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Hollywood Park

  by Mikel Jollett


(about 572 pages)
143,025
total words
of all the books in our library
90.09%
vividness
of all the books in our library
7.39%
passive voice
of all the books in our library
2.46%
all adverbs
of all the books in our library
0.51%
ly-adverbs
of all the books in our library
1.95%
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
day! Do you remember? We were younger and bursting with, what was it? Hope? No. Life? No. Pride? I’m not sure. I was hiding something and now it’s plain. Or it isn’t. I can’t really tell. You’ve married. You’ve had a child. She is beautiful. I’m so sorry your wife has cancer. I’m so sorry you’ve been through so much. No, I don’t have things I love more than anything else. I have this. And then Cleveland. I’ll be at the casino. I’ll just sit at this table and think of Dad. I miss him. I’m worried about his heart. He’s okay. He’s okay. He’s okay. He’s proud of me. I am his son. What is a son? I miss being a son, sitting in the sun with a racing form making jokes, eating corned beef sandwiches and feeling calm. And then Seattle. A phone call. Mikel, dahhling? How’s the road? Don’t you worry about your grandma Juliette, I’m fine. It’s quiet since Grandpa died. He loved you, you know. He was so proud. No, I know you couldn’t be here. I’m just sad. I miss my boy. I think I hear him sometimes. No, we all understand. You’re in the world now. You’re living your life. And then Portland again. Jake! Jake! Look at this! Look what we did! Look at all the people! All those lives! Where are they now? They’re at the bar! They’re lined up at the front of the stage! We did this! You did eggshells and rabbit bones, apple cores and lemon peels. Paul rents a tiller and tears up the ground next to the house so that the grass and weeds turn to mulch. He boxes in four large gardens with wooden boards and Mom plants tomatoes, squash, cucumbers, carrots, cabbage, lettuce and even strawberries. Saturdays are for pulling weeds and once the vegetables begin to grow, she avoids store-bought produce if she can. After the first slaughter, we eat rabbit most nights. Tony considers this a kind of torture and is in constant protest just like Mom was in Berkeley under Reagan. He squirms in his chair. He crosses his arms. He stares at his plate. He says, “This piece looks bad. What if I just eat the potatoes?” Or he says, “I think rabbit can make you sick. We studied it in school today.” Mom makes baked rabbit and lemon rabbit. She makes stir-fry rabbit with peppers and onions and “rabbit surprise,” which is leftover baked rabbit that has been cut up and put into a casserole dish. Sometimes Mom fries up a rabbit kidney in a pan or a veiny rabbit heart the size of a plum. The organs struggle and spit, dancing around the hot frying pan like they’re still alive, filling the house with the gamy smell of hot blood. Mom will lift the kidney whole with a fork and plop it in her mouth without even salting it. It’s amazing to watch her eat something so disgusting

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 2860.50 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 Mikel Jollett

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