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Operation Barracuda

  by Tom Clancy


(about 369 pages)
92,237
total words
of all the books in our library
42.03%
vividness
of all the books in our library
8.29%
passive voice
of all the books in our library
3.17%
all adverbs
of all the books in our library
1.14%
ly-adverbs
of all the books in our library
2.03%
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
we stroll. She takes my hand and I welcome it. “They’re good. It was a nice visit. My mom hasn’t been well. She had some kind of weird infection in her toenail and the doctor was afraid she might have to lose it. The toe, that is. But the nail was removed and… well, you don’t want to hear about that, do you?” “I don’t mind. I think I can take the image of a missing toenail.” “Anyway, I think she’s gonna be fine now. And my sister is fine, too. Nutty as ever. She’s getting her second divorce. I have a feeling she’ll never be happy being married. She’s too much of a free spirit.” “Like you?” “Well, I’m a free spirit, too, but not like her. If she’d been around in the sixties she’d have been a hippie. What about you? Where have you been?” “Oh, overseas. Nothing to write home about. Just the usual business.” “Yeah, right. International sales. Information gathering and troubleshooting. I remember, Mr. Mysterious.” “It’s true!” “Sure. So what are you doing in L.A.?” “Had to make a stop. A business stop. But I’ve got twenty-four hours of free time.” “Aww, and you chose to spend it with me?” “If you’d like.” “Of course I’d like.” “I do have to get some rest, though. I’m pretty exhausted.” She punches me on the upper arm. “Don’t give me that, buster. We might spend the next twenty-four hours in bed but we ain’t gonna be go finish your workout, take a shower, and by then breakfast will be ready.” “I’m done with the workout. Really.” “Then go get cleaned up.” She bats her eyes at me. I get the hint; she doesn’t want me to watch her cook. When I come back down after showering and dressing, the table in the dining room is set with two places and lit candles. She’s brought her own china and a bottle of champagne. In my spot there’s one of those stupid little party hats that reads BIRTHDAY BOY on it. “Katia, this is beautiful,” I say. “Sit down, big boy, and put on your hat.” “Katia, I’m not going to wear that hat.” She sticks out her tongue at me and goes back into the kitchen. I sit and put on the hat anyway, feeling like an idiot. When she returns carrying a tray of stuff, she sees me and laughs. “Oh, that is too precious for words.” “Can I take it off now?” “Oh, all right. I don’t want to snicker all through our meal.” The breakfast is amazing. She serves omelets made with three different cheeses, peppers, onions, mushrooms, and spinach. We have bagels and lox. A side plate holds a variety of fruit. There’s fresh orange juice as well as champagne. “Damn, Katia. I guess you’ll have to marry me,” I say facetiously. “Is that a proposal?” I don’t answer. Instead I hold up my champagne glass for a toast. She clicks my glass

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 1844.74 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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