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Hush Money

  by T. E. Woods

(about 343 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:

you said, the prosecutor recognizes how vile Millerman was. She’ll understand you had no other choice.” “You don’t know.” His cold gaze locked with hers. “You don’t know.” “But I’m beginning to. Maybe you’re not as good at being the brave soldier as you felt you needed to be. But there were clues. If I’d been paying attention, I could have reached out to you sooner. Let you know you weren’t alone. You’ve been in so much pain. The betrayal must be devastating.” “You don’t have a clue.” “No? Let me tell you what’s coming together in my mind now… what I should have recognized earlier. Remember when you learned Ronnie was my best friend?” “Dr. Pernod. Yes.” “We joked about the painting of Old Iron Guts. How it spooked the patients. What I failed to remember was that Ronnie’s been out of that office more than a year. Your wife’s been pregnant less than three months. The only way you’d have been in her old place was if you’d been in treatment for some time. Infertility treatments. When Cynthia became pregnant, you knew you weren’t the father. I can only imagine how that crushed you. How did you learn it was Roger Millerman?” “She told me. ‘I’m finally pregnant. Roger’s the father.’ No denial. No soft-pedaling. Why should she? She was leaving me. Said Millerman was as thrilled as she was. They were going to live happily ever after.” His grimace was the face of pure evil. “Cynthia is lotion. Then comes the plastic cup with Gabby’s toothbrush. It’s pink. She likes toothpaste that tastes like bubblegum. “Step back!” The harsh order jarred her back to reality. “Farther! Stand still. I’m going to open the door. Make a move toward me and you’ll wish you hadn’t.” The guard was a woman. And from the looks of her, Windy wouldn’t bet against her in a street fight. The guard slid her cell door open. A smaller woman, dressed in the same pale blue scrubs as Windy, entered the cell. She carried a brown paper sack in one hand and a half-pint paper carton of milk in the other. “Breakfast,” she announced. “Put the milk container in the bag when you’re finished. We’ll be back to pick up the trash.” She left before Windy could thank her. The guard slammed the metal door closed, gave Windy a don’t-even-think-of-messing-with-me glare, then stomped to the next cell. Windy’s fear shifted just enough to make room for hunger. She sat on her bed and opened her bag of breakfast. Two slices of cold toast. An apple more bruise than meat. A plastic tube of blueberry yogurt. She didn’t recognize the brand. Windy pried open a corner of the milk container and took a sip. Room temperature. She twisted the yogurt open and alternated a squeeze of blueberry mush with a bite of bread. She examined the apple and found a spot offering three nibbles of fresh flesh. Then she chugged the milk

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 1716.14 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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other books by T. E. Woods

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