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Bad Apple

  by Zoje Stage

(about 408 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:

hand. “What are you thinking? About an inpatient facility?” she asked. “I don’t know. We don’t really know anything yet. I mean … Is that where we are? I guess it is. I just … She’s seven. How can she not live with us?” “She can’t, Alex.” She softened her tone, aware he was still several paces behind her. “I don’t think she can. Look what she did to me. We don’t know how to handle her—” “That’s why it all just seems so hopeless. This is hopeless.” Tension coursed through his body. Suzette loosened his tight grip on her fingers. “It isn’t. If Hanna’s sickWe’d help her if she had asthma, or leukemia. We’d be in it for the long haul. We’d do everything to help her get healthy. Right?” She owed her daughter that. Alex rubbed his eye and looked at her. “What if she can’t get better?” There it was, the wound he’d been nursing. The fear of a monster that couldn’t be vanquished. “What if she can?” Suzette had to believe it was possible. She knew for herself how even incurable conditions could be managed. They didn’t have to spend their lives being terrorized by their child. And Hanna didn’t have to be condemned to an inner nightmare of turmoil and confusion. It was hard for Suzette to forgive herself for not recognizing the symptoms sooner, but being good parents meant getting Hanna the care she needed. Even if that meant sending her away. It wouldn’t be food: the cucumber salad that he’d made himself, sliced rye bread with both butter and cream cheese, steamed asparagus, a big platter of cured salmon and pickled herring flanked by sliced tomatoes and onions. He’d ducked out to their favorite deli that morning to procure the fish. She remembered being shocked the first time he’d said the Swedish word for salmon—lax—as it sounded almost like lox, a Jewish staple of her childhood. He’d come to adopt lox as a favorite, even though it wasn’t the smoked salmon of his youth, and he, too, marveled that the Jews and Swedes enjoyed so many crossovers in their taste for “stinky fishes.” They were having rye bread instead of bagels, but their open-faced sandwiches would be a blend of their two cultures. “Light the fire, then eat?” he asked. “Sounds good. Pretty hungry.” Her stomach growled in confirmation. She gave silent thanks to the gods and goddesses of intestinal matters that the new medication had kicked in. Her helplessness would have been worse if she’d needed Alex to help her to the toilet every hour. The kindling was ready; all he had to do was strike a match. Hanna huddled beside him, hands on her knees and her face too near the copper pit. He gently guided her back toward her chair. “Not so close, lilla gumman.” The dry leaves caught right away, and fed the slender twigs. “You have your fire stick?” Hanna ran over to the pile of wood

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 2040.02 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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