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Lethal Agent

  by Vince Flynn & Kyle Mills


(about 399 pages)
99,734
total words
of all the books in our library
40.96%
vividness
of all the books in our library
8.62%
passive voice
of all the books in our library
2.87%
all adverbs
of all the books in our library
1.28%
ly-adverbs
of all the books in our library
1.59%
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
is even more contagious and has a significantly higher mortality rate. Add to that the rise in long-distance travel and the increase in the world population, and you could be talking about casualties in the hundreds of millions.” “That’s my estimate as well.” Still, Bertrand’s’ expression suggested that he believed he wasn’t being clear. “This can’t be controlled. It won’t just kill people you think are your enemies. It won’t be just Americans. Or Christians. It’ll come here. It’ll spread across the Middle East. It’ll kill your men, members of your family. Maybe even you.” “If that’s God’s will.” “Are you out of your mind?” the Frenchman said, finally starting to grasp what they were talking about. “If it was God’s will, he’d do it himself. This isn’t a bullet or nerve gas or even a nuclear bomb. You can’t target an opposing army or country. You can’t predict what it will do. And you can’t stop it once it’s started. It’s impossible to win because winning doesn’t exist.” “You’re wrong, Doctor. With its complexity, interconnectedness, and reliance on technology, the industrialized world will completely collapse. It won’t just be disease that kills them. It will be starvation. Cold. Darkness and chaos.” He waved a hand around him. “Certainly, millions will die in this part of the world, but that isn’t enough to destroy us. It’s the way we’ve lived for millennia.” Bertrand took another step back. “You think… You think you can level the playing field?” Halabi smiled. “I’d returned. The green cotton slacks and brown shirt supplied by Claudia had been cleaned and pressed but would still allow him to blend into the jungle if necessary. The gray trail-running shoes were less stylish, but sturdy, light, and possessed a tread designed for soft surfaces. The barking of dogs became audible when they stepped into the humid morning, ahead and to the right but hidden in the foliage. They skirted the clearing that stretched along the front of the house, staying beneath the jungle canopy in an effort to foil possible overhead surveillance. The scene they finally came upon was, unfortunately, about what Rapp had expected. Two dirt bikes and three 4x4s sprayed with matte camo paint—one with a mounted machine gun heavy enough to nearly bottom out the suspension. The sixth and last vehicle was a spotless Humvee painted British racing green. Like Rapp’s clothes, designed to blend in anywhere. Seventeen men were either in the vehicles or standing around them. All were wearing full camo and equipped with assault rifles, sidearms, and light packs with water bladders. The exception was Esparza himself, who was wearing his typical five grand worth of designer linen. The only obvious change was that he’d traded his calfskin loafers for a sturdy pair of hiking boots. Worse were the six dogs. In Rapp’s estimation dogs were usually smarter than their human masters and always more motivated. The mix of breeds was designed more for intimidation than tracking but despite being heavy

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 1994.68 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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