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Assassin’s Run

  by Ward Larsen

(about 453 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:

found out I was in the vicinity of Italy—did you really think I might have killed Ivanovic?” “I considered it.” “And?” “You had the opportunity. Certainly the ability. Money could have been a motivation. But no … something told me you would never take that path.” “That doesn’t sound very analytical. You put too much faith in your instincts.” “Do I?” “You approached me in Vieste. If I had been a killer for hire, it might not have ended well for you.” “It didn’t end well. You shot my brand-new dinghy.” Slaton couldn’t contain a grin. “Anyway,” she said, “that’s what brought me here. I came to Italy because I thought it was my best chance to uncover what’s going on with these Russians. And I came to you because I thought you might be able to help.” “Okay. But I’ve tried and it didn’t work out. Does that mean we’re done here?” Her pretty face fell downcast. “You really don’t know how Ivanovic was killed?” Slaton chose his words carefully. “Given what I’ve seen so far, no.” She looked dejected, but seemed to accept his answer. Slaton looked at the picture on the screen one last time. He said, “For what it’s worth, I think your instincts are good. I’ve been where you are before. You have a hunch about something, but the facts are thin and you can’t get backing to pursue it. Sometimes you just have to move on.” “Move on? Is that what you would have eating,” he said distractedly, his eyes pinned on a cargo manifest. Ursula, the new blonde from a tiny village in Siberia, twirled her fork through a salad. “It is too much for me,” she replied. He measured a lewd reply, but the sport of it escaped him. He was already growing tired of this one. She was young and rail thin, eyes as blue and empty as a cloudless midday sky. She’d spent the day shopping on the island of Capri, now three miles off the starboard beam. Ivanovic had no doubt she’d spent every dollar of the ten thousand he’d allotted. What had to be a new dress clung like shrink wrap, and the bracelet flopping on one of her wrists looked like a diamond-studded handcuff. “When will we leave for Saint-Tropez?” she asked. Ivanovic ignored the question, sensing a bit of negotiating capital for later use in his suite. He finished his steak, and with barely a pause the cook appeared with a massive crème brûlée in one hand and a torch in the other. In a flourish of culinary stagecraft, the cook lit his flame and soon had the topping caramelized into a crust that looked positively volcanic. Ten minutes later, his great belly full, Ivanovic stepped out onto the wide aft deck, which doubled as a helipad, and prepared his customary cigar. Fighting a brisk wind, he managed to light it, and stood in survey of his surroundings. In the distance Capri rose from the sea

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 2266.56 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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