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All Out War

  by Sean Parnell


(about 399 pages)
99,697
total words
of all the books in our library
52.60%
vividness
of all the books in our library
6.18%
passive voice
of all the books in our library
1.71%
all adverbs
of all the books in our library
0.48%
ly-adverbs
of all the books in our library
1.22%
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
I can come to you,” Meg offered, suddenly hopeful. “I don’t think Eric is going to be staying very long. There is this doc here who has some treatment he can use to get him back on his feet.” She knew Demo well enough to know that he was holding something back. “What aren’t you telling me?” she asked. “He’s not thinking straight, Meg. You know how much his mom means to him. He is going to go after whoever did this to her and…” “You need my help.” “Yeah,” Demo said, letting out a breath. The last six months of Meg and Steele’s budding relationship had been difficult. He wasn’t used to being in one place for so long. After merely the second week he started climbing the walls. They went out, did the normal things couples did, but Meg could see that Eric was restless. Jokingly, she told him he was like a cougar, pacing around, searching for prey, but he just glared at her. That, combined with the uncertainty of when he’d be back on active status, hung over their lives like an axe. At least she had one comfort. While they weren’t technically exclusive, they weren’t exactly interested in seeing anyone else. “Eric is a big boy, and I know if it were my family, I’d want to go after them too. How can I help?” “He is totally not ready for a mission.” “That’s it. I’m coming down there.” “I’m serious. That would not be and smelled of water and fresh earth, silent except for the distant drip, splat, drip, splat of a leaking pipe. Steele climbed in, the movement sending a hissing rat clawing through a hole in the wall. Red led them to a door and down a short hall to a flight of stairs covered in graffiti and beer bottles. Red held his finger up to his ear and then pointed upward. Steele could hear it toovoices. Red handed his rifle off to Phillip and pulled a thin dagger from his belt. “Stay close, but give me room to work,” he said, starting up the stairs. Steele heard a pair of voices say something in Hungarian. Red must have agitated the native speakers because Steele heard a curse, followed by the sound of a fist hitting flesh. Demo was already moving, and by the time Steele made it to the top there were two men lying dead on the ground and Red dropped an empty magazine from a Hungarian FEG. “Nice work,” Demo said. “Bloody idiot had the safety on,” Red replied, taking his weapon from Phillip. They stacked up on the door, Steele taking the number two spot, and entered the hallway, whose dim light revealed peeling wallpaper and water-stained carpets. A tall man with a cutoff AK-47 sat on the arm of a stained couch that sat a few feet to the right of door number three. A rail-thin girl sat on the couch, playing with his chest hair

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 1993.94 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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