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Without Remorse

  by Tom Clancy


(about 1,006 pages)
251,463
total words
of all the books in our library
37.38%
vividness
of all the books in our library
8.75%
passive voice
of all the books in our library
3.38%
all adverbs
of all the books in our library
1.11%
ly-adverbs
of all the books in our library
2.27%
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
was almost a plea. That wasn’t exactly new, and MacKenzie was tired of responding to it. “If you’re asking me to defend how we got stuck with this mess, Wally, you’re wasting your time. It’s been a mess since the beginning, but that wasn’t the work of this Administration, was it? We got elected with the mandate to get us the hell out of there.” “Yes, sir,” Hicks agreed, as he had to. “That’s exactly my point. Doing this might harm our chances to bring it to an end. I think it’s a mistake, sir.” “Okay.” MacKenzie relaxed, giving a tolerant eye to his aide. “That point of view mayI’ll be generous, does have merit. What about the people, Wally?” “They took their chances. They lost,” Hicks answered with the coldness of youth. “You know, that sort of detachment may have its use, but one difference between us is that I’ve been there and you haven’t. You’ve never been in uniform, Wally. That’s a shame. You might have learned something from it.” Hicks was genuinely taken aback by the irrelevancy. “I don’t know what that might be, sir. It would only have interfered with my studies.” “Life isn’t a book, son,” MacKenzie said, using a word that he’d intended to be warm, but which merely sounded patronizing to his aide. “Real people bleed. Real people have feelings. Real people have dreams, and families. They have real lives. What you would have learned, Wally, is that they may not be There was a road only a hundred yards away, and at the moment it was totally vacant. So quiet it was that any mechanical sound would surely have reached him. There was none. It was time. Kelly steered the sled close to the bank. He selected a place with overhanging trees for the additional concealment. His first physical contact with the soil of North Vietnam had an electric feel to it. That soon passed. Kelly stripped off the wet suit, stuffing it in the waterproof container on the now surfaced sled. He quickly donned his camouflage fatigues. The jungle boots had soles copied from the NVA’s in case anyone spotted tracks that looked out of the ordinary. Next he did his camouflage makeup, dark green on forehead and cheekbones and jaw, with lighter colors under his eyes and in the hollow of his cheeks. Shouldering his gear, he flipped the power switch on the sled. It motored off towards the middle of the river, its flotation chambers vented now, sinking it to the bottom. Kelly made an effort not to watch it hum away. It was bad luck, he remembered, to watch the helicopter fly away from the LZ. It showed lack of purpose. Kelly turned to the land, listening again for traffic on the road. Hearing none, he climbed the bank and crossed the gravel path immediately, disappearing at once into the thick foliage, moving slowly and deliberately up the first hill. People cut wood here for cooking fires

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 5029.26 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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