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Never the Crime

  by Colin Conway & Frank Zafiro


(about 430 pages)
107,451
total words
of all the books in our library
33.40%
vividness
of all the books in our library
8.70%
passive voice
of all the books in our library
2.84%
all adverbs
of all the books in our library
0.94%
ly-adverbs
of all the books in our library
1.90%
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
the idea. “Yeah,” Hahn said. “It could work.” “Hell, yeah, it’ll work. And if we don’t do it, people are going to start looking sideways at us, wondering if we’re into the same illegal shit Armstrong is.” “Allegedly,” Hahn corrected. Patterson waved her hand dismissively. “Allegedly, my ass. I knew as soon as I read it that it had to be true. The guy is slime. That’s why we have to take him down, and get the credit for cleaning house. Then when council president rolls around, you run for that position and I throw my support behind you.” “Council president?” Hahn said. “Yeah, sure, Denny. You’re a good guy. You’re smart. You’re a family man. That plays great on TV. If you run for council president, you’ll be a natural.” “Council president,” Hahn mumbled. “Then maybe I’ll run for mayor in three years. What do you think? You’d be council president, and if you throw your support behind me, I’d be a shoe in as mayor.” “Council president,” Hahn whispered and looked up at the ceiling. “Don’t you see it? It’s sitting there for our taking. All we have to do is build our brand. Let that brand be reformation. That’s who we are. We’re the reformers and we’ll start with Armstrong and Buckner. Saying it like that makes them sound strong, but they’re not. One’s a thief and the other’s a pervert. We’ll take them down. We’ll take their souls. They’ll be crying like little bitches when we’re he thought, and sniffed dismissively. The girl wore a black T-shirt that said, Baby Metal. Her miniskirt was a green-and-black plaid. She wore holey black leggings underneath with black Converse tennis shoes. An empty bottle of sleeping pills sat on the nightstand. A plastic bag that she had tied around her head was on the table. It had been removed by the responding paramedics. Garrett moved the plastic bag with his pen to read the title of the book underneath. Thirteen Reasons Why by Jay Asher. Wasn’t that a book about suicide? Garrett wondered. He made a note to research it further. A marker stuck out from the middle of the book which caught his attention. Garrett leaned down to examine it closer. On its corner was a little blue badge. It was a symbol he was very familiar with as he had the same graphic on his own business card. Garrett slowly slid the card from the book, read the officer’s name on the card, then tucked it into his notebook. His eyes continued to scan the room but didn’t see a suicide note. He walked back into the living room where Bethany’s parents sat, each on an opposite end of the couch. Lorraine Rabe’s bob haircut, knit sweater, and polyester pants made her appear older than she was. She crossed her legs and fiddled with an unlit cigarette. Mascara streaked down from her eyes. Donald Rabe wore blue jeans and a flannel shirt. His salt-and-pepper hair was shaggy

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 2149.02 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.

similar books by different authors

other books by Colin Conway & Frank Zafiro

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