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The Detonators

  by Chad Millman


(about 366 pages)
91,450
total words
of all the books in our library
34.58%
vividness
of all the books in our library
6.82%
passive voice
of all the books in our library
2.50%
all adverbs
of all the books in our library
0.98%
ly-adverbs
of all the books in our library
1.52%
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 very easy.’ He told me about different methods they had tried. He told us about these glass tubes.” Bonynge interrupted him. “What did he tell you about these glass tubes?” That they were to be given to workmen.” What were they to do?” They were to be shown how to use them.” Bonynge’s strategy of putting Herrmann at ease seemed to be working as he readily answered any question asked. As he did so, von Lewinski watched impassively. “Did he describe what other things they had been using?” Bonynge continued. No, I did not know anything about the other things until I got to the States. Hinsch explained that to me. They did not work very well.” “Who did Hilken say Captain Hinsch was?” He told me he was a good man. That he had been on different jobs and had planned different things. They used something called dumplings and he said they did not work.” “Did you have any conversation with Hinsch about the use of these tubes?” I showed him, yes.” Did you tell him the instructions you had from Germany?” Absolutely.” To whom, if anybody, did you make a report of what you were doing?” To Hilken. Hinsch was kind of a funny character and I would not be responsible to him. Although we worked together on a good many things.” “Did Hinsch ever mention Black Tom to you?” Yes.” What did he say?” He took all the credit. I think his men did it.” Did skyward. The shore of Bedloe’s Island, the nearest piece of land to Black Tom and home to a small army base, was covered with shredded wooden cases, fragments of iron and brass casings, and various bits of shrapnel. The area south of Canal Street in downtown Manhattan, which was usually deserted on Sundays, was overrun with vehicles headed for the Battery. Passengers hung from the sideboards of streetcars. Even so, it was eerily quiet. Nearly the entire roof of the aquarium in Battery Park had caved in, raining glass into the tanks holding the porpoises and other large fish. Employees worked desperately to remove the glass and keep the fish from eating it. Twisted window frames littered the streets. Ash from the fires across the harbor mixed with pulverized glass to create a fine black-and-white dust, which coated everything and glistened in the sun. Ironically, the landmark Whitehall Building, which housed Hilken’s New York representative, Hoppenburg, suffered the most damage of any downtown skyscraper. The face of the building had an unobstructed view of the harbor, and the shockwaves from the blast had torn through it as though it were tissue paper. The plate-glass windows on the second floor were blown out, and more than five hundred smaller windows were broken into pieces no larger than a half-dollar. On some floors, office doors were torn from their hinges. From the shattered windows all over New York and New Jersey to the ravaged warehouses, barges, railroad cars, tracks, ammunition, salt, sugar

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 1,829 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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