrowth looking at the smaller bushes. He pushed his way through a clump of large spreading ferns, then walked around a giant redwood that had died and fallen over, exposing rotting roots. The roots were covered with lichen and moss. Some varieties of moss had medicinal qualities but they could also be poisonous, and Raj wasn’t knowledgeable enough to take the risk. There were more ferns beyond the dead tree, and a cluster of evergreen shrubs. Raj smiled when he saw a bush dotted with white flowers. He grabbed a handful of its fern-like leaves and crushed them. When he held the leaves to his nose he caught the distinctive bitter aroma that let him know he was right – it was a yarrow plant. He grabbed several handfuls of leaves and took them back to the clearing. Sid was still pulling branches off the tree and Erol was gathering berries. Raj left them to it. He reached the clearing and sat down next to Jaffar who frowned at the leaves. ‘Do I have to eat that?’ ‘Nah, mate. We’ll use it like a poultice

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 1641.30 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 Stephen Leather

something missing?

Our library is always growing, so check back often…

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