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  by Yoshiki Tanaka

(about 355 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:

This wasn’t what he had been searching for. What he had been wanting was something altogether different. “We don’t have all that much time,” Yang explained to Frederica. Having learned that the Iserlohn Corridor was not yet entirely under his control, Reinhard von Lohengramm was sure to send reinforcements. When they arrived, their numbers would surely be vast; sending a small force would be tantamount to the folly of a piecemeal committal of forces. Yang estimated their odds of victory would plummet to near zero unless the space surrounding Iserlohn could be recovered before the empire’s reinforcements arrived. “So basically, time has been on our side up until now,” said Frederica, “but from here on out that won’t be the case? If Your Excellency had been the enemy commander, you would have long since beaten Iserlohn, wouldn’t you?” “Pretty much. If it were me, I would’ve smashed that other fortress into it. One big boom, and down they both go together. Then, with everything cleared out of the way, we could just bring in a different fortress, and that would be that. If the Imperial Navy had come after us with that in mind, there would’ve been no way to resist, but it looks like the imperial commander hasn’t been able to adjust his way of thinking.” “That’s quite an extreme method, though.” “Effective, though, isn’t it?” “That I’ll grant you.” “And of course, if Iserlohn had already been destroyed by that tactic, there’d be nothing this fleet could do writing, it turned out that he had a pen but not any paper—he had blown through a couple dozen sheets while writing his letter of resignation, using up all that he had. When he fell into bed, he tried imagining himself torturing each member of the court in turn, but he soon grew bored of that. While all three meals were excellent every day, they were as devoid of individuality as the furniture in this room, and it was no use hoping for something different each time. Breakfast in particular had been exactly the same for days on end: rye bread, butter, plain yogurt, coffee, vegetable juice, bacon and eggs, french potatoes, and salad with onions, peppers, and lettuce. The flavor certainly wasn’t bad, and it had to be very nutritious, but if asked, Yang would have described it as “lacking both sincerity and originality.” Most unforgivable was their assumption that meals were followed by coffee. If Julian were here, he would have brewed red tea from fragrant Shillong leaves, and even if eggs were on the menu every day, he would have changed them up, making omelets one day and scrambled eggs the next. And his technique for making rice gratin and rice porridge from the previous night’s leftovers had, in Yang’s estimation, no equal under heaven. It would be so much better for culture and society if he chose to train formally as a cook and got a license to do that, instead of pursuing a crummy

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 1774.88 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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