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Scars

  by John Dempsey


(about 68 pages)
16,977
total words
of all the books in our library
44.81%
vividness
of all the books in our library
5.75%
passive voice
of all the books in our library
2.40%
all adverbs
of all the books in our library
0.78%
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
wasn’t really a question. Clearly, Mercer felt punishment was a no-brainer. And perhaps it should be, but there was something else here. Something about this Kemper… It would be trite to think it was because Kemper reminded him of himself. He didn’t really, though there were some similarities perhaps. “Why don’t you let me talk to him first, Neal,” Jarvis said. “Then I can share my thoughts and he will be all yours. Fair?” “Perfectly, sir,” Mercer said, but his tone indicated confusion. The situation seemed pretty black-and-white to the squadron commander, and that meant Jarvis would have to sell this guy on keeping Kemper if that was the decision. He couldn’t have the boss not believing in one of his leaders, for sure. “Something I’m missing, boss?” Mercer added. “Maybe,” Jarvis admitted. “I’m not sure yet. Let me talk to him.” Mercer nodded, and Jarvis headed to the double doors of the recovery area. Maybe thoughts of the whole new world he was preparing himself for were biasing him about Kemper. There would be no black-and-white in the murky grey world of the new task force he would be standing up next year, after the “retirement” from the Navy that had not yet been announced. The Joint Intelligence Research Group would be the super-secret tool this war on terror needed, and there, he would need men who could live in the middle of that murky grey view of the world. With a little more time, Kemper might just be red wound that wrapped his forearm. But the pain was background noise, a futile protest of the flesh against the iron will pounding with his heartbeat. The muscles inside his forearmwhere absorbable sutures still held the tissues together—could scream all they wanted. He was a SEAL, damn it, and his body was a servant to his mind. He transformed the pain into heavy metal music in his mind and PT’d to the rhythm. SqueezesqueezesqueezeLeaning forward, he looked out the round window into the darkness and toward the red lights on the south side of the runway. As he squeezed, he let the fingertips of his right hand probe the thick red scar where the jihadist’s dagger had cut him to the bone. In time, the angry serpentine scar would softenbleach pearly white from sea and sun and time. But for now, it called for attention—advertising loudly to all the world his mistake in Ramadi. “Know where you’re going?” someone asked from behind him, and he turned to see an Air Force loadmaster beside him, a long cord stretching from his helmet to the bulkhead farther forward. “You’re not with those guys, right?” he asked, gesturing with his head to the group of two dozen clean-cut military members in Marine digital cammies marked with Navy insignia. “No,” Kemper replied, smiling. “Not with them.” The crewman nodded, looking him up and down, taking in the thick beard, the backwards ball cap, and the unmarked clothes

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 339.54 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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