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Extreme Ownership

  by Jocko Willink & Leif Babin


(about 318 pages)
79,562
total words
of all the books in our library
25.74%
vividness
of all the books in our library
6.76%
passive voice
of all the books in our library
3.02%
all adverbs
of all the books in our library
1.39%
ly-adverbs
of all the books in our library
1.62%
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
can do so by using one of the main principles we have taught you during our course: Extreme Ownership.” Gary responded, “Ownership of what? He’s the one that screwed this up, not me.” It was clear Gary’s ego was getting in the way of the solution to this problem. “Ownership of everything!” I answered. “This isn’t his fault, it’s yours. You are in charge, so the fact that he didn’t follow procedure is your fault. And you have to believe that, because it’s true. When you talk to him, you need to start the conversation like this: ‘Our team made a mistake and it’s my fault. It’s my fault because I obviously wasn’t as clear as I should have been in explaining why we have these procedures in place and how not following them can cost the company hundreds of thousands of dollars. You are an extremely skilled and knowledgeable superintendent. You know more about this business than I ever will. It was up to me to make sure you know the parameters we have to work within and why some decisions have got to be run through me. Now, I need to fix this so it doesn’t happen again.’ “Do you think that will work?” asked Gary, sounding unconvinced. “I’m confident it will,” I replied. “If you approached it as he did something wrong, and he needs to fix something, and he is at fault, it becomes a clash of egos and you two will be at odds. That’s by hand. These large rubber boats, black with a painted yellow rim, weighed nearly two hundred pounds and became heavier still when filled with water and sand. A relic from the Navy Frogmen (Underwater Demolition Team) days of World War II, the dreaded boats had to be awkwardly carried everywhere, usually upon the heads of the seven boat-crew members struggling underneath. On land, the boat crews carried them up and over twenty-feet-high sand berms and ran with them for miles along the beach. They carried them on the hard asphalt streets back and forth across Naval Amphibious Base Coronado, trying like hell to keep up with instructors leading the way. The boat crews even pushed, pulled, squeezed, and muscled the unwieldy boats through the ropes and over the telephone poles and walls of the notorious BUD/S obstacle course. Out on the Pacific Ocean, the boat crews paddled their boats through the powerful crashing waves, often capsizing and scattering wet students and paddles across the beach like a storied shipwreck. These damned rubber boats were the source of a great deal of misery for the men assigned to them. Each boat had a roman numeral painted in bright yellow on the front, indicating the boat crew number—all except the boat crew made up of the shortest men in the class, known as the “Smurf crew.” They had a bright blue Smurf painted on the bow of their boat. In each boat crew the senior-ranking man served as boat crew

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 1591.24 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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other books by Jocko Willink & Leif Babin

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