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Scorpion Down

  by Mick Bose


(about 341 pages)
85,360
total words
of all the books in our library
58.40%
vividness
of all the books in our library
6.57%
passive voice
of all the books in our library
2.31%
all adverbs
of all the books in our library
0.76%
ly-adverbs
of all the books in our library
1.56%
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
number. It was HQ. She answered. “Can you talk?” It was Chuck Jones from the NSA. Chuck filled her in quickly about the military satellite phone being used in Sardinia and Baltimore. Melania strolled to the barbed wire and leaned against a post. “So you got this imam’s bank details from Billy Cavalli, the driver I caught?” “Yes. They are part of Terambutov’s network.” “Have you interrogated Terambutov?” “It’s ongoing. Using advanced techniques. But so far, he has nothing. He’s not an operative, so I think he’s speaking the truth.” “The only people who know are the ones using the sat phone. Did you track the Sardinia frequency to get a location?” “Yes. It’s offshore, about a hundred yards. Has to be a ship of some kind.” “Send us the GPS coordinates, and we’ll visit it today. We have to be quick. Their operation here is a bust now, so they’ll be expecting us.” “What did you find?” Chuck asked. Melania filled him in. “Did you find that guy from the drone feed?” Melania gripped the phone tighter. She had been through every dead body in the mine yard. One of the sentries she had shot was still alive. Dan was questioning him, as he was the only one who spoke Russian. She hadn’t found Sergei. Either he had escaped, or he was somewhere else to begin with. “No,” she said between gritted teeth. “Did you find anything on him?” “Negative. None of our programs ID’s his face. But we’re counter. Two red-faced bakers were pulling trays out of a wooden oven and arranging the bread loaves according to size and color. Marinochka preferred the chorni khleb, or black bread. It had a slightly tangy taste but was moister, like a cake that wasn’t sweet. She wanted to buy a loaf of white bread as well, but Aloyna had only given her money for one and permission to buy Marinochka’s favorite. She knew her mother didn’t like it that much but ate it in silence because they didn’t have money for two loaves of bread. She also knew Mama put a quarter of the loaf away to feed her baby sister. One and a half loaves of bread had to last the whole week. That, with potato and onion soup, was their lunch and dinner. Breakfast was leftovers from the night before—a few crumbs of bread and cold soup. Marinochka clutched her mother’s cold hand as she bent her head and said prayers before eating. Each prayer Marinochka whispered was for more food. Some of her friends had reindeer meat, pork, and sausage every night. Every night! Marinochka had lost count of the days since she’d had meat. It must be more than three months. When she told Aloyna, she got scolded. Apparently, God didn’t want to hear about her food cravings. Marinochka had grimaced. What on earth did God want to hear about, then? “What do you want, kid?” the burly baker asked. Rudolph had a prominent nose

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 1707.20 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 Mick Bose

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