creative writing in prose

Creative Writing 101

You love to write and have been told you have a way with words. So you’ve decided to give writing a try—creative writing.

Problem is, you’re finding it tougher than it looks.

You may even have a great story idea , but you’re not sure how to turn it into something people will read.

Don’t be discouraged—writing a compelling story can be grueling, even for veterans. Conflicting advice online may confuse you and make you want to quit before you start.

But you know more than you think. Stories saturate our lives.

We tell and hear stories every day in music, on television, in video games, in books, in movies, even in relationships.

Most stories, regardless the genre, feature a main character who wants something.

There’s a need, a goal, some sort of effort to get that something.

The character begins an adventure, a journey, or a quest, faces obstacles, and is ultimately transformed.

The work of developing such a story will come. But first, let’s look at the basics.

• What is Creative Writing?

It’s prose (fiction or nonfiction) that tells a story.

Journalistic, academic, technical writing relays facts.

Creative writing can also educate, but it’s best when it also entertains and emotionally moves the reader.

It triggers the imagination and appeals to the heart.

• Elements of Creative Writing

Writing a story is much like building a house.

You may have all the right tools and design ideas, but if your foundation isn’t solid, even the most beautiful structure won’t stand.

Most storytelling experts agree, these 7 key elements must exist in a story.

Plot (more on that below) is what happens in a story. Theme is why it happens.

Before you begin writing, determine why you want to tell your story.

• What message do you wish to convey? 
• What will it teach the reader? 

Resist the urge to explicitly state your theme. Just tell the story, and let it make its own point.

Give your readers credit. Subtly weave your theme into the story and trust them to get it.

They may remember a great plot, but you want them thinking about your theme long after they’ve finished reading.

2. Characters

Every story needs believable characters who feel knowable.

In fiction, your main character is the protagonist, also known as the lead or hero/heroine.

The protagonist must have:

• redeemable flaws
• potentially heroic qualities that emerge in the climax
• a character arc (he must be different, better, stronger by the end)

Resist the temptation to create a perfect lead. Perfect is boring. (Even Indiana Jones suffered a snake phobia.)

You also need an antagonist, the villain , who should be every bit as formidable and compelling as your hero.

Don’t make your bad guy bad just because he’s the bad guy. Make him a worthy foe by giving him motives for his actions.

Villains don’t see themselves as bad. They think they’re right! A fully rounded bad guy is much more realistic and memorable.

Depending on the length of your story , you may also need important orbital cast members.

For each character, ask:

• What do they want?
• What or who is keeping them from getting it?
• What will they do about it?

The more challenges your characters face, the more relatable they are.

Much as in real life, the toughest challenges result in the most transformation.

Setting may include a location, time, or era, but it should also include how things look, smell, taste, feel, and sound.

Thoroughly research details about your setting so it informs your writing, but use those details as seasoning, not the main course. The main course is the story.

But, beware.

Agents and acquisitions editors tell me one of the biggest mistakes beginning writers make is feeling they must begin by describing the setting.

That’s important, don’t get me wrong. But a sure way to put readers to sleep is to promise a thrilling story on the cover—only to start with some variation of:

The house sat in a deep wood surrounded by…

Rather than describing your setting, subtly layer it into the story.

Show readers your setting. Don’t tell them. Description as a separate element slows your story to crawl.

By layering in what things look and feel and sound like you subtly register the setting in the theater of readers’ minds.

While they concentrating on the action, the dialogue , the tension , the drama, and conflict that keep them turning the pages, they’re also getting a look and feel for your setting.

4. Point of View

POV is more than which voice you choose to tell your story: First Person ( I, me ), Second Person ( you, your ), or Third Person ( he, she, or it ).

Determine your perspective (POV) character for each scene—the one who serves as your camera and recorder—by deciding who has the most at stake. Who’s story is this?

The cardinal rule is that you’re limited to one perspective character per scene, but I prefer only one per chapter, and ideally one per novel.

Readers experience everything in your story from this character’s perspective.

For a more in-depth explanation of Voice and POV, read A Writer’s Guide to Point of View .

This is the sequence of events that make up a story —in short, what happens. It either compels your reader to keep turning pages or set the book aside.

A successful story answers:

• What happens? (Plot)
• What does it mean? (Theme: see above)

Writing coaches call various story structures by different names, but they’re all largely similar. All such structures include some variation of:

• An Inciting Incident that changes everything
• A series of Crises that build tension
• A Resolution (or Conclusion)

How effectively you create drama, intrigue, conflict, and tension, determines whether you can grab readers from the start and keep them to the end.

6. Conflict

This is the engine of fiction and crucial to effective nonfiction as well.

Readers crave conflict and what results from it.

If everything in your plot is going well and everyone is agreeing, you’ll quickly bore your reader—the cardinal sin of writing.

If two characters are chatting amiably and the scene feels flat (which it will), inject conflict. Have one say something that makes the other storm out, revealing a deep-seated rift.

Readers will stay with you to find out what it’s all about.

7. Resolution

Whether you’re an Outliner or a Pantser like me (one who writes by the seat of your pants), you must have an idea where your story is going.

How you expect the story to end should inform every scene and chapter. It may change, evolve, and grow as you and your characters do, but never leave it to chance.

Keep your lead character center stage to the very end. Everything he learns through all the complications you plunged him into should, in the end, allow him to rise to the occasion and succeed.

If you get near the end and something’s missing, don’t rush it. Give your ending a few days, even a few weeks if necessary.

Read through everything you’ve written. Take a long walk. Think about it. Sleep on it. Jot notes. Let your subconscious work. Play what-if games. Reach for the heart, and deliver a satisfying ending that resonates .

Give your readers a payoff for their investment by making it unforgettable.

• Creative Writing Examples
• Short Story
• Narrative nonfiction
• Autobiography
• Song lyrics
• Screenwriting
• Playwriting
• Creative Writing Tips

In How to Write a Novel , I cover each step of the writing process:

• Come up with a great story idea .
• Determine whether you’re an Outliner or a Pantser.
• Create an unforgettable main character.
• Expand your idea into a plot.
• Do your research.
• Choose your Voice and Point of View.
• Start in medias res (in the midst of things).
• Intensify your main character’s problems.
• Make the predicament appear hopeless.
• Bring it all to a climax.
• Leave readers wholly satisfied.
• More to Think About

1. Carry a writing pad, electronic or otherwise. I like the famous Moleskine™ notebook . 

Ideas can come at any moment. Record ideas for:

• Anything that might expand your story

2. Start small. 

Take time to build your craft and hone your skills on smaller projects before you try to write a book .

Journal. Write a newsletter. Start a blog. Write short stories . Submit articles to magazines, newspapers, or e-zines.

Take a night school or online course in journalism or creative writing. Attend a writers conference.

3. Throw perfection to the wind. 

Separate your writing from your editing .

Anytime you’re writing a first draft, take off your perfectionist cap. You can return to editor mode to your heart’s content while revising, but for now, just write the story.

Separate these tasks and watch your daily production soar.

• Time to Get to Work

Few pleasures in life compare to getting lost in a great story.

Learn how to write creatively, and the characters you birth have the potential to live in hearts for years.

• 1. Carry a writing pad, electronic or otherwise. I like the famous Moleskine™ notebook. 

Are You Making This #1 Amateur Writing Mistake?

Faith-Based Words and Phrases

What You and I Can Learn From Patricia Raybon

Before you go, be sure to grab my FREE guide:

How to Write a Book: Everything You Need to Know in 20 Steps

Just tell me where to send it:

Enter your email to instantly access my ultimate guide: 

How to write a novel: a 12-step guide.

Definition of Prose

Prose is a literary device referring to writing that is structured in a grammatical way, with words and phrases that build sentences and paragraphs. Works wrote in prose feature language that flows in natural patterns of everyday speech. Prose is the most common and popular form of writing in fiction and non-fiction works.

As a literary device, prose is a way for writers to communicate with readers in a straightforward, even conversational manner and tone . This creates a level of familiarity that allows the reader to connect with the writer’s expression, narrative , and characters. An example of the effective familiarity of prose is J.D. Salinger’s  The Catcher in The Rye :

What really knocks me out is a book that, when you’re all done reading it, you wish the author that wrote it was a terrific friend of yours and you could call him up on the phone whenever you felt like it.

Salinger’s prose is presented as first-person narration as if Holden Caulfield’s character is speaking to and conversing directly with the reader. This style of prose establishes familiarity and intimacy between the narrator and the reader that maintains its connection throughout the novel .

Common Examples of First Prose Lines in Well-Known Novels

The first prose line of a novel is significant for the writer and reader. This opening allows the writer to grab the attention of the reader, set the tone and style of the work, and establish elements of setting , character, point of view , and/or plot . For the reader, the first prose line of a novel can be memorable and inspire them to continue reading. Here are some common examples of first prose lines in well-known novels:

• Call me Ishmael. ( moby dick )
• It was the best of times, it was the worst of times ( A Tale of Two Cities )
• It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife. ( Pride and Prejudice )
• It was love at first sight. ( catch 22 )
• In my younger and more vulnerable years my father gave me some advice that I’ve been turning over in my mind ever since. ( The Great Gatsby )
• It was a bright cold day in April, and the clocks were striking thirteen. ( 1984 )
• i am an invisible man . ( Invisible Man )
• Mother died today. ( the stranger )
• They shoot the white girl first, but the rest they can take their time. ( Paradise )
• All this happened, more or less. ( Slaughterhouse-Five )

Examples of Famous Lines of Prose

Prose is a powerful literary device in that certain lines in literary works can have a great effect on readers in revealing human truths or resonating as art through language. Well-crafted, memorable prose evokes thought and feeling in readers. Here are some examples of famous lines of prose:

• Shoot all the blue jays you want, if you can hit ‘em, but remember it’s a sin to kill a mockingbird . ( To Kill a Mockingbird )
• In spite of everything, I still believe that people are good at heart. ( Anne Frank : The Diary of a Young Girl )
• All Animals are Equal , but some animals are more equal than others. ( Animal Farm)
• It is easier to start a war than to end it. ( One Hundred Years of Solitude )
• It is not often that someone comes along who is a true friend and a good writer. Charlotte was both. ( Charlotte’s Web )
• I think it pisses God off if you walk by the color purple in a field somewhere and don’t notice it. ( The Color Purple )
• There is no greater agony than bearing an untold story inside you, ( I Know Why the Caged Bird Sings )
• The answer to the ultimate question of life, the universe and everything is 42. ( The Hitchhiker’s Guide to the Galaxy )
• The only thing worse than a boy who hates you: a boy that loves you. ( The Book Thief )
• Just remember: If one bird carried every grain of sand, grain by grain, across the ocean, by the time he got them all on the other side, that would only be the beginning of eternity. ( In Cold Blood )

Types of Prose

Writers use different types of prose as a literary device depending on the style and purpose of their work. Here are the different types of prose:

• Nonfiction: prose that recounts a true story, provides information, or gives a factual account of something (such as manuals, newspaper articles, textbooks, etc.)
• Heroic: prose usually in the form of a legend or fable that is intended to be recited and has been passed down through oral or written tradition
• Fiction : most familiar form of prose used in novels and short stories and featuring elements such as plot, setting, characters, dialogue , etc.
• Poetic Prose: poetry written in the form of prose, creating a literary hybrid with occasional rhythm and/or rhyme patterns

Difference Between Prose and Poetry

Many people consider prose and poetry to be opposites as literary devices . While that’s not quite the case, there are significant differences between them. Prose typically features natural patterns of speech and communication with grammatical structure in the form of sentences and paragraphs that continue across the lines of a page rather than breaking. In most instances, prose features everyday language.

Poetry, traditionally, features intentional and deliberate patterns, usually in the form of rhythm and rhyme. Many poems also feature a metrical structure in which patterns of beats repeat themselves. In addition, poetry often includes elevated, figurative language rather than everyday verbiage. Unlike prose, poems typically include line breaks and are not presented as or formed into continuous sentences or paragraphs.

Writing a Prose Poem

A prose poem is written in prose form without a metrical pattern and without a proper rhyme scheme . However, other poetic elements such as symbols metaphors , and figurative language are used extensively to make the language poetic. Writing a prose poem involves using all these poetic elements, including many others that a poet could think about.

It is not difficult to write a prose poem. It, however, involves a step-by-step approach.

• Think about an idea related to a specific theme , or a choose topic.
• Think poetically and write as prose is written but insert notes, beats, and patterns where necessary.
• Use repetitions , metaphors, and similes extensively.
• Revise, revise and revise to make it melodious.

Prose Edda vs. Poetic Edda

Prose Edda refers to a collection of stories collected in Iceland, or what they are called the Icelandic Saga. Most of the Prose Edda stories have been written by Snorri Sturluson while has compiled the rest written by several other writers. On the other hand, most of the poems about the Norse gods and goddesses are called the Poetic Edda. It is stated that almost all of these poems have been derived from the Codex Regius written around the 13 th century though they could have been composed much earlier. Such poems are also referred to as Eddaic poetry. In other words, these poetic outputs and writings are classical poetic pieces mostly woven around religious themes.

Examples of Prose in Literature

Prose is an essential literary device in literature and the foundation for storytelling. The prose in literary works functions to convey ideas, present information, and create a narrative for the reader through the intricate combinations of plot, conflict , characters, setting, and resolution . Here are some examples of prose in literature:

Example 1: The Grapes of Wrath by John Steinbeck

A large drop of sun lingered on the horizon and then dripped over and was gone, and the sky was brilliant over the spot where it had gone, and a torn cloud, like a bloody rag, hung over the spot of its going. And dusk crept over the sky from the eastern horizon, and darkness crept over the land from the east.

Steinbeck’s gifted prose in this novel is evident in this passage as he describes the last moment of sunset and the onset of darkness. Steinbeck demonstrates the manner in which a writer can incorporate figurative language into a prose passage without undermining the effect of being straightforward with the reader. The novel’s narrator utilizes figurative language by creating a metaphor comparing the sun to a drop of liquid, as well as through personifying dusk and darkness as they “crept.” This enhances the novel’s setting, tone, and mood in this portion of the story.

However, though Steinbeck incorporates such imagery and poetic phrasing in this descriptive passage, the writing is still accessible to the reader in terms of prose. This demonstrates the value of this literary device in fictional works of literature. Writers can still master and offer everyday language and natural speech patterns without compromising or leaving out the effective descriptions and use of figurative language for readers.

Example 2: This Is Just to Say by William Carlos Williams

I have eaten the plums that were in the icebox and which you were probably saving for breakfast Forgive me they were delicious so sweet and so cold

In this poem by Williams, he utilizes poetic prose to create a hybrid work of literature. The poem is structured in appearances like a poetic work with line breaks and stanzas . However, the wording of the work flows as prose writing in its everyday language and conversational tone. There is an absence of figurative language in the poem, and instead, the expression is direct and straightforward.

By incorporating prose as a literary device in his poem, Williams creates an interesting tension for the reader between the work’s visual representation as a poem and the familiar, literal language making up each individual line. However, rather than undermine the literary beauty of the poem, the prose wording enhances its meaning and impact.

Example 3: Harrison Bergeron by Kurt Vonnegut, Jr.

The year was 2081, and everybody was finally equal. They weren’t only equal before God and the law. They were equal every which way. Nobody was smarter than anybody else. Nobody was better looking than anybody else. Nobody was stronger or quicker than anybody else. All this equality was due to the 211th, 212th, and 213th Amendments to the Constitution, and to the unceasing vigilance of agents of the United States Handicapper General.

This passage introduces Vonnegut’s work of short fiction. The narrator’s prose immediately sets the tone of the story as well as foreshadows the impending conflict. The certainty and finality of the narrator’s statements regarding equality in the story establish a voice that is direct and unequivocal. This unambiguous voice set forth by Vonnegut encourages trust in the narration on behalf of the reader. As a result, when the events and conflict in the story turn to science fiction and even defy the laws of physics, the reader continues to “believe” the narrator’s depiction of the plot and characters.

This suspension of disbelief on the part of the reader demonstrates the power of prose as a literary device and method of storytelling. By utilizing the direct and straightforward nature of prose, the writer invites the reader to become a participant in the story by accepting what they are told and presented through the narrator. This enhances the connection between the writer as a storyteller and a receptive reader.

Synonyms of Prose

Prose has a few close synonyms but cannot be used interchangeably. Some of the words coming near in meanings are unlyrical, unpoetic, factual, literal, antipoetic, writing, prosaic and factual.

Post navigation

Prose Type: What are 10 Different Prose Types in Creative Writing?

1. biography, 2. autobiography, 3. folktale.

• 6. Fable

9. Short Story

When discussing the eminent components of  literature , we do take into consideration the mode through which a piece of work is presented. While doing so, one gets introduced to terms like Prose and  Poetry  which later become the center of the talk. These are two such forms through which almost all of the literature encompass.

To elucidate and encounter the difference between the two, one can easily understand Prose as being the  writing  that we see in our daily lives that does not follow any metrical structure and is written in the form of sentences and paragraphs. Poetry, on the other hand, can be seen as a literary work that caters to aesthetics, follows a certain style and  rhythm , and is expressed in stanzas.

Continue reading this article to develop a deeper understanding of the 10 Prose type with  examples .

What is a Prose?

Prose can simply be defined as the form of writing which is specifically of pragmatic  nature , following a proper grammatical structure. Unlike Poetry it does not follow any fixed metrical parameters and is expressed in the form of sentences and paragraphs in a lucid manner. It often aims at conveying the message by following a  narrative  structure. Prose can be of various  types  like biography, folktale, autobiography,  fables , and many more. 10 of its types are discussed below.

A thorough description of a person’s life is referred to as his/her Biography.

It is a kind of prose that is full of basic information about all the highs and lows in a person’s life, including anecdotes and memoirs. A biography tells the tale of the person’s personal experiences with life,  relationships , work, and all other things. You are the major lead of your biography and it tells your truth to the world. Biographies fall under the category of non- fiction . When written in-depth, we know it as legacy writing.

A biography can also be portrayed or presented in various forms of media, from literature to film. An accredited biography can only be written with the permission, cooperation, and participation of the person or the person’s  family  or successors. It is the story of a person’s life narrated and drafted by him or her but perfected and written by another person.       

Biography Example:  The Life of Samuel Johnson (By James Boswell)

This is a perfect example of the  English   language . Boswell was well acquainted with Samuel Johnson and has created a masterpiece of biography for the late  writer  and the readers.

Autobiography is also a kind of prose and as the term suggests, it is the self-written account of one’s life.

It is very similar to a biography, except it is written by the same person whose story it is about. For example, if I write the story of my life by myself completely, then it will be referred to as an autobiography. The person can also seek guidance or help from another writer or hire a  ghostwriter  if required.

Autobiography Example:  The Story of My Life by Helen Keller is the best example of an autobiography as it captures it all and that too perfectly.

Folktale is a popular or legendary story, familiar to a specific group or culture reflecting their values and ideas. They are usually passed down verbally from one generation to another. These stories carry a moral or lesson to be absorbed by the audience. Folktales have many types like fables, tall tales, ghost stories, or religious tales.

Folktale Example:  The Pied Piper and The Frog King are popular folktales both impart valuable lessons. The Frog King is one of the oldest German folk tales. In the story, a princess promises a frog that she will make him her companion if he retrieves her favourite toy from the bottom of the deep  spring . The moral of The Frog King is that one should honour their promises and will be rewarded. The frog honoured his promise to retrieve the ball and the princess (unwillingly) honoured her promise to the frog. His curse was broken, and she got a fancy new husband.

Myth is a traditional story or tale full of symbols. These superficially relate to reality or actual events and are especially associated with religious beliefs and traditions. The key figures in myths are gods, demigods, or supernatural humans with unrealistic powers and talents entangled in extraordinary events or circumstances in an unknown period.

Myth Example:  Pandora’s Box is an artifact in  Greek mythology  connected with the myth of Pandora in Hesiod’s Works and Days.

Legend stories are a subgenre of folktales. The legend may be a traditional story or a group of stories with a sound message for the audience. Also, legends are about a person or a place. Earlier, the term Legend was used for telling a tale about a saint. These are quite similar to folktales in content. They may include supernatural beings, elements of mythology, or explanations of natural phenomena, but they are linked with a particular locality or person and are told as a matter of antiquity.

Legend Example:  Some well-known legends are

• The tales of Odysseus from Ancient Greece,
• Beowulf from the Norse lands,
• King Arthur from Old England,
• The famous Robin Hood,
• The  Bigfoot .

6 .  Fable

A fictional work of literature featuring inanimate objects or forces of nature,  animals ,  plants , or legendary creatures having humanlike attributes. A fable is written in prose or verse, to highlight human foolishness and flaws or mistakes. These have a moral or lesson weaved into the story and are often explicitly planned at the end as a concise maxim or saying.

Fable Example:  A splendid example is The Panchatantra, a Sanskrit compilation of beast fables. Animal Farm by George Orwell is an excellent novel depicting the situation of Russia post-war through animals in a satirical form.

A parable is a brief, educational story, written in the form of prose or verse, that explains one or more informative lessons or teachings. It differs from a fable as fables employ animals, plants, inanimate objects, or forces of nature as key figures, whereas parables have human characters. A parable is a kind of metaphorical analogy. Parables in literature impart a moral lesson to the readers. It is excellent for teaching because stories are easier to recall with clarity and interest.

Prose Type Parable Example: “The Boy Who Cried Wolf” warns against lying because of its impending consequences.

A novel is a long literary fictional work, usually written in the form of prose. A novel is a book telling a single tale penned creatively with human experience and exposure. The novel has several chapters, each chapter is connected or linked to the other through a sequence of events and has a specific setting and tone. We have a large number of genres of novels available which have encompassed various styles and types, some of them are picaresque,  comedy ,  drama , romance, gothic, epistolary, and many more.

Prose Type Novel Example:  The  Harry Potter series  by J.K. Rowling.

As the name suggests, a short story is a fictional prose narrative that is shorter than a novel. A short story has only one or few events and passages, has few characters and few to no chapters. The form encourages conservation of setting, concise narrative, and the omission of a complex  plot ; character is disclosed in action and dramatic encounters but is seldom fully developed.

Prose Type Short Story Example:  “ A Christmas Carol ” by Charles Dickens and “The Lottery” by Shirley Jackson.

A piece of writing that lets the author present his/her ideas and feelings or argument. An essay doesn’t necessarily have to be formal or have a system to follow, it usually deals with its topic in a more personal manner, putting out its  point of view .

Some of the popular essays are :

• David Sedaris
• Kookaburra, 
• Zadie Smith – Fail Better
• Virginia Woolf – Death of the Moth.

Hope you enjoyed knowing about these prose types. Check out  9 genres of Poetry  to learn about different  poetry genres .

Share with your friends

Related Posts:

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Save my name, email, and website in this browser for the next time I comment.

Over 50% Off Writing Classes Today Only . Click Here To Visit The Store

• Short Stories
• Writing Tips
• Fantasy Writing
• Worldbuilding
• Writing Classes
• Writing Tools

What Is Prose In Writing? Find A Definition And Examples

As a creative writing teacher, a common question I get asked is “what is prose?” The term prose simply refers to spoken or written language. In the context of writing books, it describes a style of written words, distinct from poetry, numbers and metrics.

One of the biggest tasks many writers face is improving their ability to write prose. This guide offers the quickest and easiest solutions.

Below, we take a look at the different styles of writing prose, examples of each one, and advice from expert writers on getting better.

You can jump to the section you’re most interested in below:

Choose A Chapter

What is prose writing an easy definition, what are the main styles of prose, orwellian prose: the clear pane of glass, florid prose: the stained glass window, can you use a hybrid approach, examples of different styles of prose, 13 tips to help you write clear prose, learn more about writing prose, frequently asked questions (faq), join an online writing community.

So what is prose ?

It’s spoken or written language that does not rhyme or contain numbers. How we think, speak and write would be described as prose. When we write prose, we often apply a grammatical structure.

How Are Prose And Poetry Different?

Prose and poetry are different because poetry applies a rhythmic structure whereas prose follows a more standard mode of written language that follows natural speech patterns—an example being this very article you’re reading now.

Prose and poetry are therefore considered opposites.

What Is Purple Prose In Writing?

Purple prose is when a writer uses too many fancy words or describes things in a flowery, exaggerated way. It’s like adding too much frosting on a cupcake; it might look pretty, but it’s too much and can make it hard to enjoy.

There are a few main styles of writing prose. They are:

• Clear, concise prose, referred to as ‘Orwellian’, or the ‘clear pane of glass’, and;
• Florid, literary prose, referred to as the ‘stained glass window’.
• A hybrid of the two, which is an approach I favour. 

First, we’ll have a look at each, before looking at some examples.

If you’ve ever heard the phrase “good prose is like a window pane” and wanted to know the meaning behind it, here it is.

George Orwell in his essay, Politics and the English Language , set out what he thinks good prose writing ought to consist of, all the while attacking the British political system for the destruction of good writing practices.

Orwell was very much against the over-complication of language, which at the time (1946), was the direction politics was taking, and unfortunately still takes today.

Orwell believed prose should be like looking through a clear pane of glass at the story unfolding on the other side. It should be clear to understand. The writing should be invisible, drawing as little attention to itself as possible. The reader shouldn’t have to stop to re-read a sentence due to poor construction or stumble over a word used in the wrong way.

Words should be chosen because of their meaning, and to make them clearer, images or idioms, such as metaphors and similes, should be conjured. He encouraged the use of ‘newly invented metaphors’ which “assists thought by evoking a visual image”. Orwell encouraged writers to use the fewest and shortest words that will express the meaning you want.

“ Let the meaning choose the word.” 

If you can’t explain something in short, simple terms, you don’t understand it, was his argument. 

A change in the language used by politicians provoked Orwell to write his essay. Pretentious diction, as he called it—words such as phenomenon, element, objective, eliminate and liquidate—is used to dress up simple statements. He blamed politics for this, and how politicians adopt hollow words and phrases, mechanically repeating them over and over until they become meaningless.

I’m sure we can all agree we’re fed up of hearing such phrases. Orwell used ‘stand shoulder to shoulder’ as an example, and more recently we’ve seen Theresa May butcher the phrase ‘strong and stable’. These phrases are vague and bland and do not evoke any imagery, and if you’re a writer, they’re things you ought to avoid, Orwell argued.

Orwell’s Six Rules For Achieving Clear Prose

Orwell provided six rules to remember when writing prose. In following them, he argued, you could achieve clear prose that could be understood and enjoyed by all readers:

• Never use a metaphor, simile or other figure of speech which you are used to seeing in print;
• Never use a long word where a short one will do;
• If it is possible to cut out a word, always cut it out;
• Never use the passive [voice] where you can use the active;
• Never use a foreign phrase, a scientific word, or jargon word if you can think of an everyday English equivalent;
• Break any of these rules sooner than say anything outright barbarous.

So in summary, Orwellian prose is writing which is short, simple and understandable. And if you’re looking for a simple and effective method of how to write good prose, this is it.

They’re great guidelines to test out with short stories. With that type of narrative writing you need to make every word count, so they’re a great way to get used to them. It’s also a more preferred prose form among many literary agents, publishers , and editors.  

A Video Explainer On Orwellian Prose

If you’d like a more visual explainer on writing Orwellian prose, check out this brilliant video from bestselling author, Brandon Sanderson.

When we explore answers to the question, what is prose writing, one approach we inevitably turn to is the stained glass window—the antithesis to Orwell’s clear pane method.

With a stained glass window approach, you can still see the story on the other side, but the stained glass is colouring it in interesting ways. Language and structure are therefore florid and more creative. And it also tends to lean more heavily on the side of descriptive writing.

It’s used more in literary fiction and requires a mastery of language to pull off well. Brandon Sanderson refers to it as the artist’s style of prose, whereas Orwellian prose he regards as the craftsman’s style.

Above we mentioned the phrase ‘purple prose’. This is an attempt at creating a stained glass window, but the description and structure are poor , rendering the prose incomprehensible.

A blend of the clear pane and stained pane can work well. JRR Tolkien often adopted this, particularly with his descriptions, and other writers, Sanderson and David Gemmell to name but two, like to start chapters in a florid way before transitioning into the clear pane. Sometimes it can depend on the scene.

In fight scenes , for example, simple language is best adopted so the reader’s flow isn’t disrupted. When describing places, people or settings colourful language works well to liven up what would otherwise be quite mundane passages.

My personal preference is toward Orwellian prose writing. Writing should be clear and accessible to all. As writers, that’s what we want—to have our stories read and enjoyed by as many people as possible.

Having spent years working as a lawyer I know it’s not the case, and Orwell’s fears back in 1946 continue to materialise. In the end, I regarded my role as a lawyer as more of a translator of legal jargon. Writing shouldn’t be this way.

So we’ve taken a look at the different styles of prose writing. Now let’s take a look at some examples to better illustrate the different approaches. 

Examples Of A Clear Prose Style

One of my favourite writers of clear prose is Ernest Hemingway. His stories are immersive and gripping because they’re simple to follow. A clear pane of glass approach if ever there was one. 

Here’s an extract from Old Man And The Sea:

“He was happy feeling the gentle pulling and then he felt something hard and unbelievably heavy. It was the weight of the fish and he let the line slip down, down, down, unrolling off the first of the two reserve coils. As it went down, slipping lightly through the old man’s fingers, he still could feel the great weight, though the pressure of his thumb and finger were almost imperceptible.”

You can see here how clear the language is. “Imperceptible” may be the most difficult word used, but it almost doesn’t matter because what has come before it is so clear and vivid, we can picture the scene in our minds. 

Examples Of Flowery Prose

On the other side of the coin, we have flowery prose. One of my favourite writers of florid prose is JRR Tolkien. Some people find The Lord Of The Rings quite challenging to read when they first begin, and I was one of them, and it’s down to Tolkien’s unqiue voice. But once you grow accustomed to it, there’s something quite enchanting about it.

So to illustrate this style, here’s an extract from The Lord of The Rings (Book One):

So far in this guide on how to write prose, we’ve looked at the different approaches. Now we’re looking at the practical side of things—how we actually write great prose. Here are a few writing tips to help you achieve a clear style :

• Resist the temptation to get fancy . We all do it. Only the other day I was going through a story of mine with a friend. I’d written the phrase “after thrice repeating the words,” and he pulled me up on it, and rightly so. “Why not just say ‘after the third time’?” he asked. Simpler, more effective.
• Make good use of nouns and verbs, and refrain from indulging in adjectives and adverb s. Check out my 7 nifty editing tips which look at the impact too many adjectives and adverbs can have on your writing.
• Show don’t tell . This has cropped up a few times on the blog over the past few weeks, and for good reason. Telling the reader how a character feels is boring! Show it! 
• Behead the passive voice . Seek to use active verbs. But this can be harder than it looks. Check out my full guide to passive voice here.
• Use effective dialogue. You can find dialogue writing examples here 
• Try poetry and flash fiction . These facets of the craft will teach you the importance of each and every word. You’ll learn the power a single word can have, how it can provoke images, emotions or memories in the reader’s mind.
• Try using deliberate line breaks . Not only does this break up the wall of text to make it easier on the eye for the reader, it can help you emphasise key points as well as a structural device to build tension and suspense.
• Varying line lengths and sentence structure . This is a good one to help you build rhythm to your writing. Go back through your written prose and see how long each sentence is. If your sentences have similar strcutures, it can help to mix them up. Shorter sentences can help build suspense, longer sentences are useful for explanations and description. Keep this in mind as you go back through and edit, breaking up longer sentences into shorter ones or joining others together.  
• Cut out extraneous words. Remove unnecessary words that balloon sentences. Let’s look at some prose writing examples:

He quickly crossed to the opposite side of the road.

He crossed the road.

Remember Orwell’s rule: if you can cut out a word, do it. When it comes to writing clear prose, less is more . That’s a good guideline to remember.

• Be specific and concrete . Seek to conjure vivid images and avoid vague phrases. Orwell provides a wonderful example from the book Ecclesiastes of how specificity can create vivid images:

“… The race is not to the swift, nor the battle to the strong, neither yet the bread to the wise, nor yet the riches to men of understanding, nor yet favour to men of skill …”

• Pay attention to sentence structure, a.k.a. syntax. Sentences of a similar structure disrupt the flow and creates an awful rhythm. Short sentences increase the pace as well as tension, are effective at hitting home points, or signalling a change in tone. A short sentence I’d say is one less than half a line. Be warned: do not overuse them. A short sentence packs a punch, and you don’t want to bludgeon your reader. For an example of short sentences used well, check out Anna Smith Spark’s debut novel The Court of Broken Knives . Then come the medium-length sentences—one to two lines—which keeps the pace at a steady level. Anything over two lines and I’d say that’s a pretty long sentence. Long sentences are useful for pieces of description, slowing the pace or reducing tension. You can even be clever and use them to throw the reader off-guard. Watch out for your use of commas too and keep an eye on syllables. Read your work aloud to reveal these problems.
• Trust your reader . At some stage, we’ve all been guilty of holding the reader’s hand. Seek to create intrigue by withholding details.
• Avoid clichés and be mindful of tropes . It cheapens your writing and gives the reader the impression of laziness.
• What am I trying to say?
• What words will express it?
• What image or idiom (a group of words that establish a meaning that a single word cannot) will make it clearer?
• Is the image/idiom fresh enough to have an effect?
• Could I put it more shortly?
• Have I said anything that is avoidably ugly?

I’ve included a few other materials for you to further your reading.

Check out this English literature writing guide by the University of Edinburgh

If you’d like to study creative writing , check out this writing course offered by the University of East Anglia. If you’d like more resources like this, you can also check out my online writing classes .

To learn more about using the 5 senses in writing , which is a vital part of prose, check out this guide.

For some of the best tips around on writing a book for the first time , head here. You can find lots of brilliant advice for first time authors. 

A great way to improve your prose is by writing short stories . Head here for a complete guide

Learn about sensory language examples here which can immensely improve your prose.

And head here for advice on when to rewrite your story .

And for more on character development and how to write a plot , head here.

Prose relates to ordinary everyday speech, so it’s arguably easier to write than poetry. However, many writers fall into the trap of writing ‘purple prose’, which is easy to write but not very good to read.

Prose carries with it no formal or set structure. It does, however, apply the general principles of grammar. It often reflects common or conversational speech.

Prose means the ordinary, everyday language that’s spoken or written. It is often distinguished from poetry due to its lack of a rhythmic structure.

In writing, prose relates to any form of written work in which the general rules of grammar and structure are followed. This is distinct from poetry, which follows a more rhythmic structure.

In the context of writing, prose refers to words assembled in a way that we wouldn’t otherwise describe as poetry or non-rthymic.

Written in prose simply means that a piece of text has been written down in a non-rhythmic way.

There are two main types of prose style—George Orwell’s the clear pane of glass, and on the opposite end of the spectrum, the stained glass window. Orwell believed in clear and simple, plain language. The stained glass window, on the other hand, opts for a more florid style.

Thank you for reading this guide on how to write prose. Hopefully, this post has shed light on the mysteries of prose and how you can achieve that clear, readable style.

If you’d like more help with your writing or would like to connect with like-minded writers, why not join my online writing community. There are hundreds of us all sharing advice, tips, calls for submissions, and helping each other out with our stories.  We congregate on Facebook and Discord. To join, just click below. 

If you need any more help with your prose writing, get in contact .

• Recent Posts

• 15 Amazing Words To Describe The Moon, With Definitions And Example Sentences - May 22, 2024
• Examples Of The 5 Senses In Writing And How To Use Them - May 1, 2024
• Mastering Dialogue: The Very Best Tips - January 12, 2024

richiebilling

About author, related posts, 15 amazing words to describe the moon, with definitions and example sentences, examples of the 5 senses in writing and how to use them, mastering dialogue: the very best tips, 14 comments.

Reblogged this on Richie Billing and commented:

For my 50th post I thought I’d take a look back at the past 5 or so months at what I’ve thrown out into the world for your enjoyment. I was going to share the most popular post to date, but instead I’ve decided to share my personal favourite—the one that’s helped me the most in researching and writing it. So here it is, my guide to writing Orwellian prose.

Thank you to everyone who’s so far subscribed to this blog. It means a hell of a lot. In the months to come I’ll be looking to giveaway more free content and of course keep the articles coming. Here’s to the next 50!

Guess I”m more George Orwel than John Milton … 🙂 Just one thing (from a Jesuit-trained Old Xav with penchant for Latin grammar) The Passive voice gets a lot of ‘bad press’ which IMHO is often undeserved. You use an Active verb when you’re doing somehing. But you still need a Passive verb when someone is DOInG SOMETHING to you! Also: it’s almost impossible to write a grammatical French sentence without using a Reflexive verb. The Reflexive (s’asseoir, ‘to sit’ OR se plaire, ‘to please’) is a variation on Passive. They also use what in English grammar is called the subjunctive Mood, particularly in speech and even when Grammar insists that an Active verb is required … you can’t trust the French! LOL

• Pingback: Getting To Grips With Passive Voice – Richie Billing
• Pingback: What Is Passive Voice? – Richie Billing
• Pingback: The Magic Of Books | Celebrating World Book Day - Richie Billing
• Pingback: Great Examples Of The 5 Senses In Writing | Richie Billing
• Pingback: How To Edit A Novel - Richie Billing
• Pingback: How Do You Know When To Rewrite Your Story? - Richie Billing
• Pingback: The Ultimate Guide To Fantasy Armor - Richie Billing
• Pingback: What Is Foreshadowing In A Story? [With Examples] - Richie Billing
• Pingback: The Medieval Lord - The Complete Guide - Richie Billing
• Pingback: What makes good prose writing? And how does Brandon Sanderson’s prose compare – charzpov
• Pingback: The Best Show Don't Tell Examples For Writers - Richie Billing
• Pingback: 5 Easy Ways To Improve Your Writing Skills – Dutable

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Save my name, email, and website in this browser for the next time I comment.

Notify me of follow-up comments by email.

Notify me of new posts by email.

This site uses Akismet to reduce spam. Learn how your comment data is processed .

Quick Links

• Get In Touch
• Reviews And Testimonials
• Editorial Policy
• Terms Of Service
• Privacy Policy
• Cookies Policy
• Equality, Diversity And Inclusivity (EDI) Policy
• Affiliate Marketing Policy

Follow On Social Media

Forgot your password?

Lost your password? Please enter your email address. You will receive mail with link to set new password.

Back to login

No thanks, close this box

VIDEO COURSE

Finish your draft in our 3-month master class. Sign up now to watch a free lesson!

Learn How to Write a Novel

Finish your draft in our 3-month master class. Enroll now for daily lessons, weekly critique, and live events. Your first lesson is free!

Guides • Perfecting your Craft

Last updated on Feb 14, 2023

10 Types of Creative Writing (with Examples You’ll Love)

A lot falls under the term ‘creative writing’: poetry, short fiction, plays, novels, personal essays, and songs, to name just a few. By virtue of the creativity that characterizes it, creative writing is an extremely versatile art. So instead of defining what creative writing is , it may be easier to understand what it does by looking at examples that demonstrate the sheer range of styles and genres under its vast umbrella.

To that end, we’ve collected a non-exhaustive list of works across multiple formats that have inspired the writers here at Reedsy. With 20 different works to explore, we hope they will inspire you, too. 

People have been writing creatively for almost as long as we have been able to hold pens. Just think of long-form epic poems like The Odyssey or, later, the Cantar de Mio Cid — some of the earliest recorded writings of their kind. 

Poetry is also a great place to start if you want to dip your own pen into the inkwell of creative writing. It can be as short or long as you want (you don’t have to write an epic of Homeric proportions), encourages you to build your observation skills, and often speaks from a single point of view . 

Here are a few examples:

“Ozymandias” by Percy Bysshe Shelley

Nothing beside remains. Round the decay Of that colossal Wreck, boundless and bare The lone and level sands stretch far away.

This classic poem by Romantic poet Percy Shelley (also known as Mary Shelley’s husband) is all about legacy. What do we leave behind? How will we be remembered? The great king Ozymandias built himself a massive statue, proclaiming his might, but the irony is that his statue doesn’t survive the ravages of time. By framing this poem as told to him by a “traveller from an antique land,” Shelley effectively turns this into a story. Along with the careful use of juxtaposition to create irony, this poem accomplishes a lot in just a few lines. 

“Trying to Raise the Dead” by Dorianne Laux

 A direction. An object. My love, it needs a place to rest. Say anything. I’m listening. I’m ready to believe. Even lies, I don’t care.

Poetry is cherished for its ability to evoke strong emotions from the reader using very few words which is exactly what Dorianne Laux does in “ Trying to Raise the Dead .” With vivid imagery that underscores the painful yearning of the narrator, she transports us to a private nighttime scene as the narrator sneaks away from a party to pray to someone they’ve lost. We ache for their loss and how badly they want their lost loved one to acknowledge them in some way. It’s truly a masterclass on how writing can be used to portray emotions. 

If you find yourself inspired to try out some poetry — and maybe even get it published — check out these poetry layouts that can elevate your verse!

Song Lyrics

Poetry’s closely related cousin, song lyrics are another great way to flex your creative writing muscles. You not only have to find the perfect rhyme scheme but also match it to the rhythm of the music. This can be a great challenge for an experienced poet or the musically inclined. 

To see how music can add something extra to your poetry, check out these two examples:

“Hallelujah” by Leonard Cohen

 You say I took the name in vain I don't even know the name But if I did, well, really, what's it to ya? There's a blaze of light in every word It doesn't matter which you heard The holy or the broken Hallelujah 

Metaphors are commonplace in almost every kind of creative writing, but will often take center stage in shorter works like poetry and songs. At the slightest mention, they invite the listener to bring their emotional or cultural experience to the piece, allowing the writer to express more with fewer words while also giving it a deeper meaning. If a whole song is couched in metaphor, you might even be able to find multiple meanings to it, like in Leonard Cohen’s “ Hallelujah .” While Cohen’s Biblical references create a song that, on the surface, seems like it’s about a struggle with religion, the ambiguity of the lyrics has allowed it to be seen as a song about a complicated romantic relationship. 

“I Will Follow You into the Dark” by Death Cab for Cutie

 ​​If Heaven and Hell decide that they both are satisfied Illuminate the no's on their vacancy signs If there's no one beside you when your soul embarks Then I'll follow you into the dark

You can think of song lyrics as poetry set to music. They manage to do many of the same things their literary counterparts do — including tugging on your heartstrings. Death Cab for Cutie’s incredibly popular indie rock ballad is about the singer’s deep devotion to his lover. While some might find the song a bit too dark and macabre, its melancholy tune and poignant lyrics remind us that love can endure beyond death.

Plays and Screenplays

From the short form of poetry, we move into the world of drama — also known as the play. This form is as old as the poem, stretching back to the works of ancient Greek playwrights like Sophocles, who adapted the myths of their day into dramatic form. The stage play (and the more modern screenplay) gives the words on the page a literal human voice, bringing life to a story and its characters entirely through dialogue. 

Interested to see what that looks like? Take a look at these examples:

All My Sons by Arthur Miller

“I know you're no worse than most men but I thought you were better. I never saw you as a man. I saw you as my father.” 

Arthur Miller acts as a bridge between the classic and the new, creating 20th century tragedies that take place in living rooms and backyard instead of royal courts, so we had to include his breakout hit on this list. Set in the backyard of an all-American family in the summer of 1946, this tragedy manages to communicate family tensions in an unimaginable scale, building up to an intense climax reminiscent of classical drama. 

💡 Read more about Arthur Miller and classical influences in our breakdown of Freytag’s pyramid . 

“Everything is Fine” by Michael Schur ( The Good Place )

“Well, then this system sucks. What...one in a million gets to live in paradise and everyone else is tortured for eternity? Come on! I mean, I wasn't freaking Gandhi, but I was okay. I was a medium person. I should get to spend eternity in a medium place! Like Cincinnati. Everyone who wasn't perfect but wasn't terrible should get to spend eternity in Cincinnati.” 

A screenplay, especially a TV pilot, is like a mini-play, but with the extra job of convincing an audience that they want to watch a hundred more episodes of the show. Blending moral philosophy with comedy, The Good Place is a fun hang-out show set in the afterlife that asks some big questions about what it means to be good. 

It follows Eleanor Shellstrop, an incredibly imperfect woman from Arizona who wakes up in ‘The Good Place’ and realizes that there’s been a cosmic mixup. Determined not to lose her place in paradise, she recruits her “soulmate,” a former ethics professor, to teach her philosophy with the hope that she can learn to be a good person and keep up her charade of being an upstanding citizen. The pilot does a superb job of setting up the stakes, the story, and the characters, while smuggling in deep philosophical ideas.

Personal essays

Our first foray into nonfiction on this list is the personal essay. As its name suggests, these stories are in some way autobiographical — concerned with the author’s life and experiences. But don’t be fooled by the realistic component. These essays can take any shape or form, from comics to diary entries to recipes and anything else you can imagine. Typically zeroing in on a single issue, they allow you to explore your life and prove that the personal can be universal.

Here are a couple of fantastic examples:

“On Selling Your First Novel After 11 Years” by Min Jin Lee (Literary Hub)

There was so much to learn and practice, but I began to see the prose in verse and the verse in prose. Patterns surfaced in poems, stories, and plays. There was music in sentences and paragraphs. I could hear the silences in a sentence. All this schooling was like getting x-ray vision and animal-like hearing. 

This deeply honest personal essay by Pachinko author Min Jin Lee is an account of her eleven-year struggle to publish her first novel . Like all good writing, it is intensely focused on personal emotional details. While grounded in the specifics of the author's personal journey, it embodies an experience that is absolutely universal: that of difficulty and adversity met by eventual success. 

“A Cyclist on the English Landscape” by Roff Smith (New York Times)

These images, though, aren’t meant to be about me. They’re meant to represent a cyclist on the landscape, anybody — you, perhaps. 

Roff Smith’s gorgeous photo essay for the NYT is a testament to the power of creatively combining visuals with text. Here, photographs of Smith atop a bike are far from simply ornamental. They’re integral to the ruminative mood of the essay, as essential as the writing. Though Smith places his work at the crosscurrents of various aesthetic influences (such as the painter Edward Hopper), what stands out the most in this taciturn, thoughtful piece of writing is his use of the second person to address the reader directly. Suddenly, the writer steps out of the body of the essay and makes eye contact with the reader. The reader is now part of the story as a second character, finally entering the picture.

Short Fiction

The short story is the happy medium of fiction writing. These bite-sized narratives can be devoured in a single sitting and still leave you reeling. Sometimes viewed as a stepping stone to novel writing, that couldn’t be further from the truth. Short story writing is an art all its own. The limited length means every word counts and there’s no better way to see that than with these two examples:

“An MFA Story” by Paul Dalla Rosa (Electric Literature)

At Starbucks, I remembered a reading Zhen had given, a reading organized by the program’s faculty. I had not wanted to go but did. In the bar, he read, "I wrote this in a Starbucks in Shanghai. On the bank of the Huangpu." It wasn’t an aside or introduction. It was two lines of the poem. I was in a Starbucks and I wasn’t writing any poems. I wasn’t writing anything. 

This short story is a delightfully metafictional tale about the struggles of being a writer in New York. From paying the bills to facing criticism in a writing workshop and envying more productive writers, Paul Dalla Rosa’s story is a clever satire of the tribulations involved in the writing profession, and all the contradictions embodied by systemic creativity (as famously laid out in Mark McGurl’s The Program Era ). What’s more, this story is an excellent example of something that often happens in creative writing: a writer casting light on the private thoughts or moments of doubt we don’t admit to or openly talk about. 

“Flowering Walrus” by Scott Skinner (Reedsy)

I tell him they’d been there a month at least, and he looks concerned. He has my tongue on a tissue paper and is gripping its sides with his pointer and thumb. My tongue has never spent much time outside of my mouth, and I imagine it as a walrus basking in the rays of the dental light. My walrus is not well. 

A winner of Reedsy’s weekly Prompts writing contest, ‘ Flowering Walrus ’ is a story that balances the trivial and the serious well. In the pauses between its excellent, natural dialogue , the story manages to scatter the fear and sadness of bad medical news, as the protagonist hides his worries from his wife and daughter. Rich in subtext, these silences grow and resonate with the readers.

Want to give short story writing a go? Give our free course a go!

FREE COURSE

How to Craft a Killer Short Story

From pacing to character development, master the elements of short fiction.

Perhaps the thing that first comes to mind when talking about creative writing, novels are a form of fiction that many people know and love but writers sometimes find intimidating. The good news is that novels are nothing but one word put after another, like any other piece of writing, but expanded and put into a flowing narrative. Piece of cake, right?

To get an idea of the format’s breadth of scope, take a look at these two (very different) satirical novels: 

Convenience Store Woman by Sayaka Murata

I wished I was back in the convenience store where I was valued as a working member of staff and things weren’t as complicated as this. Once we donned our uniforms, we were all equals regardless of gender, age, or nationality — all simply store workers. 

Keiko, a thirty-six-year-old convenience store employee, finds comfort and happiness in the strict, uneventful routine of the shop’s daily operations. A funny, satirical, but simultaneously unnerving examination of the social structures we take for granted, Sayaka Murata’s Convenience Store Woman is deeply original and lingers with the reader long after they’ve put it down.

Erasure by Percival Everett

The hard, gritty truth of the matter is that I hardly ever think about race. Those times when I did think about it a lot I did so because of my guilt for not thinking about it.  

Erasure is a truly accomplished satire of the publishing industry’s tendency to essentialize African American authors and their writing. Everett’s protagonist is a writer whose work doesn’t fit with what publishers expect from him — work that describes the “African American experience” — so he writes a parody novel about life in the ghetto. The publishers go crazy for it and, to the protagonist’s horror, it becomes the next big thing. This sophisticated novel is both ironic and tender, leaving its readers with much food for thought.

Creative Nonfiction

Creative nonfiction is pretty broad: it applies to anything that does not claim to be fictional (although the rise of autofiction has definitely blurred the boundaries between fiction and nonfiction). It encompasses everything from personal essays and memoirs to humor writing, and they range in length from blog posts to full-length books. The defining characteristic of this massive genre is that it takes the world or the author’s experience and turns it into a narrative that a reader can follow along with.

Here, we want to focus on novel-length works that dig deep into their respective topics. While very different, these two examples truly show the breadth and depth of possibility of creative nonfiction:

Men We Reaped by Jesmyn Ward

Men’s bodies litter my family history. The pain of the women they left behind pulls them from the beyond, makes them appear as ghosts. In death, they transcend the circumstances of this place that I love and hate all at once and become supernatural. 

Writer Jesmyn Ward recounts the deaths of five men from her rural Mississippi community in as many years. In her award-winning memoir , she delves into the lives of the friends and family she lost and tries to find some sense among the tragedy. Working backwards across five years, she questions why this had to happen over and over again, and slowly unveils the long history of racism and poverty that rules rural Black communities. Moving and emotionally raw, Men We Reaped is an indictment of a cruel system and the story of a woman's grief and rage as she tries to navigate it.

Cork Dork by Bianca Bosker

He believed that wine could reshape someone’s life. That’s why he preferred buying bottles to splurging on sweaters. Sweaters were things. Bottles of wine, said Morgan, “are ways that my humanity will be changed.” 

In this work of immersive journalism , Bianca Bosker leaves behind her life as a tech journalist to explore the world of wine. Becoming a “cork dork” takes her everywhere from New York’s most refined restaurants to science labs while she learns what it takes to be a sommelier and a true wine obsessive. This funny and entertaining trip through the past and present of wine-making and tasting is sure to leave you better informed and wishing you, too, could leave your life behind for one devoted to wine. 

Illustrated Narratives (Comics, graphic novels)

Once relegated to the “funny pages”, the past forty years of comics history have proven it to be a serious medium. Comics have transformed from the early days of Jack Kirby’s superheroes into a medium where almost every genre is represented. Humorous one-shots in the Sunday papers stand alongside illustrated memoirs, horror, fantasy, and just about anything else you can imagine. This type of visual storytelling lets the writer and artist get creative with perspective, tone, and so much more. For two very different, though equally entertaining, examples, check these out:

Calvin & Hobbes by Bill Watterson

"Life is like topography, Hobbes. There are summits of happiness and success, flat stretches of boring routine and valleys of frustration and failure." 

This beloved comic strip follows Calvin, a rambunctious six-year-old boy, and his stuffed tiger/imaginary friend, Hobbes. They get into all kinds of hijinks at school and at home, and muse on the world in the way only a six-year-old and an anthropomorphic tiger can. As laugh-out-loud funny as it is, Calvin & Hobbes ’ popularity persists as much for its whimsy as its use of humor to comment on life, childhood, adulthood, and everything in between. 

From Hell by Alan Moore and Eddie Campbell 

"I shall tell you where we are. We're in the most extreme and utter region of the human mind. A dim, subconscious underworld. A radiant abyss where men meet themselves. Hell, Netley. We're in Hell." 

Comics aren't just the realm of superheroes and one-joke strips, as Alan Moore proves in this serialized graphic novel released between 1989 and 1998. A meticulously researched alternative history of Victorian London’s Ripper killings, this macabre story pulls no punches. Fact and fiction blend into a world where the Royal Family is involved in a dark conspiracy and Freemasons lurk on the sidelines. It’s a surreal mad-cap adventure that’s unsettling in the best way possible. 

Video Games and RPGs

Probably the least expected entry on this list, we thought that video games and RPGs also deserved a mention — and some well-earned recognition for the intricate storytelling that goes into creating them. 

Essentially gamified adventure stories, without attention to plot, characters, and a narrative arc, these games would lose a lot of their charm, so let’s look at two examples where the creative writing really shines through: 

80 Days by inkle studios

"It was a triumph of invention over nature, and will almost certainly disappear into the dust once more in the next fifty years." 

Named Time Magazine ’s game of the year in 2014, this narrative adventure is based on Around the World in 80 Days by Jules Verne. The player is cast as the novel’s narrator, Passpartout, and tasked with circumnavigating the globe in service of their employer, Phileas Fogg. Set in an alternate steampunk Victorian era, the game uses its globe-trotting to comment on the colonialist fantasies inherent in the original novel and its time period. On a storytelling level, the choose-your-own-adventure style means no two players’ journeys will be the same. This innovative approach to a classic novel shows the potential of video games as a storytelling medium, truly making the player part of the story. 

What Remains of Edith Finch by Giant Sparrow

"If we lived forever, maybe we'd have time to understand things. But as it is, I think the best we can do is try to open our eyes, and appreciate how strange and brief all of this is." 

This video game casts the player as 17-year-old Edith Finch. Returning to her family’s home on an island in the Pacific northwest, Edith explores the vast house and tries to figure out why she’s the only one of her family left alive. The story of each family member is revealed as you make your way through the house, slowly unpacking the tragic fate of the Finches. Eerie and immersive, this first-person exploration game uses the medium to tell a series of truly unique tales. 

Fun and breezy on the surface, humor is often recognized as one of the trickiest forms of creative writing. After all, while you can see the artistic value in a piece of prose that you don’t necessarily enjoy, if a joke isn’t funny, you could say that it’s objectively failed.

With that said, it’s far from an impossible task, and many have succeeded in bringing smiles to their readers’ faces through their writing. Here are two examples:

‘How You Hope Your Extended Family Will React When You Explain Your Job to Them’ by Mike Lacher (McSweeney’s Internet Tendency)

“Is it true you don’t have desks?” your grandmother will ask. You will nod again and crack open a can of Country Time Lemonade. “My stars,” she will say, “it must be so wonderful to not have a traditional office and instead share a bistro-esque coworking space.” 

Satire and parody make up a whole subgenre of creative writing, and websites like McSweeney’s Internet Tendency and The Onion consistently hit the mark with their parodies of magazine publishing and news media. This particular example finds humor in the divide between traditional family expectations and contemporary, ‘trendy’ work cultures. Playing on the inherent silliness of today’s tech-forward middle-class jobs, this witty piece imagines a scenario where the writer’s family fully understands what they do — and are enthralled to hear more. “‘Now is it true,’ your uncle will whisper, ‘that you’ve got a potential investment from one of the founders of I Can Haz Cheezburger?’”

‘Not a Foodie’ by Hilary Fitzgerald Campbell (Electric Literature)

I’m not a foodie, I never have been, and I know, in my heart, I never will be. 

Highlighting what she sees as an unbearable social obsession with food , in this comic Hilary Fitzgerald Campbell takes a hilarious stand against the importance of food. From the writer’s courageous thesis (“I think there are more exciting things to talk about, and focus on in life, than what’s for dinner”) to the amusing appearance of family members and the narrator’s partner, ‘Not a Foodie’ demonstrates that even a seemingly mundane pet peeve can be approached creatively — and even reveal something profound about life.

We hope this list inspires you with your own writing. If there’s one thing you take away from this post, let it be that there is no limit to what you can write about or how you can write about it. 

In the next part of this guide, we'll drill down into the fascinating world of creative nonfiction.

Join a community of over 1 million authors

Reedsy is more than just a blog. Become a member today to discover how we can help you publish a beautiful book.

We made a writing app for you

Yes, you! Write. Format. Export for ebook and print. 100% free, always.

1 million authors trust the professionals on Reedsy. Come meet them.

Enter your email or get started with a social account:

What is Prose in Writing?

Written by Haley Boyce

Prose is art. The way a writer uses language to tell a story. It lacks formality yet requires attention to detail. Writers manipulate the structure of sentences to elicit an emotional response from their readers. When a writer tells a story in ordinary, everyday language they are giving you their best in prose. 

Translated from its original form in Latin, prosa oratio , prose means straightforward. 

This is not to say that prose is reserved for research papers or delivering scientific data, only that prose serves a direct purpose of telling something to the reader. What that something is, however, is up to you. 

What are the Different Types of Prose?

Prose is one of those things that has so many examples that it becomes almost difficult to define. On one hand, the beauty of prose is that it really is everywhere you look. On the other hand, its definition can feel complex or ambiguous because of how expansive those examples can be. The following are some of the areas where you will (and have undoubtedly already) experienced prose.

There’s a big, fat chance that you’ve spent a good chunk of your life calling a book a novel just because it had a bunch of pages. Get ready for your mind to be blown: All novels are books, but not all books are novels. A novel is a fiction book with an approximate minimum of 200 pages. 

Examples of prose include literally any and every fiction book that exists. 

Prose in novels tells a story with all elements of plot, and the author works to create a story that moves you with their characters, conflict, word choice, and varied sentence structure. Whether an example of prose is good or bad is purely subjective. 

Newspapers and other informational texts

Prose is present in any place where a story is being told, and that includes the news or any other form of printed information like journals or periodicals. For examples of prose in informational text, read the Los Angeles Times , the New Yorker , People magazine, or Yahoo news skim the surface of informational texts. 

Let’s be real, not all speeches are great. Some hold an audience captive and leave them inspired to make some sort of change. Others are frightening in their ideals, out of touch with their audience, or just miss the mark completely. For examples of great speeches, check out TED talks, State of the Union addresses from past presidents, or (for a humorous tone) celebrity roasts. 

Fairy tales

Cinderella , The Little Mermaid , Jack and the Beanstalk , The Gingerbread Man , Hansel and Gretl , Rumplestiltskin . . . the list is infinite. All of these are examples of prose because they tell a story without conforming to meter, as poems do. Rather they have all elements of plot and a unique message and tone. 

Interpersonal communication

Conversation counts as prose! See how it really is everywhere? 

Because prose is (again) informal, everyday language that tells a story, conversations that we have with our friends count as prose. 

When the holidays roll around and you’re recounting that time your front tire blew out on the freeway, how you met your partner, or what happened when your dog saw a squirrel and wound up taking you on a walk around the neighborhood instead of the other way around – all of those stories are prose. The next time you tell a story out loud, think about the points in your story that you emphasize or embellish. These are elements that inflate your prose with the breath of life. 

When it comes to writing prose, author’s compose without the restraints imposed on poetry. Where poetry tells a story by relying on syllables and word pronunciation to set the meter, prose is basically an all out free-for-all. To solidify your understanding of prose, compare some examples of the genres above with some of the following poems, which contain something prose does not: Meter. 

• Shall I Compare Thee to a Summer’s Day , by William Shakespeare (iambic pentameter)
• How the Grinch Stole Christmas , by Dr. Seuss (anapestic tetrameter)
• The Raven , by Edgar Allan Poe (trochaic octameter)
• ‘Twas the Night Before Christmas , by Clement Clarke Moore (anapestic tetrameter)
• Because I Could Not Stop for Death , by Emily Dickinson (common meter)
• Rime of the Ancient Mariner , by Samuel Taylor Coleridge (ballad)
• Peter, Peter Pumpkin Eater , by Mother Goose (trochaic tetrameter)

What are the Elements of Prose?

As we briefly discussed above, prose should have the elements of plot in order to have any substance. The five elements of plot are:

Exposition: This is where the reader learns the basic gist of the story. The main characters are introduced, the setting is established (town, era, social class, etc.), and the reader gets an idea of what’s going on. 

Rising action:  This is where the reader learns the basic gist of the story. The main characters are introduced, the setting is established (town, era, social class, etc.), and the reader gets an idea of what’s going on. 

Climax: Ask any teacher and they’ll tell you verbatim, “Climax is the most exciting part of the story.” But sometimes that’s hard to pinpoint when the story is an emotionally charged one that lacks as much physicality as an action-packed plot. Instead, look at the climax as the point in the story where the conflict starts to change. The main character’s view of the problem begins to look different and they might start to see the tiniest opening to work their way out of the problem they are in. 

Falling action: Sometimes referred to as complications, the falling action is one or several small problems that keep the main character from reaching a resolution to their rising action. 

This exemplifies falling action or complications because just when we think the main character has found a resolution to the conflict, a problem gets in their way. The rope ladder breaking is a problem, but it is small in comparison to the major conflict of the main character being at the top of a volcano when it begins to erupt. 

Conclusion:  This is often misrepresented as the end of the story. However, a conclusion (or resolution) is how the rising action is solved. So, while many stories near their end once the conflict is resolved, the author tends to use a few more pages or short chapters to tie up the loose ends of subplots. Where and how a conflict is resolved, and where it is placed in a story, is entirely up to the author. 

The Ultimate Guide to Writing Good Prose

• May 25, 2020

This week, we're digging deep into wordcraft with an ultimate guide to writing good prose. As ever, our thanks to the Alliance of Independent Authors members who contribute to the creation of these guides. In particular this week, ALLi blog and conference manager Sacha Black , who has literally written the book on this topic. And particular thanks to  Julie-Ann Corrigan, Julie Day, Richard Deakin, Chrissy Harrison, Dan Holloway, LK Hunsaker, H.B Lyne, Karen Myers, Patricia M Osborne, Kristina Proffitt, Jane Steen and Debbie Young ,

The Ultimate Guide to Writing Good Prose: How to Improve

ALLi conference and blog manager, Sacha Black

“If you want to be a writer, you must do two things above all others: read a lot and write a lot. There's no way around these two things that I'm aware of, no shortcut.” Stephen King, On Writing: A Memoir of the Craft

King is famed for the above quote but I think it's misleading. While reading a lot is important, it's an entirely passive form of learning. In my humble opinion, there's only so much you can learn passively. Of course, reading in whatever format it occurs in is essential as a writer, but there are two types of reading. Reading for escapism, and reading for knowledge.

I'm more of a fan of Malcom Gladwell's ethos: you need 10,000 hours of  intentional  practice to become world-class in a particular field. I think we learn a lot faster when we read with the intention to pick up new tools and techniques for our writer's tool belt.

When I read, I underline anything that stands out, for good reasons or bad. Next, “How” and “why” are my friends. As I gather sentences from the stories I read, I save them up for later analysis. When it comes to deconstructing the good stuff, I like to ask myself questions like:

• How did the author create this effect? (and what literary devices did they use to make it?)
• How did that juxtaposition create a secondary meaning?
• Why did the author choose this point of view? Why didn’t they choose another?
• Why did they use that exact word and not another?
• How does that repetitive use of alliteration impact the flow of the sentence?

And on and on the questions go.

This type of detailed deconstruction isn't for everyone but I'm a word nerd and I love going deep into analysis.

Of course, you may prefer to dive straight into professional feedback and learn from the things an editor picks up. If you're interested in learning more about the types of professional editing, there's a fab post on the ALLi blog here .

The Anatomy of Prose Textbook and Workbook

Writing Good Prose: Three Mistakes to Avoid

There are no rules in prose, you can get away with virtually anything. Including not using a full stop — you only have to look at Mike McCormack's 272 page Solar Bones to know that, the whole thing is one sentence! But there are some tactics that sharpen your descriptions and sentence level craft. So here are 3 things to avoid in your prose.

Mistake 1 – Repetition

Okay, sure, everyone knows their first draft will be riddled with repetition. But usually, writer's think of repetition as crutch words or phrases they unintentionally repeat multiple times. For example, just, but, so, that, look, hand, eye, glance, walk.

But what about the other, more subtle forms of repetition?

Different Words, Same Meaning — writers often unintentionally use different words to describe the same thing. For example, describing cold temperatures multiple times with words like chill, icy, cool.

Same Words, Different Meaning — the flip side of that repetition is using the same word in a different context. For example, the hum of a bee and the hum of a car's engine.

Duplicated Archetypes — duplicated character types. For example, do you have two mentors? Are there an unnecessary number of allies? Of course, sometimes these duplications are needed. But more often than not, you can condense the duplicated characters into one more effective and efficient character that readers can get to know better.

Duplicated Personality Traits — likewise, look for repetition in personality type. Have you got two sarcastic divas? Or two brooding gentlemen? Do you really need two? Or would it be more effective to have one?

Name, Name, Name — we all have biases. Which is why you should always check your character names. More often than not you'll have named characters with similar-sounding names or names all beginning with the same letter. If you have Natalie and Nancy or Tony and Tom, your readers are probably going to get confused.

Opening and Closing of Scenes — check the opening (and closing) lines of your scenes. If you have four scenes back to back all opening with a location description, or all starting with dialogue, or all starting with inner monologue, you need to edit out the repetition.

Mistake 2 – Filtering

Filtering is an easy one to add into your narration by accident. Essentially, filtering is when you, the author, add in unnecessary narration, causing the reader to be removed one step from the character. Your reader should ideally see the story though the eyes of your protagonist or narrator. But when you add in narration, the reader steps out from the hero's eyes and watches them from the side.

Filter words include things like:

Let's show this in practice.

With Filtering:

I heard an owl hooting in the trees and a moment later I saw the canopy leaves rustle as if replying.

Your readers don’t need to read the word “heard” or “saw” because the action of hearing and seeing is implied in the description of the sound. Okay, so what does it look like when you remove the filtering?

Without Filtering:

An owl hooted in the trees and a moment later the canopy leaves rustled as if replying.

Of course, there are no rules with prose, and you don’t have to remove every instance of filtering, especially if removing it will impact the meaning of your sentence.

Mistake 3 – No Scene Anchoring

A lack of scene anchoring is one of the fastest ways to disengage a reader.  But what is it?  Scene anchoring is the process of grounding a reader in your story.  Every time you open a new scene or chapter, your reader needs to know three things in order to stay grounded in your story.

• W ho is telling the story? If you write stories from multiple points of view (POV) it's even more important to be clear who is narrating this scene. If you write in first person, then this is a little more obvious.
• W here are the characters? Are they in space? Are they in a castle on another world? Are they in the local cafe? The reader needs to know.  This is even more important if your characters have moved location between scenes. Your reader may have put your book down at the end of the last scene break, so they'll need a refresher.
• W hen are they? Whether  time has passed or not since the last scene, don’t expect your readers to know. They aren’t mind-readers. Be clear. Let them know how much time has passed.

Writing Good Prose: Sentence Level Characterization

I often get asked how you create characterization at the sentence level, be it through description, dialogue or otherwise. The biggest factor in showing the differences in your character's personalities, is to show  their personalities and let it influence your word choices.

On Description

For example, let's say we have two characters viewing a town parade as I do in my book 10 Steps to Hero: How to Craft a Kickass Protagonist.

Character 1 sees the parade like this:

“They move like a current, each person flowing past the next. Supposedly united in their cause, but as they chant and sing for solidarity, it sounds like the melody of mourners. I see the tiny fractures, the gaps they leave between each other, the scattered looks, the fear of isolation. Each of them is drowning in a swelling crowd, and yet, despite the mass of bodies, they’re all fighting alone.”

Character 2 sees the parade like this:

“The villagers weave through the street brandishing placards like rifles. They’re soldiers marching into their last battle. The war-drum beat of their feet grinds into my ears, rattling my teeth and making my blood boil.”

Character 1 is clearly melancholy. They use longer words and longer sentences with more punctuation than character 2. Character 1 chooses to use descriptive words like: fractures, isolation, scattered, mourners, drowning. All words that someone who was happy-go-lucky wouldn't choose to use.

Character 2 on the other hand, is completely different. They use words like: blood, boil, marching, drum, grind. These words are far shorter than character 1's choices. They're also more onomatopoeic, creating louder, more violent sounds. The sentences are shorter and choppier, all things that combine together to give you the impression of a much angrier character.

It's the same parade, just viewed through the eyes of two different characters. If you want to bring your characters alive at the sentence level, dig deep into their personalities and allow those traits to influence your sentence-level choices.

On Dialogue

The same is very much true of dialogue.

If, for example, you have a pompous government official, or an equally pompous academic professor. They're likely to have a vocabulary that's drowning in superfluous words. They might use words in day to day conversation like: In addition, however, furthermore, therefore, I'll conditionally agree and on and on.

But if you have a character in a gang, the chances are they'd never use those words, but may have some gang-specific words, or even made up words that only have meaning to gang members.

Likewise, if you have a sarcastic character, they're likely to be witty and throwing verbal take downs at every available opportunity. So when you approach dialogue, in order to make sure your characters are differentiated, consider how their personality could impact the things they say and the words they choose to speak.

If you enjoyed these tips, then you can find stacks more in my latest book, The Anatomy of Prose: 12 Steps to Sensational Sentences.

Writing Good Prose: Member Tips

We asked the ALLi membership what their top tips were for improving their prose. Here's what they said:

“Practice by writing flash fiction. It forces you to be economical with your words and pick the words with the most punch!”  H.B Lyne  “Try to cut at least 10% from your word count, whatever it is. Even just doing this with a sample chapter will help you home in on superfluous words and retrain yourself to write more succinctly. It's amazing how many words you can cut without losing sense or clarity, while actually improving the power of the prose overall. Keep speech tags to a minimum. Try taking them all out and only put them back in if it's not clear who is saying what. It's amazing how many are completely unnecessary.” Debbie Young  “Read out aloud. Always.” Julie-Ann Corrigan   “Recognize words you know you use too much, especially verbs. E.g., I know that my characters often smile or raise their eyebrows.” Julie Day  “Replicating natural speech in your prose is the fastest way to connect with your reader, so listen to how other people speak. Not just those you know, but those you come across on public transport, in shops, or in restaurants. Different classes and cultures use language differently. The best way to emulate that is to listen.” Kristina Proffitt  “Find and highlight weak words and crutch words so you can work through and target them, or see how many you have on a page, for instance.” Chrissey Harrison  “Vary sentence structure and length. Stop making all sentences short for “easy reading.” Readers are quite capable of processing more than ten words at a time.” LK Hunsaker  “It's not just prose; it's rhetoric. It should have rhythm and movement. Look to vary your sentence length and structures accordingly. Then think of the simple rhetorical rules of folk tales — repetition for emphasis, letting the reader/auditor do some of the work (objective prose generating subjective emotions), restraint.” Karen Myers  “Look for “throat-clearing” phrases at the beginning of sentences–you probably don't need them. See how often you can cut “that” out of your sentences. If there's an “and” in the middle of your sentence, can you chop it into two shorter sentences?” Jane Steen  “Write in the immediate so it shows and not tells. Don’t be afraid to get feedback from other writers – it’s the editing and layering that brings the prose to life.” Patricia M Osborne  “Use assonance and alliteration and rhythm as in poetry. See Hemingway's story opening: “In the fall the war was always there.” /or the opening of ULYSSES: “Stately, plump Buck Mulligan came from the stairhead, bearing a bowl of lather on which a mirror and a razor lay crossed.” Richard Deakin “For me, writing better prose is often about rhythm and cadence. The way we construct our sentences can convey as much and enliven our writing as much as the words we use. I use music analogies a lot, but this is somewhere it really applies. Think of the basic rhythm of prose like the classic Pixies song. Quiet-loud-quiet. Time to think, to anticipate – explosion – time to reflect. Not at the level of story (though that too) but sentence to sentence, paragraph to paragraph.”  Dan Holloway 

Thank you for your innovative articles . I wish l could keep in touch with you for more update!

Practice flash fiction? Lol

I’ve never had a problem.wjth writers block and I’ve been writing all different kinds of things upto 5000-8000 words a day for years before deciding, I’m gonna be a writer.

I cannot be succinct for the life of me.

I just know starting anything as flash fiction that it will expand and expand and there is no way to stop myself other than stab myself in both eyes with my pen, lol.

Even then I start recording audio notes, lmao.

I will try flash fiction again or stab myself in both eyes trying.

I really Enjoy this , I wish I could keep in touch with you always

I hope this email finds you well.

I am sending this email to ask if you are interested in sponsored posts.

We are searching for relevant sites and blogs for our clients.

You will get 100% top-notch content with 1 do-follow link relevant to your site niche.

Please let me know how much do you charge per post?

We will pay you through Paypal as soon as our article is published.

Looking forward to building long-term business opportunities with you.

Best Regards, Adil

its helpful

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Save my name, email, and website in this browser for the next time I comment.

This site uses Akismet to reduce spam. Learn how your comment data is processed .

Latest advice, news, ratings, tools and trends.

Self-Publishing News: Buyers Jostle to Bid for TikTok and X Finally Marks the Spot

Email Marketing Tips for Indie Authors: Reaching More Readers Podcast with Dale L. Roberts and Holly Greenland

Self-Publishing News: OpenAI Disbands Risk Team as Microsoft Faces $1B EU Fine Related to AI Risk

• Advice Centre
• Write For Us
• ALLi Watchdog
• Services Ratings
• Award Ratings
• Member Directory
• Complete Publishing Guides
• Short Guides
• Campaign Guides
• Author Handbooks
• Indie Author Magazine
• Publishing Services Directory
• Workbook Planners
• Coming soon

• Scriptwriting

What is Prose — Definition and Examples in Literature

• What is a Poem
• What is a Stanza in a Poem
• What is Dissonance
• What is a Sonnet
• What is a Haiku
• What is Prose
• What is an Ode
• What is Repetition in Poetry
• How to Write a Poem
• Types of Poems Guide
• What is an Acrostic Poem
• What is an Epic Poem
• What is Lyric Poetry

P rose can be a rather general literary term that many use to describe all types of writing. However, prose by definition pertains to specific qualities of writing that we will dive into in this article. What is the difference between prose and poetry and what is prose used for? Let’s define this essential literary concept and look at some examples to find out.

What is Prose in Literature?

First, let’s define prose.

Prose is used in various ways for various purposes. It's a concept you need to understand if your goal to master the literary form. Before we dive in, it’s important to understand the prose definition and how it is distinguished from other styles of writing. 

PROSE DEFINITION

What is prose.

In writing, prose is a style used that does not follow a structure of rhyming or meter. Rather, prose follows a grammatical structure using words to compose phrases that are arranged into sentences and paragraphs. It is used to directly communicate concepts, ideas, and stories to a reader. Prose follows an almost naturally verbal flow of writing that is most common among fictional and non-fictional literature such as novels, magazines, and journals.

Four types of prose:

Nonfictional prose, fictional prose, prose poetry, heroic prose, prose meaning , prose vs poetry.

To better understand prose, it’s important to understand what structures it does not follow which would be the structure of poetry. Let’s analyze the difference between prose vs poetry.

Poetry follows a specific rhyme and metric structure. These are often lines and stanzas within a poem. Poetry also utilizes more figurative and often ambiguous language that purposefully leaves room for the readers’ analysis and interpretation.

Finally, poetry plays with space on a page. Intentional line breaks, negative space, and varying line lengths make poetry a more aesthetic form of writing than prose. 

Take, for example, the structure of this [Why] by E.E. Cummings. Observe his use of space and aesthetics as well as metric structure in the poem. 

E.E. Cummings Poem

E.E. Cummings may be one of the more stylish poets when it comes to use of page space. But poetry is difference in structure and practice than prose. 

Prose follows a structure that makes use of sentences, phrases, and paragraphs. This type of writing follows a flow more similar to verbal speech and communication. This makes it the best style of writing to clearly articulate and communicate concepts, events, stories, and ideas as opposed to the figurative style of poetry.

What is Prose in Literature? 

Take, for example, the opening paragraph of JD Salinger’s The Catcher in the Rye . We can tell immediately the prose is written in a direct, literal way that also gives voice to our protagonist . 

If you really want to hear about it, the first thing you’ll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don’t feel like going into it, if you want to know the truth.

From this example, you can see how the words flow more conversationally than poetry and is more direct with what information or meaning is being communicated. Now that you understand the difference between poetry, let’s look at the four types of prose.

Related Posts

• What is Litotes — Definition and Examples →
• Different Types of Poems and Poem Structures →
• What is Iambic Pentameter? Definition and Examples →

Prose Examples

Types of prose.

While all four types of prose adhere to the definition we established, writers use the writing style for different purposes. These varying purposes can be categorized into four different types.

Nonfictional prose is a body of writing that is based on factual and true events. The information is not created from a writer’s imagination, but rather true accounts of real events. 

This type can be found in newspapers, magazines, journals, biographies, and textbooks. Anne Frank: The Diary of a Young Girl , for example, is a work written in nonfictional style.

Unlike nonfictional, fictional prose is partly or wholly created from a writer’s imagination. The events, characters, and story are imagined such as Romeo and Juliet , The Adventures of Tom Sawyer , or Brave New World . This type is found as novels, short stories, or novellas .

Heroic prose is a work of writing that is meant to be recited and passed on through oral or written tradition. Legends, mythology, fables, and parables are examples of heroic prose that have been passed on over time in preservation. 

Finally, prose poetry is poetry that is expressed and written in prose form. This can be thought of almost as a hybrid of the two that can sometimes utilize rhythmic measures. This type of poetry often utilizes more figurative language but is usually written in paragraph form. 

An example of prose poetry is “Spring Day” by Amy Lowell. Lowell, an American poet, published this in 1916 and can be read almost as hyper short stories written in a prose poetry style. 

The first section can be read below: 

The day is fresh-washed and fair, and there is a smell of tulips and narcissus in the air.

The sunshine pours in at the bath-room window and bores through the water in the bath-tub in lathes and planes of greenish-white. It cleaves the water into flaws like a jewel, and cracks it to bright light.

Little spots of sunshine lie on the surface of the water and dance, dance, and their reflections wobble deliciously over the ceiling; a stir of my finger sets them whirring, reeling. I move a foot, and the planes of light in the water jar. I lie back and laugh, and let the green-white water, the sun-flawed beryl water, flow over me. The day is almost too bright to bear, the green water covers me from the too bright day. I will lie here awhile and play with the water and the sun spots.

The sky is blue and high. A crow flaps by the window, and there is a whiff of tulips and narcissus in the air."

While these four types of prose are varying ways writers choose to use it, let’s look at the functions of them to identify the strengths of the writing style. 

What Does Prose Mean in Writing

Function of prose in literature.

What is prose used for and when? Let’s say you want to tell a story, but you’re unsure if using prose or poetry would best tell your story.

To determine if the correct choice is prose, it’s important to understand the strengths of the writing style. 

Direct communication

Prose, unlike poetry, is often less figurative and ambiguous. This means that a writer can be more direct with the information they are trying to communicate. This can be especially useful in storytelling, both fiction and nonfiction, to efficiently fulfill the points of a plot.

Curate a voice

Because prose is written in the flow of verbal conversation, it’s incredibly effective at curating a specific voice for a character. Dialogue within novels and short stories benefit from this style.

Think about someone you know and how they talk. Odds are, much of their character and personality can be found in their voice.

When creating characters, prose enables a writer to curate the voice of that character. For example, one of the most iconic opening lines in literature informs us of what type of character we will be following.

Albert Camus’ The Stranger utilizes prose in first person to establish the voice of the story’s protagonist. 

“Mother died today. Or, maybe, yesterday; I can’t be sure. The telegram from the Home says: YOUR MOTHER PASSED AWAY. FUNERAL TOMORROW. DEEP SYMPATHY. Which leaves the matter doubtful; it could have been yesterday.”

Build rapport with the reader

Lastly, in addition to giving character’s a curated voice, prose builds rapport with the reader. The conversational tone allows readers to become familiar with a type of writing that connects them with the writer. 

A great example of this is Hunter S. Thompson’s Hell’s Angels . As a nonfiction work written in prose, Thompson’s voice and style in the writing is distinct and demands a relationship with the reader.

Whether it is one of contradiction or agreement, the connection exists through the prose. It is a connection that makes a reader want to meet or talk with the writer once they finish their work. 

Prose is one of the most common writing styles for modern writers. But truly mastering it means understanding both its strengths and its shortcomings. 

Different Types of Poems

Curious about learning about the counterpart to prose? In our next article we dive in different types of poems as well as different types of poem structures. Check out the complete writer’s guide to poetry types up next. 

Up Next: Types of Poems →

Write and produce your scripts all in one place..

Write and collaborate on your scripts FREE . Create script breakdowns, sides, schedules, storyboards, call sheets and more.

• Pricing & Plans
• Product Updates
• Featured On
• StudioBinder Partners
• The Ultimate Guide to Call Sheets (with FREE Call Sheet Template)
• How to Break Down a Script (with FREE Script Breakdown Sheet)
• The Only Shot List Template You Need — with Free Download
• Managing Your Film Budget Cashflow & PO Log (Free Template)
• A Better Film Crew List Template Booking Sheet
• Best Storyboard Softwares (with free Storyboard Templates)
• Movie Magic Scheduling
• Gorilla Software
• Storyboard That

A visual medium requires visual methods. Master the art of visual storytelling with our FREE video series on directing and filmmaking techniques.

We’re in a golden age of TV writing and development. More and more people are flocking to the small screen to find daily entertainment. So how can you break put from the pack and get your idea onto the small screen? We’re here to help.

• Making It: From Pre-Production to Screen
• How to Get a Film Permit — A Step-by-Step Breakdown
• How to Make a Storyboard — Ultimate Guide with Free Storyboard Templates
• VFX vs. CGI vs. SFX — Decoding the Debate
• What is a Freeze Frame — The Best Examples & Why They Work
• TV Script Format 101 — Examples of How to Format a TV Script
• 1 Pinterest

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.

• Creative Writing In Prose

In this Book

• Oludhe Macgoye
• Published by: University of Nairobi Press

Table of Contents

• Title page, Copyright
• pp. vii-viii
• Acknowledgements
• 1. Writing in Prose
• 2. Creative Writing in the Literary Tradition
• 3. The Groundwork of the Novel
• 5. Narrative
• 6. Getting Published
• 7. Analysis of Prose Passages
• pp. 105-106
• pp. 107-114
• pp. 115-119

Additional Information

Project muse mission.

Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves.

2715 North Charles Street Baltimore, Maryland, USA 21218

+1 (410) 516-6989 [email protected]

©2024 Project MUSE. Produced by Johns Hopkins University Press in collaboration with The Sheridan Libraries.

Now and Always, The Trusted Content Your Research Requires

Built on the Johns Hopkins University Campus

Prose Courses

• AI Content Shield
• AI KW Research
• AI Assistant
• SEO Optimizer
• AI KW Clustering
• Customer reviews
• The NLO Revolution
• Press Center
• Help Center
• Content Resources
• Facebook Group

A Creative Guide to Prose in Writing

Table of Contents

What is prose ? That’s the first question that comes to mind when trying to write spoken language in its ordinary form.

Prose is a term used to describe any written work following a basic grammatical framework. Sometimes a single sentence has the power to evoke a particular mood and propel you into the story. Yet many writers are unsure how to articulate that feeling into a cohesive line and description.

So, what is prose, and how does it function in writing? Here’s a creative guide to help you understand in detail.

What Is Prose?

Prose is a written language with natural flow and patterns inherent in regular speech. It is a type of writing that does not adhere to a specific rhyme, structure, or meter pattern. It uses common grammatical structures and arranges ideas in a simplistic manner. Prose avoids creative and aesthetic styles of writing seen in poetry or song lyrics.

Examples of prose include books, standard dialogues, news stories, and more. Prose is different from poetry in that it employs line breaks and has a meter that defies conventional grammatical norms.

Now that we’ve addressed the question: what is prose? Let’s explore some of its functions.

What Is the Function of Prose in Writing?

Prose allows writers to express themselves freely and creatively. The purpose of prose is to add and modify the meaning of the piece and create a fluid, expressive narrative for the reader.

It usually uses descriptive language to concretely explain something abstract or intangible. Prose can also help convey background information about the story’s characters, setting, and time.

It’s a way to transition the audience and provide a lasting impression of the text, making them want more.

Types of Prose in Writing

More often than not, writers follow some essential grammatical rules in writing prose. What is prose can sometimes be difficult to define as it is divided into different categories. There are four different forms of prose, each focusing on the mechanics or emotions of what we’re saying.

1. Nonfictional prose

Nonfictional prose is a form of writing that usually presents events and activities in factual, objective terms.

Nonfictional prose is not expressive and is generally free of opinion and authorial interpretation. It is descriptive, neutral, or factual. A nonfiction writer is typically concerned with truth, accuracy, and conveying information clearly.

2. Fictional prose

This type of prose tells a story based on imagination, using made-up characters and events.

It’s very flexible in that the author isn’t limited by the laws of science, the passage of time, or the bounds of real life. They are free to create while offering a uniquely original experience.

3. Heroic prose

Heroic prose uses a pattern of heroism to depict stories of valor and adventure. These stories are usually meant to be recited orally.

This is prose in which there is a clear action or scene that takes place from the protagonist’s point of view. It also has a fast-paced and action-filled story.

4. Prose poetry

Certain poetic elements are used in prose poetry to give the composition a lyrical or artistic worth. Prose poetry is a way to express the emotions and feelings of the author.

It is a way to convey the inner workings of your heart through written words. Preserving the prose structure, this type of writing delivers a stronger emotional impact on the readers.

The prose in writing does not follow one particular type. It can refer to everything from the narrative and argumentative to journalistic pieces and even poetry.

That being said, there are a few key types that are recognized and used most often. These include nonfictional prose, fictional prose, and heroic prose.

Prose poetry is also a form of prose in writing which is typically used in short poems and has rhyme. This article will enhance your understanding of what prose is and how it functions.

Pam is an expert grammarian with years of experience teaching English, writing and ESL Grammar courses at the university level. She is enamored with all things language and fascinated with how we use words to shape our world.

Explore All Casual Articles

What is prose? That’s the first question that comes to mind when trying to write spoken language in its ordinary…

Writing Informal Email for the B2 Exam

Being able to write emails in English is an essential skill. While it may look like it isn’t tricky, writing…

Writing an Informal 2 Weeks’ Notice Letter

You’ve landed a new, better job. Congratulations! Nevertheless, you must first give notice of your departure from your current role.…

What’s Informal Tone and Should You Use It?

Tone plays a significant role in writing. The tone of your voice is how you express your ideas. Included are…

What’s Informal Language & When To Use It?

No matter what you are writing, all writing styles can be identified as either formal or informal. You should know…

The Informal Cover Letter and Its Benefits

Cover letters are indispensable for many professional job applications and can help you sell yourself to your future employer. Writing…

Creative Writing Styles: Pros, Cons & Guide

What are creative writing styles, prose writing style: pros & cons, poetry writing style: pros & cons, playwriting style: pros & cons, screenwriting style: pros & cons, journalism writing style: pros & cons, blogging style: pros & cons, copywriting style: pros & cons, guide on how to choose a writing style.

Imagine having a toolbox. Inside this toolbox, you have different tools, each with its unique purpose. Similarly, as a writer, you have a toolbox filled with various writing styles. Each style has its benefits and drawbacks and serves a unique purpose. Today, we'll explore these different creative writing styles, their benefits and drawbacks, and how you can select the right tools for your writing project.

Just like an artist uses oil paints or charcoal to create a masterpiece, a writer uses different writing styles to craft their work. So, what exactly are these styles? There's no one-size-fits-all definition. However, we can think of writing styles as the way you express your thoughts and ideas on paper. Each style has its own distinct characteristics, rules, and conventions. Let's dive into the benefits and drawbacks of different creative writing styles.

• Prose Writing: This style is your everyday, run-of-the-mill writing. It's what you find in novels, short stories, and essays. It's straightforward, with the words flowing in sentences and paragraphs, just like the water in a river.
• Poetry Writing: Poetry is the songbird of writing styles. It uses rhythm, rhyme, and imagery to convey emotions and ideas. It's the style you turn to when you want to capture the heartbeat of a moment.
• Playwriting: As the name suggests, this style is all about writing for the stage. It's about creating dialogues and actions that actors will perform. If you've ever dreamed of seeing your words come to life, playwriting is the style for you.
• Screenwriting: This style is similar to playwriting but for the screen—be it a television, cinema, or even YouTube. It involves writing scripts for films, TV shows, and online videos.
• Journalism: Journalism writing is about reporting facts in a simple, clear, and concise manner. It's the style you'd use to write news articles, features, and interviews.
• Blogging: Blogging is a casual and conversational style of writing. It's like having a chat with your readers over a cup of coffee. Blogging is perfect for sharing personal experiences, opinions, and advice.
• Copywriting: Last but not least, copywriting is the art of selling with words. It's the style you see in advertisements, sales letters, and marketing campaigns. This style aims to persuade and convince readers to take a specific action, like buying a product or signing up for a newsletter.

Now that we've unpacked the different writing styles, let's delve deeper into each one's benefits and drawbacks. This will help you choose the right style for your next writing project, be it a blog post, a poem, or a screenplay.

Ever thought of writing a novel or a short story? Then, you should consider the prose writing style. It's like cooking a hearty stew— you mix a variety of ingredients, let them simmer, and serve a delicious dish. Now, let's look at the benefits and drawbacks of this creative writing style.

• Freedom of Expression: The prose style gives you the liberty to express your thoughts and ideas without the restrictions of rhythm, rhyme, or meter. It's like painting on a blank canvas, where you are free to explore and experiment.
• Complexity and Depth: Prose allows for the development of complex characters, intricate plots, and detailed settings. It's a style where you can delve deep into the human psyche, societal issues, or even the mysteries of the universe.
• Accessibility: Prose is the most common and accessible form of writing. Its straightforward and familiar structure makes it easy for readers of all ages and backgrounds to understand and connect with your work.
• Length: Prose writing, especially novels and long-form essays, can be time-consuming and require significant commitment. It's like running a marathon, where you need to pace yourself and keep going, even when the finish line seems far away.
• Overwhelming Detail: While detail can be a strength, it can also be a drawback. Too much detail can overwhelm readers and slow down the pace of your story. Remember, not every leaf needs to be described, and not every thought needs to be explored.
• Difficulty in Standing Out: Given the abundance of prose, standing out can be a challenge. It requires a unique voice, a compelling story, and a mastery of the craft to leave a lasting impression on the reader.

There you have it— the benefits and drawbacks of the prose writing style. Remember, the key is to balance the freedom of expression with the discipline of storytelling. So, are you ready to pick up your pen and start your prose adventure?

Have you ever felt an emotion so deeply that it felt like a song? Poetry might be your ideal creative writing style. It's like dancing with words, where each step, each twirl, each pause, is filled with meaning. Let's explore the benefits and drawbacks of poetry.

• Emotional Impact: Poetry is known for its ability to stir emotions. A well-crafted verse can make your readers feel joy, sorrow, wonder, and even a sense of camaraderie. It's a style where a few words can leave a deep impact.
• Conciseness: Poetry forces you to say more with less. It's like packing a suitcase for a trip— you can only take what's essential. This brevity can lead to powerful and memorable writing.
• Creative Freedom: While there are many forms of poetry, there are no hard and fast rules. You can experiment with rhythm, rhyme, structure, and even invent your own poetic form. It's a playground for your creativity.
• Difficulty in Communication: The abstract nature of poetry can make it difficult for some readers to understand. It's like a coded message that needs deciphering. This can limit the reach and impact of your work.
• Stigma: Unfortunately, poetry is often seen as highbrow or inaccessible, which can deter some readers. It's a misconception that you, as a poet, will need to challenge and overcome.
• Monetization: Let's face it— poetry is not the most lucrative writing style. Most poets write for the love of the craft rather than financial gain.

There you have it— the benefits and drawbacks of the poetry writing style. Remember, at the heart of poetry is emotion. So, are you ready to write your heart out and let your words dance?

If you've ever been swept up in the world of a stage play, you know the power of this form of writing. But what are the benefits and drawbacks of this creative writing style? Let's break down the pros and cons of playwriting.

• Collaborative Creativity: One of the unique advantages of playwriting is the opportunity to work with directors, actors, and designers to bring your words to life. It's a team effort where each person adds their own flavor to your dish.
• Immediate Audience Feedback: When your work is performed live, you get immediate reactions from the audience. It's like a conversation where you speak through your play, and the audience responds with laughter, gasps, or applause.
• Dynamic Storytelling: In playwriting, you can use dialogue, stage directions, and physical action to tell your story. It's like painting a picture where every element— the colors, the shapes, the brush strokes—contributes to the final image.
• Dependent on Performance: Your play's success is largely dependent on the performance. If the actors don't deliver your lines as intended, or if the director's vision doesn't match yours, your story may not come across as you hoped.
• Limited Scope: Unlike a novel, a play has to be performed in a specific space and time. This can limit the scope of your story. You might have to cut scenes or characters to fit the constraints of the stage.
• Inaccessibility: Not everyone has access to live theater, which means your potential audience is smaller. It's like cooking a delicious meal, but only a few people get to taste it.

So, there you have it— the benefits and drawbacks of the playwriting style. If you're a team player who loves the energy of live performance, this might be the writing style for you. Ready to take the stage?

Ever wondered what it's like to write the next big blockbuster or binge-worthy TV show? Let's take a look at the benefits and drawbacks of the screenwriting style, a unique form of storytelling that's all about visual drama.

• Vivid Visuals: Screenwriting allows you to create a powerful visual experience for your audience. You get to craft beautiful scenes, thrilling action sequences, and heart-tugging moments that can only be fully appreciated on screen.
• Wide Audience Reach: Films and TV shows are consumed by millions around the world. This means your story has the potential to reach more people than most other forms of writing.
• High Rewards: Successful screenwriters can earn significant financial and critical recognition, from hefty paychecks to prestigious awards like the Oscars.
• Highly Competitive: The film and TV industry is extremely competitive. Landing a screenwriting gig requires not just talent, but also persistence, networking, and a bit of luck.
• Restricted Creative Control: Screenwriters often have to compromise their vision to meet the demands of producers, directors, and actors. Your original script might look very different by the time it's on screen.
• Strict Formatting: Screenwriting has specific formatting rules that can be challenging to learn and follow. It's like learning a new language—each scene heading, character name, and line of dialogue has its own place.

So, that's the screenwriting style for you. It's a rollercoaster ride of highs and lows, but if you have a knack for visual storytelling and a passion for cinema, it can be a thrilling journey. So, are you ready for your close-up?

Ever thought about being the voice that informs the public about the happenings around the world? Journalism writing style is a unique blend of factual, concise, and compelling storytelling. Let's shed some light on the benefits and drawbacks of this writing style.

• Informative & Impactful: As a journalist, you have the power to inform, persuade, and change public opinion. Your words can have a significant impact on society.
• Dynamic Field: Journalism is fast-paced and ever-changing. There's always a fresh story to cover, making it a vibrant and exciting field to work in.
• Explore Various Topics: Whether it's politics, sports, fashion, or technology—the list is endless. You get to delve into diverse topics, expanding your knowledge and understanding along the way.
• High Pressure: Being a journalist can be stressful. There are tight deadlines, and the need to be the first to break the news can create immense pressure.
• Fact-Checking: It's very important to verify every piece of information before publication. Mistakes can damage your credibility and have serious consequences.
• Unpredictable Hours: News doesn't follow a 9-5 schedule, and neither do journalists. This job can demand long, unpredictable hours, which may interfere with personal life.

There you have it, the journalism writing style. It's not for the faint-hearted, but if you have a nose for news and a desire to make a difference, it's a rewarding profession that keeps you on your toes.

Have you ever thought about sharing your personal experiences, insights or expertise with the world? That's what blogging is all about. Let's dive into the benefits and drawbacks of the blogging writing style.

• Freedom of Expression: Blogging offers a platform to express your thoughts, feelings, and ideas. You can write about anything you're passionate about, making it a highly personalized form of writing.
• Building a Community: Through your blog, you can connect with like-minded individuals, creating a supportive community that shares your interests. It's a great way to engage with others and expand your network.
• Potential Income: If your blog gains a substantial following, it can become a source of income. From advertising, affiliate marketing to selling products or services - the possibilities are many!
• Time Consuming: Maintaining a blog requires a considerable amount of time and effort. From creating content, responding to comments, to promoting your blog - it's a significant commitment.
• Slow Progress: Building a successful blog doesn't happen overnight. It can take months, even years, of consistent effort to gain a significant following and start earning.
• Writer's Block: Coming up with fresh, engaging content regularly can be challenging. Blogger's block is real and can be a major hurdle to overcome.

So, that's the blogging writing style. If you enjoy sharing your experiences, opinions or expertise and don't mind putting in the work, blogging can be a rewarding venture that allows you to connect with the world on your terms.

Ever seen an advertisement that made you want to buy that product right away? That's the power of copywriting. Let's explore the benefits and drawbacks of the copywriting style.

• Direct Impact: Copywriting is all about persuasion. A well-crafted copy can compel readers to take action, whether it's buying a product, signing up for a service, or subscribing to a newsletter.
• High Demand: Good copywriters are always in demand. Every business, from small startups to multinational corporations, needs compelling copy to sell their products or services.
• Creative Freedom: Copywriting allows you to flex your creative muscles. You can play with words, use puns, tell stories - whatever it takes to engage your audience and get your message across.
• High Pressure: As a copywriter, your work directly affects a company's bottom line. This pressure to deliver results can be stressful.
• Tight Deadlines: Copywriting often involves working under tight deadlines. You need to be able to think on your feet and create compelling content quickly.
• Revisions: Copywriters often have to make multiple revisions based on client feedback. This can be time-consuming and sometimes frustrating.

So, that's the copywriting style. If you have a knack for persuasion and don't mind working under pressure, copywriting could be the perfect fit for you, allowing you to combine your creativity with a business-oriented approach.

Choosing a writing style is like picking the right pair of shoes. You want something that not only fits but also complements your style and purpose. The question is, with so many options available, how do you choose the right one? Here are a few tips to help you make the right choice:

Consider Your Purpose: What do you aim to achieve with your writing? Are you looking to inform, entertain, persuade, or narrate a story? Your purpose will help guide your choice. For instance, if you're looking to inform, journalism or blogging style might be best. If you're aiming to persuade, copywriting could be your go-to.

Analyze Your Audience: Who are you writing for? Different audiences prefer different styles. For example, a younger audience might prefer a casual blogging style, whereas a professional audience might appreciate a more formal journalism style.

Play to Your Strengths: Do you have a knack for vivid descriptions? Prose might be your style. Are you good at expressing emotions? Poetry could be your forte. Do you excel at writing dialogue? Consider playwriting or screenwriting.

Experiment: Don't be afraid to try different styles. Write a blog post one day, a poem the next. You'll never know what you're good at until you give it a go.

Remember, there's no 'one-size-fits-all' when it comes to writing styles. The beauty of writing lies in its diversity. So, don't be afraid to explore the benefits and drawbacks of different creative writing styles until you find the one that fits you like a glove.

If you're interested in exploring different creative writing styles and techniques, don't miss the workshop ' Writing From Memory - Part 1 ' by Charlie Brogan. This workshop will help you tap into your personal experiences and memories as a source of inspiration for your writing, adding authenticity and depth to your work.

Live classes every day

Learn from industry-leading creators

Get useful feedback from experts and peers

Best deal of the year

* billed annually after the trial ends.

*Billed monthly after the trial ends.

ENGL 2307 Introduction to Creative Writing - Prose

National Endowment for the Arts

• Grants for Arts Projects
• Challenge America
• Research Awards
• Partnership Agreement Grants
• Creative Writing
• Translation Projects
• Volunteer to be an NEA Panelist
• Manage Your Award
• Recent Grants
• Arts & Human Development Task Force
• Arts Education Partnership
• Blue Star Museums
• Citizens' Institute on Rural Design
• Creative Forces: NEA Military Healing Arts Network
• GSA's Art in Architecture
• Independent Film & Media Arts Field-Building Initiative
• Interagency Working Group on Arts, Health, & Civic Infrastructure
• International
• Mayors' Institute on City Design
• Musical Theater Songwriting Challenge
• National Folklife Network
• NEA Big Read
• NEA Research Labs
• Poetry Out Loud
• Save America's Treasures
• Shakespeare in American Communities
• Sound Health Network
• United We Stand
• American Artscape Magazine
• NEA Art Works Podcast
• National Endowment for the Arts Blog
• States and Regions
• Accessibility
• Arts & Artifacts Indemnity Program
• Arts and Health
• Arts Education
• Creative Placemaking
• Equity Action Plan
• Historically Black Colleges and Universities (HBCUs)
• Literary Arts
• Native Arts and Culture
• NEA Jazz Masters Fellowships
• National Heritage Fellowships
• National Medal of Arts
• Press Releases
• Upcoming Events
• NEA Chair's Page
• Leadership and Staff
• What Is the NEA
• Publications
• National Endowment for the Arts on COVID-19
• Open Government
• Freedom of Information Act (FOIA)
• Office of the Inspector General
• Civil Rights Office
• Appropriations History
• Make a Donation

CREATIVE WRITING FELLOWSHIPS

The National Endowment for the Arts Literature Fellowships program offers $25,000 grants in  prose  (fiction and creative nonfiction) and  poetry  to published creative writers that enable the recipients to set aside time for writing, research, travel, and general career advancement. 

This program operates on a two-year cycle with fellowships in prose and poetry available in alternating years. In 2024 we will be accepting applications in poetry.  

Learn  more about past recipients of our literature fellowships  in the Literary Arts Impact section. 

If you have questions about your application, please contact the Literary Arts staff at 202-682-5034 or email  [email protected]

Stay Connected to the National Endowment for the Arts

• CET Courses
• Course Finder

Creative Writing: Prose

Singapore university of social sciences, creative writing: prose (elt256).

Applications Open:  01 May 2024

Applications Close:  15 June 2024

Next Available Intake:  July 2024

Course Types:  Modular Undergraduate Course

Language:  English

Duration:  6 months

Fees:  $1391.78 View More Details on Fees

Area of Interest:  Linguistics and Languages

Schemes:  Alumni Continuing Education (ACE)

Funding:  To be confirmed

School/Department:  School of Humanities & Behavioural Sciences

Level:  2 Credit Units:  5 Presentation Pattern:  EVERY JULY

• The creative writing process
• Types of short fiction and style
• Setting the scene
• Showing and telling
• Perspectives and points of view
• Breathing life into characters
• Plot and structure
• Elements of the narrative essay
• The voice of personal experience
• Shaping style, structure and thought
• Managing the creative project
• Platforms for publishing: journals, blogs, magazines and more

Learning Outcome

• Identify key elements and techniques in short fiction and the narrative essay.
• Distinguish the various genres and styles in creative narrative writing.
• Analyse how narrative technique and form create meaning in stories and essays.
• Develop narrative outlines that illustrate compelling storytelling.
• Apply the elements and techniques of short fiction and essay in creative writing.
• Execute a creative writing project.

*Please select at least 1 field

This site uses cookies to offer you a better browsing experience. By continuing to navigate through this site or by clicking “Close”, you are consenting to the use of cookies on your device as described in our privacy statement.

• History, Facts & Figures
• YSM Dean & Deputy Deans
• YSM Administration
• Department Chairs
• YSM Executive Group
• YSM Board of Permanent Officers
• FAC Documents
• Current FAC Members
• Appointments & Promotions Committees
• Ad Hoc Committees and Working Groups
• Chair Searches
• Leadership Searches
• Organization Charts
• Faculty Demographic Data
• Professionalism Reporting Data
• 2022 Diversity Engagement Survey
• State of the School Archive
• Faculty Climate Survey: YSM Results
• Strategic Planning
• Mission Statement & Process
• Beyond Sterling Hall
• COVID-19 Series Workshops
• Previous Workshops
• Departments & Centers
• Find People
• Biomedical Data Science
• Health Equity
• Inflammation
• Neuroscience
• Global Health
• Diabetes and Metabolism
• Policies & Procedures
• Media Relations
• A to Z YSM Lab Websites
• A-Z Faculty List
• A-Z Staff List
• A to Z Abbreviations
• Dept. Diversity Vice Chairs & Champions
• Dean’s Advisory Council on Lesbian, Gay, Bisexual, Transgender, Queer and Intersex Affairs Website
• Minority Organization for Retention and Expansion Website
• Office for Women in Medicine and Science
• Committee on the Status of Women in Medicine Website
• Director of Scientist Diversity and Inclusion
• Diversity Supplements
• Frequently Asked Questions
• Recruitment
• By Department & Program
• News & Events
• Executive Committee
• Aperture: Women in Medicine
• Self-Reflection
• Portraits of Strength
• Mindful: Mental Health Through Art
• Event Photo Galleries
• Additional Support
• MD-PhD Program
• PA Online Program
• Joint MD Programs
• How to Apply
• Advanced Health Sciences Research
• Clinical Informatics & Data Science
• Clinical Investigation
• Medical Education
• Visiting Student Programs
• Special Programs & Student Opportunities
• Residency & Fellowship Programs
• Center for Med Ed
• Organizational Chart
• Leadership & Staff
• Committee Procedural Info (Login Required)
• Faculty Affairs Department Teams
• Recent Appointments & Promotions
• Academic Clinician Track
• Clinician Educator-Scholar Track
• Clinican-Scientist Track
• Investigator Track
• Traditional Track
• Research Ranks
• Instructor/Lecturer
• Social Work Ranks
• Voluntary Ranks
• Adjunct Ranks
• Other Appt Types
• Appointments
• Reappointments
• Transfer of Track
• Term Extensions
• Timeline for A&P Processes
• Interfolio Faculty Search
• Interfolio A&P Processes
• Yale CV Part 1 (CV1)
• Yale CV Part 2 (CV2)
• Samples of Scholarship
• Teaching Evaluations
• Letters of Evaluation
• Dept A&P Narrative
• A&P Voting
• Faculty Affairs Staff Pages
• OAPD Faculty Workshops
• Leadership & Development Seminars
• List of Faculty Mentors
• Incoming Faculty Orientation
• Faculty Onboarding
• Past YSM Award Recipients
• Past PA Award Recipients
• Past YM Award Recipients
• International Award Recipients
• Nominations Calendar
• OAPD Newsletter
• Fostering a Shared Vision of Professionalism
• Academic Integrity
• Addressing Professionalism Concerns
• Consultation Support for Chairs & Section Chiefs
• Policies & Codes of Conduct
• First Fridays
• Fund for Physician-Scientist Mentorship
• Grant Library
• Grant Writing Course
• Mock Study Section
• Research Paper Writing
• Establishing a Thriving Research Program
• Funding Opportunities
• Join Our Voluntary Faculty
• Child Mental Health: Fostering Wellness in Children
• Faculty Resources
• Research by Keyword
• Research by Department
• Research by Global Location
• Translational Research
• Research Cores & Services
• Program for the Promotion of Interdisciplinary Team Science (POINTS)
• CEnR Steering Committee
• Experiential Learning Subcommittee
• Goals & Objectives
• Issues List
• Print Magazine PDFs
• Print Newsletter PDFs
• YSM Events Newsletter
• Social Media
• Patient Care

INFORMATION FOR

• Residents & Fellows
• Researchers

Celebrating Health Profession Students' Poetry, Prose, and Visual Arts

Program for Humanities in Medicine 2024 Health Professions Creative Writing and Art Contest Awards Ceremony

Lenique Huggins - First place in Art category

Created by MD student Hang Nguyen. Second place in Art category

WInston Trope - Honorable Mention in Art category

Zeynep Inanoglu - Honorable Mention in Art category

2024 PHM Health Professions Creative Writing and Art Contest Award Ceremony - Student Winners

Winning artwork

Black Motherhood in Medicine

Created by MD student Lenique Huggins. First place in Art category

These Small Things

These are the titles of the poetry, prose, and visual artworks that received first-place in the annual Yale School of Medicine (YSM) Program for Humanities in Medicine (PHM) Health Professions Students' Creative Writing & Art Contest. On May 2, the student winners were celebrated at a gathering where they shared and often provided context for their creations. A supportive and appreciative audience applauded enthusiastically after each presentation.

Professor and PHM Director Anna Reisman, MD, welcomed everyone to the celebration, sharing that the contest began more than two decades ago. It originally was a poetry and prose contest just for medical students; the family of Marguerite Rush Lerner, MD, established and endowed the contest to honor her. Lerner was a dermatologist at YSM, as well as a children’s book author. (Lerner’s husband, Aaron Lerner, MD, PhD, was the first chair of Yale’s Department of Dermatology, and two of their four sons, Ethan Lerner, MD, PhD ‘82 and Michael Lerner, MD ’81, attended YSM.) Reisman explained that several years ago the contest expanded to include visual arts, and also students from across the health profession schools and programs—MD, MD-PhD, Physician Associate, Physician Assistant Online, Nursing, and Public Health.

This year, almost 100 students participated in the contest. MD student winners receive the Marguerite Rush-Lerner prize; the other Yale health professions students receive the Program for Humanities in Medicine prize. See the list of winners under "Related Links."

While second-year MD student Lenique Huggins had been thinking about creating Black Motherhood in Medicine for a few months, it only took two evenings to do so, once she began.

She explains that the inspiration for the piece started in her first week of medical school, when she learned that the maternal mortality rate for Black mothers is 2.6 more than non-Hispanic white mothers. “As a young Black woman, this statistic especially pained me and my close friends.” Additionally, she says that in classes throughout the year, she was part of formal and informal discussions about being a mother in medicine. “I heard from classmates across racial backgrounds about their real fears of balancing pregnancy with their medical training and pregnancy complications among medical professionals.” That led her to begin to think about “my intersection as a future Black mother in medicine and the challenges I may face because of these identities. Now, as a second-year student, I created a piece that captures something I have thought much about these past two years.”

Huggins grew up in a Caribbean household close to art and culture from all over the world. “I’ve always been surrounded by music, dance, storytelling, and visual art, and my family hosted international students throughout my childhood. I started playing the piano at age three, and have been singing, dancing, and doodling for as long as I can remember.” However, it was not until she was an undergraduate at Duke University and participated in community service that she “began to understand the therapeutic value of art.”

Through her involvement in different programs at that time, including Families Moving Forward, a shelter for families without homes, and Reflections, a weekly art program for adults with dementia at Duke Nasher Museum, Huggins says, “I saw how encouraging self-expression could bring peace during uncertain times, reduce stress, and empower communities. When I went through a rough time in my sophomore year, I found myself using painting for a lot of healing.”

Huggins continues, “I will continue practicing art. It’s a self-care practice that helps me combat burnout and show up better for patients who need me.”

Class of 2025 MD student Hang Nguyen started painting at age 11, when her family immigrated to America from Vietnam. She explains, “I did not speak English at the time, so art was a vessel through which I could communicate my tumultuous adolescent mind.”

Currently, she paints often and says her favorite subject is “surreal, tranquil, and, occasionally, liminal landscapes, such as a classroom at midnight, an overgrown, abandoned church, and a long corridor that leads nowhere. For me, these landscapes represent a longing for a space that exists tranquilly, where one can be one's true self.”

Nguyen painted Submerged specifically for this contest; “In other words, this contest inspired me to look inward and reflect on — instead of simply overcome and move forward from — the challenges that I have encountered in medical school.” Through the work she wanted “to convey the various feelings that I experienced while studying for board exams using motifs that are near and dear to me like water and fish in a surreal, tranquil, and liminal ambience.” She painted it during time dedicated to Step 1, over the course of a week, working on it for an hour to two at night.

Hunger , On Chinese Medicine , and On the First Day of Anatomy Lab

First-year Physician Associate (PA) student Kelly Dunn was honored with three prizes: A tie for first place in prose for Hunger , a tie for second place in poetry for On Chinese Medicine , and honorable mention in prose for On the First Day of Anatomy Lab , each of which she shared with the audience. While Dunn, who “always considered the humanities to be a part of my life,” has been an avid reader and artist for as long as she can remember, she did not start writing until the COVID-19 pandemic. She says she mostly wrote nonfiction, and only semi-frequently, “whenever something momentous transpired, or I suddenly felt called to it,” explaining, “so much of my love and appreciation for writing comes from the fact that it’s a medium to better articulate an experience through. Having something so fresh and felt so acutely is a wonderful impetus to begin writing.”

The contest was one of Dunn’s first times writing poetry, “I’ve always been intimidated by it. Learning the different poetic forms and metric lines, as well as how to be economical with my words, seems like something I’ll never be able to achieve.” She continued, “I’m grateful for this contest for giving me an opportunity to try”

For Dunn, writing in PA school has been “incredibly helpful processing all that has happened. Every day I vacillate between feelings of immense wonder, humility, and gratitude— and these words in themselves don’t even do the moments I’ve witnessed justice.”

Acknowledgements

Reisman thanked PHM Manager Karen Kolb for her work coordinating the contest, and the 16 YSM faculty and staff members who served as judges:

Aba Black, MD, MHS, Anne Merritt, MD, MS, Terry Dagradi, Sarah Cross, MD, Lorence Gutterman, MD, Melissa Grafe, PhD, Randi Hutter-Epstein, MD, MPH, Kenneth Morford, MD, Sharon Ostfeld-Johns, MD, Vincent Quagliarello, MD, Lisa Sanders, MD, Nora Segar, MD, Elizabeth Marhoffer, MD, Rita Rienzo MMSC, PA-C, Sharon Chekijian, MD, PhH, and Cynthia McNamara, MD.

Featured in this article

• Aba Black, MD, MHS
• Sharon Anoush Chekijian, MD, MPH
• Sarah Cross, MD
• Terry Dagradi
• Randi Epstein
• Melissa Grafe, PhD
• Lorence Gutterman, MD
• Lenique Huggins
• Karen P Kolb
• Elizabeth Marhoffer, MD
• Cynthia Frary McNamara, MD, FACP
• Anne Merritt, MD, MS
• Kenneth Morford, MD, FASAM
• Hang Nguyen
• Sharon Ostfeld-Johns, MD, IBCLC
• Vincent Quagliarello, MD
• Anna Reisman, MD
• Rita Rienzo, MMSc, PA-C
• Lisa Sanders, MD, FACP
• Nora Segar, MD

Related Links

• Contest winners
• 4 YSN Students Earn Prizes at Health Professions Creative Writing and Art Contest
• On Chinese Medicine
• On the First Day of Anatomy Lab

• Subscribe Digital Print

• depopulation
• Latest News
• Deep Dive Podcast

Today's print edition

Home Delivery

• Crime & Legal
• Science & Health
• More sports
• CLIMATE CHANGE
• SUSTAINABILITY
• EARTH SCIENCE
• Food & Drink
• Style & Design
• TV & Streaming
• Entertainment news

Unraveling the Japanese prose of Yukio Mishima

Even before 三島由紀夫 ( Mishima Yukio , Yukio Mishima) committed 切腹 ( seppuku ), a ritual samurai suicide rite that involved disemboweling himself with a katana before being beheaded by his co-conspirators, on Nov. 25, 1970, he had already secured his place in infamy.

Mishima’s right-wing politics are controversial to the extreme, but his writing is not — at least in terms of his brilliant prose. By the age of 45, when he died, he had written masterworks that included “金閣寺” ( Kinkaku-ji , The Temple of the Golden Pavilion) and the tetralogy “豊穣の海” ( Hōjō no Umi , The Sea of Fertility). His novels scrutinize the theme of 美 ( bi , beauty), and his characters drive themselves beyond the point of madness in their pursuit of beauty, love and glory alike. His politics, his prose, his aesthetics — everything collides for an immersive and at-times overwhelming reading experience. His books are not meant for everyone.

In English-language publishing, the past five years have seen something of a Mishima boom. Several previously untranslated Mishima novels have come out, including “The Frolic of the Beasts” (2018), “Life For Sale” (2019), “Star” (2019) and “Beautiful Star” (2022). The literary value of Mishima in the 21st century is readily apparent: His relentless, unflinching journeys into the darker obsessions of humanity ring true, even if in a twisted way.

Students of Japanese can also learn a lot about Japanese literature, language and literary language in particular by exploring his works. Dense ideas, literary conceits and, of course, 美 can be found on nearly every page of his novels. His second work, 1949’s “仮面の告白” ( kamen no kokuhaku , Confessions of a Mask) is what launched him into both the mainstream and the ranks of acclaimed modernist authors. Mishima was just 24 at the time of its publication.

“仮面の告白” is a semi-autobiographical account of a young gay man who hides behind a mask to fit into society at the height of Japan’s right-wing militaristic empire. Mishima’s powerful but readable prose in this novel is the perfect entry point into the world of 純文学 ( junbungaku , pure literature) or high literary Japanese. [Note: The English in this article is not the official 1958 translation by Meredith Weatherby, but a literal translation that closely follows the original Japanese.]

Mishima begins: 永いあいだ、私は自分が生まれたときの光景を見たことがあると言い張っていた ( Nagai aida, watashi wa jibun ga umareta toki no kōkei o mita koto ga aru to iihatte-ita , For a long time, I insistently said that I saw the scenery at the moment of my own birth). From the very first word, Mishima introduces a concept that is essential to reading high literary Japanese: using unique kanji and/or unfamiliar readings for certain characters. 長 ( Naga ) is the standard character used for 長い ( nagai , long), but Mishima opts for the slightly more unusual yet richer choice of 永 ( naga ). This character, used in words such as 永遠 ( eien , eternity), 永久 ( eikyū , eternity/permanence) and 永生 ( eisei , eternal life), has a more literary and dramatic resonance. Mishima uses this technique throughout the novel to emphasize certain words and give them nuances that they wouldn’t otherwise have.

The paragraph continues: それを言い出すたびに大人は笑い、しまいには自分がからかわれているのかと思った ( Sore o iidasu tabi ni otona wa warai, shimai ni wa jibun ga karakawarete-iru no ka to omotta , Every time I began to talk about it, adults laughed, and, eventually, I thought they were making fun of me). Here you can see Mishima’s second use of a compound verb in two sentences: 言い張る ( iiharu , to insist/assert) in the first and 言い出す ( iidasu , to bring up/start saying) in the second. These compound verbs add more flavor than simply using 言う ( iu , to say). Mishima uses a variety of compound words in the first few paragraphs alone, including, 喋りだす ( shaberidasu , to start chatting) and 笑い去る ( waraisaru ), a compound of Mishima’s own invention that combines 笑う ( warau , to laugh) and 去る ( saru , to leave), and more.

Skipping a paragraph ahead, Mishima combines various literary elements into a long, twisty sentence. Prepare in advance to look for commas and particles such as とか ( toka , or/and the like), に ( ni , in/at) or で ( de , at/of) as places to try to pause and comprehend individual fragments of the sentence before piecing everything together. Collectively, this sentence discusses what the adults think when the young protagonist declares that he remembers the moment of his birth:

その時赤ん坊はまだ目が明いていないのだとか、たとい万一明いていたにしても記憶に残るようなはっきりした観念が得られたはずはないのだとか、子供の心に呑み込めるように砕いて説明してやろうと息込む時の多少芝居がかった熱心さで喋りだすのが定石だった ( Sono toki akanbō wa mada me ga aite-inai no da toka, tatoi man’ichi aite-ita ni shitemo kioku ni nokoru yō na hakkiri shita kannen ga erareta hazu wa nai no da toka, kodomo no kokoro ni nomikomeru yō ni kudaite setsumei shite yarō to ikikomu toki no tashō shibai ga katta nesshinsa de shaberidasu no ga jōseki datta , At that time his eyes couldn’t have been open yet or, even in the off-chance that they were open he couldn’t have been able to gain any sensation that would’ve concretely remained in his memory — their standard practice was to start blabbing [such things] with a somewhat theatrical enthusiasm as they broke it down and explained it so [their explanation] could be swallowed up by a child’s mind).

When faced with such a long sentence, readers can look for those aforementioned particles. Once the sentence is split up, the component parts are easier to understand: two different thoughts the adults have after hearing the young protagonist speak, and then a description of the way they respond. In this single sentence, Mishima uses unusual kanji — 明 ( ai ) instead of 空 ( ai ) for 目があいている ( me ga aite-iru , open eyes) — and original verb compounds such as 呑み込める ( nomikomeru ), a variation of 飲み込む ( nomikomu , to swallow/gulp down). That’s in addition to vocabulary such as 定石 ( jōseki ), which refers to a standard sequence of moves in shogi, understood to mean a standard or established practice or tactic.

If you can persevere, however — breaking apart and penetrating these dense, long sentences — poetic beauty awaits. Mishima describes what exactly that memory of his birth is: a memory of being washed in the hospital right after he was born.

盥のゆらめく光りの縁は、何度となく、たしかに私の見た私自身の生湯の時のものとして、記憶の中に揺曳した ( Tarai no yurameku hikari no fuchi wa, nando to naku, tashika ni watashi no mita watashi jishin no ubuyu no toki no mono to shite, kioku no naka ni yōei shita , The edges of the tub’s swaying light, countless times, have fluttered in my own memory as the unmistakable sight of my own first bath). It’s a sentence full of vivid images, shifting from the gentle 揺らめく( yurameku , to flutter/quiver) to the stern and powerful 揺曳 ( yōei , to flutter/linger); clever wordplay, such as the use of 縁 ( fuchi /en), which means both “edge/rim” and “fate/affinity”; and complex, bitter, stirring emotions. Mishima’s work is a linguistic puzzle that is well-worth solving.

In a time of both misinformation and too much information, quality journalism is more crucial than ever. By subscribing, you can help us get the story right.

These 3 AI editors can help polish your prose

This article is republished with permission from  Wonder Tools , a newsletter that helps you discover the most useful sites and apps.  Subscribe here .

Like many journalists, I used to have editors to help polish my prose. Now I work independently. No more editors.

I still need an outside perspective, though, and copy editing help. (Does this make sense? Are there typos or broken links? Am I leaving something out? Is this dull?) I’m lucky to have a wonderful wife who patiently reads my drafts and helps me clean and cut. And I’ve been surprised to find AI tools that provide surprisingly useful editing input.

I can plug in a sentence or paragraph and get detailed feedback, headline suggestions, or questions to address. Some suggestions may be silly, but more often than not, there’s at least one bit of constructive input. Read on for specific ways AI editors can be helpful.

Lex, an AI-powered Google Docs alternative

Check for cliches, repetition, passive voice and brevity.

Lex  is an AI-powered word processor and editor. I used it recently to run an AI check on a piece of personal writing I’m drafting. It highlighted in pink places where it found cliches, repetitive words, passive sentences and rambling. Where I repeated a word in two successive sentences, Lex suggested an alternative, with a little button I could click for an explanation. It also highlighted phrases I could potentially cut to be more concise.

Suggest headlines and alternatives for weak phrases

With Lex I like that I can highlight a clunky sentence and ask for an alternative phrasing. I also ask Lex for headline suggestions. It gives me five generally good ones and a button to ask for more.

Get answers to writing questions and feedback on article ideas

This week I tested the “Ask Lex” feature by asking for feedback on an article idea. Lex offered five  predictable points  (e.g. include images, end on a positive note, etc). When I asked it how to complete a draft while tired (I know, silly question), it offered similarly  mundane tips  (e.g. set a realistic goal, take breaks, seek inspiration from books). I can’t fault Lex. I don’t know that my own advice would have been any better.  Tip:  Prompting Lex for “more wildly creative, unconventional guidance” led it to offer  this surprising, interesting advice .

Pricing:  Free for basic use, $100 for access to more advanced AI models, unlimited writing checks, and other special features. Works online across platforms; no mobile app yet.

DeepL Write shows editing suggestions next to your writing

Paste in a sentence or paragraph and get multiple edit options.

I like opening up  Deepl , pasting in a few sentences and seeing what suggestions pop up. The newest version lets you select your writing style: simple, business, academic or casual. Don’t choose business or academic unless you’re trying to sound stuffy or longwinded. You can also choose a preferred tone: enthusiastic, friendly, confident, or diplomatic.

Pricing :  Free for basic writing suggestions. The new pro writing plan is $132 for the year for unlimited writing suggestions.

Translate your text

Deepl  excels at translation. When I uploaded a German-language PDF Deepl almost instantly shot back a readable English version with the same formatting as the German original.

Pricing :  The translation tool is free for a few short text passages and uploaded files a month. An annual pro plan to translate more costs between $8.74 and $57.49.

WordTune: contextual additions to your writing

Fill in gaps with facts, anecdotes, counterexamples, and summaries.

Wordtune  is the most ambitious of the AI editing tools I’ve tried. It offers to strengthen your writing by helping you fill in holes. Need an example? It will suggest one, drawing on multiple sources. Need an analogy, definition or explanation to clarify something? It will suggest multiple options to adapt as needed.  Pricing:  free for 10 edit suggestions a day, or  $7 to $10 monthly  for more.

Pick a section of your writing and Wordtune will provide a contextually-relevant set of editing options. It can help you:

• Explain : Clarify your point
• Expand : Elaborate on a requested topic
• Add a conclusion : Sum up your paragraph
• Give an example : Provide a specific case
• Emphasize : Strengthen your point
• Counterargument:  Provide an opposing opinion
• Give an analogy : Compare to something else
• Define : Explain the precise meaning of something

Stylebot offers non-AI wording guidance

Beyond ai: editing input from a style guide written by journalists.

Stylebot  offers quick answers to queries about language, grammar, and style. It’s based on a  human-written style guide , not AI.  Laura E. Davis  developed it at the USC Annenberg School of Journalism, where she teaches, partly so people wouldn’t have to dig through a long manual every time they had a question.

How Stylebot works

Stylebot plugs into Slack, Chrome and Teams so you can ping it privately whenever a question comes up about word choice, punctuation, or ethical language. You can use Stylebot not just to ask about a word, but to explore a writing topic.

I recently messaged Stylebot in Slack and got a helpful response about inclusive language. It also gave me buttons to choose from to continue exploring:  disability, drug use, gender, homelessness, immigration, incarceration, mass shootings  and other topics. When I chose  disability  I got a helpful, brief  overview  of relevant word choice considerations, with additional subject buttons for delving deeper.  Pricing: $5/month per person, or $3.50/month per person for teams.

Final thought:  Beyond these tools, I find that ChatGPT and other AI chatbots ( Claude ,  Gemini , and  Copilot ) provide helpful edit suggestions when prompted thoroughly with specific questions, objectives and follow-up clarifications.

This post originally appeared at fastcompany.com

Subscribe to get the Fast Company newsletter: http://fastcompany.com/newsletters