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The Lost Order

  by Steve Berry


(about 532 pages)
133,014
total words
of all the books in our library
42.73%
vividness
of all the books in our library
8.33%
passive voice
of all the books in our library
2.83%
all adverbs
of all the books in our library
1.00%
ly-adverbs
of all the books in our library
1.83%
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
he should be fine. The fact that no one was following made him feel better. The sirens he’d heard had gone toward the Castle but, as he suspected, the woman chasing him had come alone. He’d caught a quick glimpse of her face and wondered if she really was with the Justice Department. Killing Martin Thomas had been the only option. If Thomas had done his job, accepted their generous payment without becoming greedy, he would have let him be. But that had not been the case. And writing a book? That was the last thing he could allow to happen. He wondered if his subterranean route into the Castle had been discovered. Could the Justice Department woman have come that way? Or was she waiting in the Castle? But how would she have known to be there? From Thomas? No way. During a call earlier arranging the visit no mention had been made of where he planned to go, only that he needed access into the buildings. He hadn’t told Thomas where they were headed until they left the Cullman. So there was no way anyone, including Thomas, could have known that he planned to use the old tunnel. No. They’d been followed across the Mall through the tunnel, which meant the corpse had been found. Diane would not be pleased with what he’d done. She’d been the one who’d greased his path into the Smithsonian, connecting him with Thomas. Questions would surely come her way, but that was the rutted washboard surface. The clapboard house they found was single-story with tall, narrow windows, a covered porch, and a brick chimney. Thick-leaved trees crowded it on all sides. Chickens roamed free and he caught sight of the pink rump of a pig as it darted toward several wooden outbuildings, whose corrugated roofs flashed in the evening sun. He’d decided on a direct approach and parked near a waist-high wooden fence that outlined the yard surrounding the house. He stepped from the car. The warm air carried the heady scent of manure. An older man bobbed out of the front door. He wore a faded blue shirt, worn dungarees, heavy boots, and a wide-brimmed hat that seemed fixed to his head with the permanence of hair. He carried a single-barreled shotgun—. gauge, if Cotton wasn’t mistaken. “No, Granddaddy,” Lea yelled. “Put that down.” Terry Morse did not budge. Cotton reached for his gun. “Now,” Lea screamed. The weapon was lowered. “These people are federal agents,” Lea said. “You went too far this time.” Cotton admired the simple room. A light-colored bookcase filled with Goosebumps and Harry Potter novels lined one wall, a nondescript rug protected the plank floor. Six chairs were drawn near a pine table, the walls dotted with black-framed memories. Everything was clean and tidy. Expediency, not style, ruled. Not all that dissimilar from his mother’s house back in Georgia. The only blemish was the acrid scent of nicotine and the mashed cigarette butts that filled several ashtrays

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 2660.28 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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