creative writing about prose

A Complete Guide On Prose Writing

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

But crucially for writers, how do we improve our prose when writing? How can we create vivid descriptions that draw readers deeper into our story and world?

Below, we’ll explain the types of fictional prose and style, focusing on the two main approaches—Orwellian prose, also known as the clear pane of glass, and the stained glass window, which is more of a florid approach. We also look at heroic prose. 

As well as looking at these two methods of writing prose, we’ll also take a look at ways you can improve your writing.

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What is prose writing, how to write prose, orwellian prose writing, florid prose: the stained glass window, what is heroic prose, how to achieve clear prose, how to get better at writing prose, more resources on writing prose, what is prose writing – faqs, join an online writing community.

So what does prose mean exactly? It’s a form of language that carries no formal structure. How we think, speak and write would be described as prose. When we write it, we apply a grammatical structure. This is different to poetry, which applies a rhythmic structure. Prose and poetry are therefore considered opposites.

We begin this guide on how to write prose with a look at two styles or approaches. These forms of prose tend to dominate:

• Clear, concise prose, referred to as ‘Orwellian’, or the ‘clear pane of glass’, and;
• Florid, literary prose, referred to as the ‘stained glass window’.

First, we’ll have a look at each, before going on to discuss how you can achieve them. By the end, you’ll have all the answers you need.

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 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, but that’s a whole other topic.

Orwell believed prose should be like looking through a clear pane of glass at the story unfolding on the other side. 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.

A change in the language 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’. I’m sure Trump has a few, yes he does. 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 provided six rules to remember when writing prose:

• 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 crucially, 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 and editors.  

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 florid and creative. And it also t t 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. Brandon Sanderson refers to it as the artist’s style of prose, whereas Orwellian prose he regards as the craftsman’s style.

You’ve probably heard 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. 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. It depends 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.

Here’s a five-minute bit from a Brandon Sanderson lecture , complete with a dubious hat, on Orwellian prose.

My personal preference is toward Orwellian prose writing. Writing should be clear and accessible to all. Surely 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 should not be this way. So how do you achieve a clear pane of glass?

Heroic prose is a literary writing style characterized by elevated and dignified language. It’s often used to recount tales of heroism, valor, and epic adventures.

Unlike traditional poetic forms such as epic poetry, which utilizes meter and rhyme, heroic prose relies on the narrative power of prose to convey heroic deeds and grand narratives.

The roots of heroic prose can be traced back to ancient epics, such as the Homeric poems of ancient Greece, where the exploits of legendary heroes like Achilles and Odysseus were conveyed in poetic form. Beowulf and Sir Gawain And The Green Knight are two other examples of epic poems written in heroic prose.

However, as literature evolved, particularly during the medieval and Renaissance periods, there emerged a trend to recount heroic stories in a more straightforward, prose format.

One notable example of heroic prose is Thomas Malory’s “ Le Morte d’Arthur ,” a compilation of Arthurian legends written in the 15th century. Malory used prose to narrate the chivalric exploits of King Arthur and his knights, presenting the tales in a more accessible and expansive manner than traditional poetic forms would allow.

Heroic prose is characterized by its grandeur, moral undertones, and a focus on the virtues of the heroic characters. The prose form aims to evoke a sense of awe and admiration for the heroic deeds described within the narrative.

It all helps to capture the timeless essence of heroism and to convey narratives that inspire and elevate the human spirit.

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 tips to help you achieve that Orwellian style of writing :

• 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 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?

We’ve covered a few different approaches above. Hopefully, you’ve found some alignment to one or the other, or perhaps a mix of both. You may now be wondering how to get better at writing prose. Luckily, there are some practical tips that you can follow which, in time and with persistence and perseverance, will help you see positive results:

• Broaden your reading – Widening your reading material is an effective way to improve your writing. Choose books, articles, and  essays  from a variety of genres and styles to learn from the best.
• Regularly practice writing – Writing is a skill that requires constant practice to improve. Dedicate a few minutes each day to writing, or as much time as you can allow. The more the better. 
• Master grammar and style – A strong foundation in grammar, syntax, and punctuation is essential for good writing. Invest time in learning the rules of language and applying them.
• Write with intention – Each piece of writing should have a clear purpose,  theme  or message. Keep your audience in mind and what you want to communicate to them, and tailor your prose accordingly.
• Edit relentlessly –  Editing  is a vital aspect of producing high-quality writing. After completing a draft, scrutinize it thoroughly and eliminate any extraneous or irrelevant material.
• Try new approaches – Don’t be afraid to experiment with different writing styles, techniques, and genres. Trying new things can help you discover what works best for you.
• Seek feedback – Request feedback from other writers or trusted readers to help you improve your writing. Evaluate the feedback and use it constructively to enhance your writing. You can  join our writing community  if you’re looking to find new people to work with.

It also helps to study how other authors write, both to learn new and useful things and also things to avoid. Here’s a brilliant video discussing this by The Legendarium:

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 , check out this guide.Learn how to find the best podcasts for writers in this detailed guide

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

Learn about sensory language examples hereHead 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 answering the question, what is prose writing, get in contact .

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14 thoughts on “A Complete Guide On Prose Writing”

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

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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.

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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 .

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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

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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
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• 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 →

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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. 

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.

The problem is, you’re finding it tougher than you thought it would be.

You 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 conversation.

• What is Creative Writing?

Creative Writing is prose that tells a story featuring someone who wants something.

That person runs into trouble and begins an adventure, a journey, or a quest, faces obstacles, and is ultimately transformed—for the good or for the bad.

While Creative Writing can also educate and/or entertain, but it does its best work when it emotionally moves the reader.

• 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’re 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 perspective 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 amicably 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.

• 14 Types of Creative Writing 

Novels are fiction by definition. Lengths typically fall between 75,000 to 100,000 words. The author must create a story that can carry an entire book.

Novellas usually run between 10,000 and 40,000 words and typically follow a single character’s point of view. Otherwise, they tend to feature the structural and narrative elements of a full-length novel. Example: Edith Wharton’s Ethan Frome.

Short Story

Short stories, including super short micro or flash fiction—which can be as short as just a few words, are usually between a thousand and five thousand words and thus must telescope the creative writing techniques and properties of a novel. This creative writing type gained popularity during the 19th century in literary magazines, and many such magazines still carry short stories.

Narrative Nonfiction

Also known as Creative Nonfiction, this form displays techniques and literary styles such as story and tone to convey emotion in nonfiction narratives. A common example is a personal essay.

Biographies capture the stories of individuals whose lives can provide a lesson to readers.

Autobiography

An autobiography is written by the author, about the author, following a chronological account of their life.

As opposed to an autobiography, a memoir emphasizes takeaway value to the reader and is thus theme-oriented. Readers should be able to see themselves in the anecdotes chosen to show life transformation. Creative writing techniques similar to those in a novel will bring the story to life.

Poets use traditional structures such as rhyme, rhythm, and subject matter to tell their stories. They can also experiment with prose-poetry or free verse.

Song lyrics

Song lyrics are another form of poetry, the aim being to tell a story in the fewest, most evocative words possible.

Speeches require creative writing to keep audiences engaged.

A blog is usually based on the writer’s own life and interests. The best ones tell stories readers relate to and interact with.

Journaling, usually intended for the author’s eyes only, can become, in essence, a creatively written diary.

Screenwriting

Screenwriting is a form of scriptwriting specific to television shows, films, and other visual media. Screenwriting relies heavily on dialogue to tell a story, but not exclusively. The writer must include action and response takes.

Playwriting

Playwriting is a form of scriptwriting specific to theater productions, again relying heavily on dialogue and action. Playwriting also requires stage direction suggestions for lighting, sound, and actors.

• 11 Creative Writing Tips

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

Come up with a great story idea .

That may sound obvious, but make sure it’s compelling enough to draw you back to the keyboard every day.

Determine whether you’re an Outliner or a Pantser or a Hybrid.

If you’re an Outliner, you prefer to map out everything before you start writing your novel.

If you’re a Pantser, you write by the seat of your pants, putting, as Stephen King advises, interesting characters in difficult situations and writing to find out what happens.

I cover both types and how to structure a novel here .

And though I’m primarily a Pantser, I never start writing a novel without an idea where I’m going — or think I’m going.

Create an unforgettable main character.

Resist the temptation to create a perfect character, even if it’s a superhero. Main characters must exhibit human flaws to make them relatable.

For more on character development, check out my blog posts Your Ultimate Guide to Character Development: 9 Steps to Creating Memorable Heroes , How to Create a Powerful Character Arc , and Character Motivation: How to Craft Realistic Characters .

Expand your idea into a plot.

Regardless of whether you’re a Panster or an Outliner, you need some semblance of a structure.

Dean Koontz calls this the Classic Story Structure (in his How to Write Best-Selling Fiction ):

• Plunge the main character into terrible trouble
• Everything the character does to get out of trouble makes things worse until…
• All appears hopeless
• The qualities the main character develops trying to fix the trouble make him heroic enough to succeed in the end

Conduct your research.

The best fiction must ironically feel believable.

You must research to add flavor and authenticity.

One caveat : Resist the urge to show off your research by loading your story with every esoteric fact you’ve learned. Add specifics the way you would season food. It enhances the experience, but it’s not the main course.

Choose your Voice and Point of View.

Point of View (POV) is more than simply deciding what voice to use:

First Person ( I, me ), Second Person ( you, your ), or Third Person ( he, she, or it ).

It also involves deciding who will be your perspective character, serving as your story’s camera.

The cardinal rule is one POV character per scene .

For a more in-depth explanation, read my post A Writer’s Guide to Point of View .

Start in medias res (in the midst of things).

Grab the reader by the throat on page one.

Avoid what’s called throat clearing—too much scene setting and description. Get to the good stuff—the guts of the story .

The goal of every sentence, in fact of every word , is to compel the reader to read the next.

Intensify your main character’s problems.

Do not give him a break. Remember, conflict is the engine of fiction.

(For more on conflict, read my post Internal and External Conflict: Tips for Creating Unforgettable Characters )

Your main character’s trouble should escalate with his every attempt to fix it.

Make the predicament appear hopeless.

You’ll be tempted to give your protagonist a break, invent an escape, or inject a miracle. Don’t do it!

This darkest, bleakest moment forces your hero to use every new skill and muscle gained through battling those obstacles.

The more hopeless the situation appears, the more powerful your climax will be.

Bring it all to a climax.

This is where your hero faces his toughest test yet. The stakes must be dire, the prospect of failure catastrophic.

The tension that has been building throughout crescendos during an ultimate confrontation, and all the major book-length setups are paid off.

Note: the climax is not the end. The real conclusion ties up loose ends and puts the journey into perspective.

Leave readers wholly satisfied.

A great ending :

• Honors the reader for his investment of time and money.
• Aims for the heart.
• Keeps your hero on stage till the last word.

Don’t rush it.

A fully satisfying ending drops the curtain with a resounding thud.

• More to Think About

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

Ideas can come at any moment. Record ideas for:

• Anything that might expand your story

2. Start small. 

Take time to learn the craft and hone your skills on smaller projects before attempting to write a book . A book is not where you start; it’s where you arrive.

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. Keep perfectionism in its place. 

Reserve it for the editing and revision stage.

While writing, take off that perfectionist cap and just get the story down. At that stage, perfectionism is the enemy of progress.

• 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 readers’ hearts for years.

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:

Creative Writing (Novels & Novellas)

• Introduction
• Generating Ideas
• Developing Characters
• Crafting Settings
• Plotting Narratives

Sharpening Prose

• Getting Published
• Miscellaneous

"What you say is often less important than how you say it. You can put together a gripping story, full of drama and intrigue, but if it reads like the terms and conditions to your new phone, it'll still bore your audience to tears. There's a reason why some stories can get away with shallow plots or formulaic characters. Their authors made them fun to read .

"So, sharpen your prose to a fine edge! Punctuate precisely. Alliterate when appropriate. Tell your story like you really, truly, believe in it, and your audience will start to believe in it too. You'll probably break some rules somewhere along the way, but that's the secret... you only learn the rules so you'll know when to break them in the first place.

"I guess what I'm trying to say is this: if your audience is invested in your story, they will forgive any number of flaws-- but if you bore them, they will never forgive you."

Audio / Video

• Ellen Brock (2)
• Merphy Napier
• The Legendarium

Books / Ebooks

• Steering the Craft
• The Writer's Eye
• Wonderbook: An Illustrated Guide...

NOTE: This is a physical resource that can be found on-campus at the E. Allen Gordon Library. You may use the link below to see if it's available or put it on hold.

NOTE: Ebook Central requires a username and password to access. However, creating a new account is free. Just go to the list of available databases, click Ebook Central , click "Sign In" at the top-right of the screen, and then click "Create Account" at the center. If you don't follow these steps, the site will not allow you to create an account. Once you have a username and password, you may use the link below to access this resource. The list of available databases can be found here.

Pages / Sites / Databases

• MasterClass (2)
• TvTropes (2)

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• Last Updated: Oct 30, 2023 2:32 PM
• URL: https://uaccm.libguides.com/creative_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.

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A Garden of Prose

Don't call it satire: francine prose's novels are just smart and funny..

September-October 2010

[extra:Extra] Listen to an excerpt from Susan Hodara's interview with Francine Prose

[video: http://harvardmagazine.com/sites/default/files/media/Francine-Prose-excerpt.mp3 ]

The 2,000-square-foot vegetable plot—planted with fava beans, peas, arugula, raspberries, even artichokes—that author Francine Prose ’68, A.M. ’69, cultivates at her upstate New York home has become, she says, “an obsession. Sometimes I think I write for a few hours a day so I don’t have to feel guilty about working in the garden.” 

After more than 30 books, the first published when she was 26, Prose’s guilt should be nicely quelled. Her novels include Blue Angel (2000), a finalist for the National Book Award, and Household Saints (1981) , which was adapted into a film. She’s written short stories, young-adult and children’s books, and nonfiction works including the New York Times bestseller Reading Like a Writer (2006) and, most recently, Anne Frank: The Book, the Life, the Afterlife (2009; appearing in softcover this fall). Prose writes everything except, well, poetry.

“Francine is one of the great writers of her generation,” says James Atlas ’71, president of the publishing imprint Atlas & Co., a friend since their college days. (Prose’s 2005 Caravaggio: Painter of Miracles is part of the firm’s Eminent Lives series.) Comparing her to Virginia Woolf, Atlas describes Prose as “a versatile woman of letters in the old-fashioned sense,” and novelist Larry McMurtry, in his review of Prose’s Bigfoot Dreams (1986), called her “one of our finest writers.”

Magical realism influenced her early books, but “things took a radical turn in the late ’80s, early ’90s, the Reagan-Bush years,” she says. “I was horrified by what was happening around me. My work got a lot more contemporary, a lot more political.” Her novels took on a more acerbic tone, introducing readers to complex if not always likable characters such as Vera, who concocts fictitious stories for a tabloid in Bigfoot Dreams , and the smug Hudson Valley socialites in Primitive People (1992), as viewed by a Haitian au pair.

During this period, reviewers began calling Prose’s fiction satirical, a label she deplores. “I’m not satirizing,” she says. “I’m reporting. I’m describing the world I see.” Consider this portrayal in Blue Angel of parents on a college campus during visiting weekend: “How uncomfortable they are in the presence of their children! …These hulking boys and gum-chewing girls could be visiting dignitaries or important business contacts, that’s how obsequiously the grown-ups trot behind them, keeping up their interrogations—how’s the food? your roommate? your math professor?—questions their children ignore, walking farther ahead….”

“Yes, sometimes it’s funny,” Prose continues, “but my aim isn’t to satirize. My principal aim is to create characters, to get inside their consciousnesses.”

The range of those characters is remarkable. Her narrators include a tattooed neo-Nazi seeking redemption ( A Changed Man ), a 13-year-old mourning her sister ( Goldengrove ), and a college professor tempted by an unlikely student ( Blue Angel ). “The joy of trying to see the world through the eyes of someone as different from yourself as possible is hugely liberating,” Prose says. “Regardless of who they are, their views of the world must be as nuanced and layered as mine and my friends’ are.”

The central element in accomplishing this is language. “It’s about hearing the language they speak inside their heads,” she explains. Listen to what’s going on inside Vincent Nolan’s head on a crowded Manhattan street early in A Changed Man : “He’s never seen it this bad. A giant mosh pit with cars. Just walking demands concentration, like driving in heavy traffic. He remembers the old Times Square on those righteous long-ago weekends when he and his high school friends took the bus into the city to get hammered and eyeball the hookers.”

Validating Prose’s own stance, Andrew O’Hehir writes in his Salon.com review of A Changed Man that her “desire to capture contemporary Americans, with all their internal contradictions, solipsism and general screwed-upness, is guided more by the spirit of compassion than by that of mockery.”

A tall woman with porcelain skin, Prose and her husband, the artist Howard Michels, moved upstate to raise their sons, now 31 and 27; they divide their time between the town of Olivebridge and their Manhattan apartment. Her time at Harvard, which included a summa cum laude degree and a couple of years as a graduate student, provided “all the tools you need as a writer. Language, narrative, dialogue, voice—it was all there,” she says. “No one sat me down and said, ‘This is what you’re learning,’ but I was.”

Having recently completed two new novels (one is due out next summer, the other, a young-adult novel, after that), Prose is working on a third, based on the life of Violette Morris, one of the women in the Brassaï’s photograph “Lesbian Couple at Le Monocle.” The book began as a nonfiction study of Morris, a French professional athlete recruited by the Nazis as a spy. But the work bogged down until Prose recast it as fiction. “Suddenly the idea of seeing the Berlin Olympics from the perspective of a furious lesbian athlete became fascinating,” she says.

Each project follows a similar trajectory that she claims doesn’t get easier. “First drafts are really hard,” she says. “It’s different from book to book, but they’re always a slog, and I never feel I’ve learned anything from one to the next. And there are moments of great despair.”

Like Blue Angel’ s protagonist, Prose has taught creative writing. Since 2000, she has been visiting professor of literature and Distinguished Writer in Residence at Bard College. She has received Guggenheim and Fulbright fellowships and in May was inducted into the American Academy of Arts and Letters, the 112-year-old institution composed of 250 architects, composers, artists, and writers. “It was such a validation,” Prose says. “The people making those selections are not critics; they have nothing to do with the commercial world. They are us. It feels really good.”

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Last updated on Aug 22, 2022

What Is Purple Prose? Writing 101: Definition, Tips, and Examples

Purple prose is a style of writing characterized by overly flowery language that tends to draw attention to itself, and away from the story being told. Its typical features include excessive adjectives, exaggerated metaphors , multisyllabic words, long sentences, and elaborate descriptions of a character’s inner thoughts and feelings. 

For writers attempting to use poetic language, accidentally purple patches are a common problem as they slow a book’s pace , muddle the plot, and create an unintended melodramatic tone that reduces the power of the work.

Here’s an example of purple prose:

The mahogany-haired adolescent girl glanced fleetingly at her rugged paramour, a crystalline sparkle in her eyes as she gazed, enraptured, upon his countenance. It was filled with an expression as enigmatic as receding shadows in the night. She pondered whether it would behoove her to request that she continue to follow him on his noble mission…

Yikes, right? 

Purple prose doesn't always persist throughout the entirety of a piece — it can also pop up every so often in “purple patches” — but even a few "purple passages" can be disruptive. 

Think of purple prose as a cardboard cutout of a celebrity. From a distance it looks convincing, even impressive — but as you draw closer, you realize there’s nothing behind it. Purple prose is like that: beautiful from afar, with very little substance to it.

What purple prose is  not

To clarify, the term “purple prose” doesn’t just automatically apply to any kind of dense or elaborate language. This is a common misconception, perpetuated by diehard fans of minimalism and Ernest Hemingway. Purple prose specifically refers to overblown description that fails to add to the text, or may even detract from it.

So for example, the language Virginia Woolf uses in her books is flowery, but that doesn't mean it's purple. Her consistently elaborate prose doesn’t detract from the story. Rather, it contributes to her signature stream-of-consciousness narrative style:

One feels even in the midst of the traffic, or waking at night, Clarissa was positive, a particular hush, or solemnity; an indescribable pause; a suspense (but that might be her heart, affected, they said, by influenza) before Big Ben strikes. There! Out it boomed.

Likewise, David Foster Wallace’s writing may be difficult to decipher due to its density, but it’s certainly not devoid of meaning:

What passes for hip cynical transcendence of sentiment is really some kind of fear of being really human, since to be really human [...] is probably to be unavoidably sentimental and naïve and goo-prone and generally pathetic.

“Purple prose” is often used as an insult for highly lyrical or complex language that some readers dislike. But don’t be fooled — actual purple prose lacks the elegance and cohesion of these examples, and distracts from the text rather than enhancing it.

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Examples of purple prose

In this section, we’ll look at various samples of purple prose in published work and try to revise them. You’ll notice that all of these passages have slightly different problems, which can be addressed via distinct methods to help them read in a smoother and more satisfying manner.

Eldest (Book 2 in The Inheritance Cycle )

Though Christopher Paolini’s dragon-centered fantasy series was a big hit with the YA crowd, it’s also the victim of some serious purple patches —  even in  fight scenes . This is especially true for Paolini’s second book, Eldest , which follows the characters established in his first book Eragon.

The following passage is taken from chapter 2, The Council of Elders:

Saphira’s muscled sides expanded and contracted as the great bellows of her lungs forced air through her scaled nostrils. Eragon thought of the raging inferno that she could now summon at will and send roaring out of her maw. It was an awesome sight when flames hot enough to melt metal rushed past her tongue and ivory teeth without harming them.

Problem: Excessively ornate description

Solution: Reduce adjectives, verbs, and sentence length

Revised passage: Saphira breathed heavily, her nostrils expelling warm air. Eragon sat and marveled at her power. It was amazing that Saphira's fiery breath could melt metal, yet she was immune to its harm.

Bob Honey Who Just Do Stuff

Sean Penn’s 2018 debut novel left critics flummoxed, and not just because of its unusual plot — it’s also chock full of purple descriptions that had readers scratching their heads. Though Bob Honey is supposed to be satirical, that doesn’t explain or justify the nearly inscrutable language Penn employs.

From chapter (or “station” as Penn labels it) 13:

There is pride to be had where the prejudicial is practiced with precision in the trenchant triage of tactile terminations. This came to him via the crucible-forged fact that all humans are themselves animal, and that rifle-ready human hunters of alternately-species prey should best beware the raging ricochet that soon will come their way.

Problem: Very difficult to decipher

Solution: Use simpler words and clarify references

Revised passage: We can take pride in the act of hunting, if it is practiced with care. Bob Honey knew this when he realized that humans are animals too. We should all be thoughtful and deliberate in the act of hunting — for we can easily become the hunted ourselves.

My Immortal

My Immortal: the infamously terrible piece of fanfiction that changed the Internet forever. Besides its myriad of structural and plot-based issues, My Immortal also suffers from purple prose. Here is a particularly cringeworthy passage from Chapter 8:

My friend B'loody Mary Smith smiled at me understatedly. She flipped her long waste-length gothic black hair and opened her crimson eyes like blood that she was wearing contact lenses on. She had pale white skin that she was wearing white makeup on. Hermione was kidnapped when she was born. Her real parents are vampires and one of them is a witch but Voldemort killed her mother and her father committed suicide because he was depressed about it.

Problems: Unnecessary aesthetic details, run-on sentences, confuses reader and muddles plot

Solution: Delete passage and restructure entire piece. Some prose is so bad that it’s not worth trying to fix — fortunately, My Immortal is such an outlier that almost nobody need resort to such extreme tactics.

4 tips for avoiding purple prose

Since purple prose is a hallmark of poor writing, you want to avoid it at all costs. Unfortunately, it’s all too easy to fall into the “purple trap,” especially as a novice writer trying to develop a sophisticated style. For those concerned, this section will give you some ground rules to help you avoid that flowery demon of writing.

1. Write in your own voice — not someone else’s

This is the most essential tip to remember if you’re worried about purple prose. Because purple patches result from trying to sound more “literary,” they often crop up when you’re attempting to imitate a more advanced writing style.

While it’s great to have writing role models, no one likes a copycat — especially when your impression consists of long, ostentatious descriptions. So if you find yourself writing purple prose because you’re trying to sound like someone else, stop and reevaluate. You’re likely mimicking another writer’s voice because you’re struggling to find your own.

Luckily, there are a few things you can do to get a better handle on your voice:

• Look back at old work to see how you used to write. Even if you’ve evolved way past that style, it’s a good reference point for the foundation of your current voice.
• Try freewriting or journaling to achieve a similarly unaffected style.
• If you’re really at a loss, you can simply ask other people how they would describe your quintessential voice, and use that as a jumping-off point for some creative exercises .

It can also be helpful to stay away from especially strong literature during your drafting process. Other authors’ styles can seep into your writing, even subconsciously, making it sound purple and ring false. So as inspiring as Fitzgerald and Nabokov might be, it’s best to take a step back from them when you’re working on your own voice.

2. Focus on substance

You can’t go wrong putting most of your energy toward the plot of your story (or the main “thrust,” depending on what kind of piece you’re writing). As long as you stay focused on substance, the purple prose issue should take care of itself.

Of course, that’s easier said than done, so make an effort to stay aware of your plot progression as you write. Create an outline before you begin and allot a rough number of pages for each specific point. If you start to exceed those page limits, you’ll realize you’re probably writing too purple; this will prompt you to consciously refocus on substance.

Alternately, if you have the opposite problem — you need to flesh out more chapters, or reach a higher word count — don’t turn to purple prose. Turn to substance! Include an interesting detail that you may have left out of your initial outline, introduce a new character, or pull a twist out of thin air. Basically, when in doubt, always favor action over description .

3. Use your thesaurus sparingly

A thesaurus is a double-edged sword when it comes to the quality of your prose. It can be great for fixing repetition and occasionally finding substitutes for words, but it can also result in purple passages that sound like Joey’s adoption letter .

With that in mind, if you’re pulling out the thesaurus (or the online thesaurus tool) to use on every other word, you’re probably over-synonymizing. A thesaurus provides plenty of linguistic alternatives, but they’re usually not the most appropriate or organic words for your piece. This produces none other than the dreaded purple prose.

A classic example of thesaurus misuse is when writers try to sub in different words for “said” : uttered, pronounced, vocalized, articulated (breaking one of the cardinal rules of how to write dialogue ). The idea is to use variety to keep things interesting, which is generally a good goal for your writing. However, in context, these dialogue tags often sound ridiculously purple. They draw attention to themselves and distract from the actual dialogue, which is not what effective prose should do.

When it comes to word choice, use a thesaurus sparingly, and try to embrace the “simpler” words in your text. Just because you can replace them with something fancier, doesn’t mean you should.

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4. Put yourself in readers’ shoes

Not every passage has to move the story forward, but it should engage the reader in one way or another: through a description that reveals something about a character, poses a question to be answered later , or simply contains relevant, enticing details.

So when patrolling for purple prose, think actively about whether a first-time reader would be intrigued by a potentially purple passage. When evaluating a description, ask yourself: if I were reading this with fresh eyes, would I find it enjoyable, or frustrating? If it sounds obscure, does that serve a purpose, or is it just obscurity for obscurity’s sake?

If you have trouble putting yourself in your readers’ shoes, get some beta readers ! This is particularly helpful when you’re writing a piece and you suspect your prose may be verging on lavender, but you’re too close to be objective. Send what you’ve written so far to friends or fellow writers. They’ll tell you which descriptions are strong and what can (and should) be cut.

Final thoughts on purple prose

Always remember that not all elaborate writing equates to purple prose! Don’t let this article discourage you from developing a more complex style — just keep in mind the difference between “complex” and “excessive.”

As long as you write in your own voice, focus on substance, and avoid phrasing that sounds unnaturally ornate, your prose will easily steer clear of purple and head straight for the gold.

What's the most purple thing you've ever written? Just for fun, leave it in the comments below!

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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.

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Prose Courses

Creative Writing Immersion

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Overview for Creative Writing Immersion

A series of creative writing courses offers students a practical, theoretical, and historical understanding of the art and craft of writing nonfiction, fiction prose, and poetry, as well as experimenting in digital storytelling and interactive media. The immersion encourages students to use these skills and insights for interdisciplinary projects and the enrichment of their careers and personal lives.

Notes about this immersion:

• This immersion is closed to students majoring in English who have chosen a concentration in creative writing.

The plan code for Creative Writing Immersion is CRWRIT-IM.

Curriculum for 2023-2024 for Creative Writing Immersion

Current Students: See Curriculum Requirements

Department of English Spring Celebration and Open House

Creative Writing at PENN STATE

Rolling Reading Series 4/11: CHRISTINE HUME, Essayist, Poet, Penn State Alum

UNIVERSITY PARK, Pa. — Essayist, poet, and Penn State grad Christine Hume will offer a reading as part of this year’s Mary E. Rolling Reading Series. The reading, which is free and open to the public, will take place at 6:00 p.m. on Thursday, April 11, in Paterno Library’s Foster Auditorium on the University Park campus.  

Christine Hume’s most recent essay collection, “Everything I Never Wanted to Know” (Ohio State University Press, 2023), confronts the stigma and vulnerability of women’s bodies in the United States. Kirkus Review calls it a “thoughtfully disturbing, sharp sociological study,” and Publishers Weekly describes it as a “dauntless and harrowing indictment of patriarchal violence.” The New York Times calls her previous book “Saturation Project,” a lyric portrait of girlhood, “a richly, meditative lyric memoir…that arrives with the force of a hurricane.”   

Hume was born to a military family and lived in more than 25 places in the U.S. and Europe before settling in Ypsilanti, Michigan. Her recent essay collection geographically focuses on Ypsilanti, which has the third largest number of registered sexual offenders in the country and the fourth largest per capita. Since 2001 she has taught in the interdisciplinary Creative Writing Program at Eastern Michigan University. She earned an MFA from Columbia University in 1993 and a PhD from University of Denver in 2000. Soon after she published three books of poetry – “Musca Domestica,” “Alaskaphrenia,” and “Shot”– her writing evolved into prose forms, especially documentary, experimental, and lyric approaches to the essay.   

For more on Hume, visit her website: https://christinehume.com/

Article written by Alison Jaenicke

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Microsoft 365 Life Hacks > Writing > Prose vs. poetry: what’s the difference?

Prose vs. poetry: what’s the difference?

Both prose and poetry are forms of writing; however, many people don’t fully understand the differences between the two. Learn the difference between prose versus poetry to expand your knowledge of common writing styles.

Have you ever read a beautifully written, heartfelt passage, but weren’t sure if it was considered a poem or prose? People often use the terms ‘prose’ and ‘poetry’ interchangeably, even though they’re two different forms of writing.

What is prose?

Prose is writing that doesn’t follow any meters or rhyming schemes. In fact, everyday writing is considered prose! Books, short stories, essays, and any sort of writing that doesn’t follow a specific structure is considered prose.

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Types of prose

There are a few different types of prose: Fictional prose, nonfictional prose, heroic prose, and prose poetry.

Fictional prose

Prose fiction is when an author tells a story that isn’t based on true events. The Great Gatsby by F. Scott Fitzgerald is a great example of fictional prose.

Nonfictional prose

Non-fictional prose is when an author writes about real events. For example, newspapers or memoirs are examples of non-fiction prose. When Breath Becomes Air by Paul Kalanithi is a memoir that is considered non-fiction prose.

Heroic prose

Heroic prose is a story that is passed down orally, but it can also be written down. This form of prose isn’t as common as fictional prose, nonfictional prose, or prose poetry. Heroic prose includes parables, myths, and fables. The Odyssey by Homer is an example of heroic prose.

Prose poetry

Prose poetry is a form of writing that uses literary devices such as imagery, symbols, or alliteration. Prose poetry can be both fiction and non-fiction, and it is characterized by its poetic qualities expressed in prose form, but not necessarily by the absence of line breaks or rhyming scheme .

Here’s a sample of prose poetry from Amy Lowell’s Bath:

“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.” You may have notice that Lowell does incorporate a rhyme in her poem—both white and light rhyme—but the poem itself doesn’t follow a specific rhyming scheme.

What is poetry?

There are many different forms of poetry out there, but in general, poetry focuses on rhythm. Poems also incorporate structure, patterns, and rhyming schemes. Some popular forms of poetry include:

• Lyric poetry

Here is an example from a famous poem titled I’m nobody! Who are you? by Emily Dickinson:

“How dreary to be somebody! How public like a frog To tell one’s name the livelong day To an admiring bog!”

The fundamental differences between poetry and prose

Prose is a straightforward form of writing that follows natural flow of language and doesn’t use line breaks. Poetry, on the other hand, often uses structure such as rhyme, rhythm, and intentional line breaks. While not all poems have to rhyme , it’s a signature of the form and many do.

If you’re interested in learning more about poetry, see how you can write a narrative poem or use punctuation in poetry .

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Low Residency MFA in Creative Writing

Master of fine arts in creative writing and poetics (low-residency).

Our low-residency MFA provides the structure, support, and professional development you need to take your writing to the next level .

Program Overview

Naropa’s Low-Residency MFA in Creative Writing is designed for writers ready to hone their craft and earn their Master of Fine Arts degree through rigorous, cross-genre study. Students who can’t relocate to our Colorado Campus can acquire a quality asynchronous education with in-person residencies.

Whether you have a novel in progress, are preparing for a PhD program, or looking to strengthen your prose, poetry, and hybrid writing, our low-residency creative writing MFA program provides you with resources, accountability, and inspiration that fit your schedules.

Naropa takes traditional low-residency MFA programs a step further with our history of experimental and innovative writing, critical study, and cross-genre publishing. Our unique cross-genre online writing courses, generative residencies, and one-on-one mentorship provide students with a writing community, no matter where they live.

Cross-Genre Curriculum

Unlike other Creative Writing MFA programs, our low-residency MFA is open-genre. This means that writers can work in fiction, poetry, prose, non-fiction, playwriting, and hybrid forms throughout their degree program. Students experiment with narrative structures and forms that fit their unique voices. Writers develop their unique style, critical ear, and vast knowledge of contemporary trends across literary genres.

One-on-One Mentorship

One-on-one mentorship and small online writing classes help writers develop their style, refine their editing skills, and publish their work. Each writer dedicates their final semester to a thesis manuscript. Working one-on-one with their thesis mentor and workshopping with classmates through written exchange, students finish their MFA with a completed manuscript in the genre of their choice.

Generative Residencies

Every semester, our Low-Residency MFA students gather in Boulder, Colorado, for enriching and energizing residencies. MFA students meet one-on-one with mentors, enjoy master classes with guest writers, attend readings, and bond with writers. Residencies also overlap with our spring and fall symposiums, providing students with a rich 4-days of community and inspiration. Each academic year culminates in a week-long writing intensive at Naropa’s Summer Writing Program. This annual festival brings over 60 artists, writers, and thinkers to Boulder, for workshops, readings, panels, and professional development.

Quick Facts

• Fifteen annual days of residency in Boulder, CO
• Open-genre curriculum
• One-on-one mentorship with accomplished faculty
• Unique Experimental Approach
• Participation in the Summer Writing Program
• Cohort model developing a strong sense of community among MFA students
• Several Scholarship and Financial Aid Opportunities
• Applications open for August 2024

Program Format

Naropa’s Creative Writing MFA is a rigorous, generative, low-residency two-year program with 4 writing residencies in beautiful Boulder Colorado. The program combines asynchronous craft courses with on-campus residencies. 

Annual fall and spring residencies allow writers to connect with other writers and faculty , deepen their craft, and participate in symposium readings and panels with other MFA students in Boulder, CO. Spring and Fall Residencies run from Saturday through Tuesday during the Spring and Fall JKS Symposiums.

The summer residency immerses writers in a full week of the Jack Kerouac School’s world-renowned Summer Writing Program . Here, students attend workshops, lectures, panels, and readings by numerous visiting writers to hone their craft, make connections, speak on student panels, and prepare for the next step in their writing career.

Course Spotlight

Craft of writing: rooting in the archive.

This course delves into the Naropa University Archive and its rich offerings to explore traditions, movements, and/or schools of writing that inform or extend the aesthetic vision of the Jack Kerouac School toward mindful writing. Possible recent historical examples include New American Poetry, the Beats, San Francisco Renaissance, the New York School, Black Mountain Poetics, the Black Arts Movement, and Language poetry, among others.

Degree Requirements

Unlike many online creative writing MFA programs, our asynchronous classes build community through writer-to-writer feedback and a structured curriculum.

Low Residency MFA in Creative Writing Requirements

26 credits of online asynchronous craft courses.

Students work one-on-one with a mentor, exchanging packets —consisting of letters, bibliographies, contemplative reflections, creative manuscripts, and critical essays—throughout the semester.

• WRI-631E Craft of Writing: Rooting in the Archive(6)WRI-648E Craft of Writing: Contemplative Experiments(6)
• WRI-678E Craft of Writing: Cultures & Communities(4)
• WRI-735E Craft of Writing: Contemporary Trends(6)
• WRI-755E Craft of Writing: Professional Development(4)

6 credits of MFA Thesis

6 credits of MFA Thesis (faculty mentorship on a book-length creative manuscript)

4 credits of the Summer Writing Program

Two eight-day summer residencies are completed at Naropa’s Boulder campus. Choose two of the following:

• WRI-751 Summer Writing Program(2)
• WRI-752 Week Two Summer Writing Program(2)
• WRI-753 Summer Writing Program(2)

4 credits of fall and spring residencies in Boulder, CO.

• WRI-789WE Fall Residency(1)
• WRI-791WE Spring Residency(1)

Why Choose Naropa?

Strong writing tradition.

Founded in 1974 by Allen Ginsberg and Anne Waldman, the Jack Kerouac School of Disembodied Poetics encourages experimental forms across genres , pushing for innovation inside and outside the classroom.

Career Readiness

Whether a student plans to teach, write, edit, or work in publishing, our low-residency program provides the framework they need to develop their professional skills alongside a vibrant and supportive writing community.

In-house Publishing

The Kerouac School’s student-run Bombay Gin literary journal publishes work from promising students and distributes it nationally through Small Press Distribution. Students interested in fine-craft letterpress printing can learn at Naropa’s Harry Smith Print Shop and Kavyayantra Press.

How this Program Prepares You

Professional dossier.

Graduates from our low-residency Creative Writing MFA emerge from the program with a solid record of written work . The pieces that make up their dossier are workshopped with peers and perfectioned with guidance from their tutor.

Critical Analysis

You’ll emerge from the program with critical analysis skills that go beyond reading between the lines of a written work. The program will teach you to recognize the role of intersectionality in the literary arts, looking at the wider spectrum that surrounds a piece, and identifying bias, assumptions and stereotypes.

Unleashing creativity

Our workshops, classes and Summer Writing Program encourage students to harness their creativity by exploring experimental forms . Low-residency students receive on-on one mentoring to help them develop their creative writing skills to the fullest, as well as feedback from their writing community, be it online or during their residency.

What You'll Learn

Highly developed writing craft.

Hone your voice in every step of the writing process.

Skill in Critical Analysis

Learn to discuss literary works through a variety of critical lenses.

Contemplative Writing Practice:

Use your writing practice as a tool for self-inquiry and discovery.

Social and Cultural Awareness

Recognize the role of race, class, and gender in literary history and works.

Career Preparedness

Graduate with a publishable manuscript and/or professional dossier.

Career Opportunities with a Low-Residency MFA in Creative Writing

• Lyricist: write words for songs, matching melody and rhyme.
• Poet: use language to creatively express emotion, ideas and experiences.
• Proofreader: check written work for errors and inconsistencies.
• English Teacher: teach at the postsecondary level.
• Author: craft and publish original material.
• Editor: review and improve written work for publication.

Hear from a Graduate

Jackie henrion, faqs about the low-residency mfa in creative writing, what is a low residency mfa in creative writing, why choose a low residency mfa creative writing program, how long does it take to complete a low residency mfa in creative writing, how is naropa’s low residency mfa in creative writing different from other programs, what types of funding are available.

Funding includes the Allen Ginsberg, Anne Waldman, and Anselm Hollo Graduate Fellowships.

The fellowships are awarded annually to three incoming MFA Creative Writing and Poetics students (residency program). Allen Ginsberg, Anne Waldman, and Anselm Hollo fellowship recipients will receive full funding (tuition and fees), plus an additional $5,000 scholarship as well as a $4,500 stipend. Fellowship recipients may not simultaneously hold a Graduate Assistantship.

Additionally, partial funding is provided for students who have applied for and been offered graduate assistantships with the Naropa Writing Center.

Visit our Graduate Scholarship page to read more about funding, fellowships and scholarships for the Low-Residency Creative Writing & Poetics MFA and other degrees.

Learn More About the Program

Connect with your counselor

Olivia phipps.

Graduate Admissions Counselor

• [email protected]
• Schedule an Appointment
• Attend An Info Session

Ready to Apply?

Admission requirements.

Naropa University values both academic excellence and critical self-reflection . Our application process not only evaluates academic performance but also candidates’ openness and willingness to engage in contemplation.

Learn more about admission requirements and the application process for our Low-Residency Creative Writing MFA.

Graduate Students

Prospective students who have completed an undergraduate degree are welcome to apply to Naropa. When applying, candidates must submit a transcript of their undergraduate coursework, a statement of interest, a resume, two letters of interest and a creative writing sample. They may also apply for financial aid at this stage. Discover all admission requirements.

International Students

If you obtained your undergraduate diploma from a non-US university, we require additional documentation to review your application. Learn how to apply to Naropa as an international student.

Costs and Financial Aid

Naropa University students have access to several financial aid opportunities and scholarships – over 75% of our graduate students receive some sort of financial support to pursue their studies. Use our calculator to estimate your tuition, housing, materials and other costs.

Undergraduate Scholarship Opportunities

Interested in our Low-Residency Creative Writing MFA?

Read our blog or listen to our podcast, heartfire festival returns to naropa university, episode 92. andrew schelling: writing as a spiritual practice, womxn of naropa celebrates national poetry month, summer writing program from the archives, together in spirit, student support and resources, academic support, online student support, career services, financial aid, accessibility, related programs, mfa in creative writing, ba in creative writing and literature, request information, plan a visit, about naropa, events & community, user information, support naropa.

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Naropa campuses closed on friday, march 15, 2024.

Due to adverse weather conditions, all Naropa campuses will be closed Friday, March 15, 2024.  All classes that require a physical presence on campus will be canceled. All online and low-residency programs are to meet as scheduled.

Based on the current weather forecast, the Healing with the Ancestors Talk & Breeze of Simplicity program scheduled for Friday evening, Saturday, and Sunday will be held as planned.

Staff that do not work remotely or are scheduled to work on campus, can work remotely. Staff that routinely work remotely are expected to continue to do so.

As a reminder, notifications will be sent by e-mail and the LiveSafe app.  

Regardless of Naropa University’s decision, if you ever believe the weather conditions are unsafe, please contact your supervisor and professors.  Naropa University trusts you to make thoughtful and wise decisions based on the conditions and situation in which you find yourself in.

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Dawn Powell Prize and Kate Carter Awards 2024

Are you passionate about crafting compelling stories or expressing your thoughts through prose the dawn powell and kate carter awards offer the perfect chance for you to shine. by submitting your work, you can win prestigious recognition and connect with fellow writers. take the leap and submit your writing by april 8, 2024, it could be the first step towards a bright future in the literary world..

March 28, 2024 4:00 PM

Lake Erie College presents the Dawn Powell and Kate Carter awards 2024!

This year, Lake Erie College presents the Dawn Powell and Kate Carter awards! The Dawn Powell Prize for Creative Writing in Fiction and Poetry and the Kate Carter Awards - one for Excellence in First Year Writing and another for Excellence in Writing in the Core. Celebrate with us on April 24th!

Guidelines:

Submissions due: April 8, at midnight .

Must be recent original works of the author

Submissions should be emailed as a PDF or Word document to [email protected]

Include your full name and email when submitting (not on the work itself )

All submissions can go to [email protected].

Winners will be notified before the ceremony on, april 24th at 4:00 p.m. at the lincoln library., prizes will be awarded…, dawn powell prize in creative writing, about dawn powell.

The award’s namesake, author Dawn Powell, attended Lake Erie College from 1914-1918 and graduated with a Bachelor of Arts degree. During her time at LEC, Powell edited and wrote for the College’s literary publication and was active in theater. By the time of her death in 1965, she had written 16 novels, nine plays and numerous short stories.

Kate Carter Awards for Excellence in first year writing and excellence in writing in the core

Named for Professor Kate Carter, who was a creative writer, a poet, an artist and a much loved and long-serving adjunct professor in the Lake Erie College Department of English, these awards honor Professor Carter’s legacy of academic rigor, student engagement, thoughtful mentoring and commitment to excellent writing.

About Kate Carter

Kate Carter was an award-winning poet and recipient of an Ohio Arts Council Fellowship in Poetry. She received her MA in Creative Writing from Antioch University McGregor and, prior to her arrival at Lake Erie, taught in the Psychology department at Antioch University New England and the English and Women’s Studies departments at New Mexico State University. She is the author of two chapbooks of poetry, Covenant and Lodestar: Night Sky.

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How to Resist the Temptation of AI When Writing

Whether you're a student, a journalist, or a business professional, knowing how to do high-quality research and writing using trustworthy data and sources, without giving in to the temptation of AI or ChatGPT , is a skill worth developing.

As I detail in my book Writing That Gets Noticed , locating credible databases and sources and accurately vetting information can be the difference between turning a story around quickly or getting stuck with outdated information.

For example, several years ago the editor of Parents.com asked for a hot-take reaction to country singer Carrie Underwood saying that, because she was 35, she had missed her chance at having another baby. Since I had written about getting pregnant in my forties, I knew that as long as I updated my facts and figures, and included supportive and relevant peer-reviewed research, I could pull off this story. And I did.

The story ran later that day , and it led to other assignments. Here are some tips I’ve learned that you should consider mastering before you turn to automated tools like generative AI to handle your writing work for you.

Identify experts, peer-reviewed research study authors, and sources who can speak with authority—and ideally, offer easily understood sound bites or statistics on the topic of your work. Great sources include professors at major universities and media spokespeople at associations and organizations.

For example, writer and author William Dameron pinned his recent essay in HuffPost Personal around a statistic from the American Heart Association on how LGBTQ people experience higher rates of heart disease based on discrimination. Although he first found the link in a secondary source (an article in The New York Times ), he made sure that he checked the primary source: the original study that the American Heart Association gleaned the statistic from. He verified the information, as should any writer, because anytime a statistic is cited in a secondary source, errors can be introduced.

Jen Malia, author of  The Infinity Rainbow Club  series of children’s books (whom I recently interviewed on my podcast ), recently wrote a piece about dinosaur-bone hunting for Business Insider , which she covers in her book Violet and the Jurassic Land Exhibit.

After a visit to the Carnegie Museum of Natural History in Pittsburgh, Pennsylvania, Malia, whose books are set in Philadelphia, found multiple resources online and on the museum site that gave her the history of the Bone Wars , information on the exhibits she saw, and the scientific names of the dinosaurs she was inspired by. She also used the Library of Congress’ website, which offers digital collections and links to the Library of Congress Newspaper Collection.

Malia is a fan of searching for additional resources and citable documents with Google Scholar . “If I find that a secondary source mentions a newspaper article, I’m going to go to the original newspaper article, instead of just stopping there and quoting,” she says.

Christopher Null

Nena Farrell

Adrienne So

Matt Jancer

Your local public library is a great source of free information, journals, and databases (even ones that generally require a subscription and include embargoed research). For example, your search should include everything from health databases ( Sage Journals , Scopus , PubMed) to databases for academic sources and journalism ( American Periodical Series Online , Statista , Academic Search Premier ) and databases for news, trends, market research, and polls (t he Harris Poll , Pew Research Center , Newsbank , ProPublica ).

Even if you find a study or paper that you can’t access in one of those databases, consider reaching out to the study’s lead author or researcher. In many cases, they’re happy to discuss their work and may even share the study with you directly and offer to talk about their research.

For journalist Paulette Perhach’s article on ADHD in The New York Times, she used Epic Research to see “dual team studies.” That's when two independent teams address the same topic or question, and ideally come to the same conclusions. She recommends locating research and experts via key associations for your topic. She also likes searching via Google Scholar but advises filtering it for studies and research in recent years to avoid using old data. She suggests keeping your links and research organized. “Always be ready to be peer-reviewed yourself,” Perhach says.

When you are looking for information for a story or project, you might be inclined to start with a regular Google search. But keep in mind that the internet is full of false information, and websites that look trustworthy can sometimes turn out to be businesses or companies with a vested interest in you taking their word as objective fact without additional scrutiny. Regardless of your writing project, unreliable or biased sources are a great way to torpedo your work—and any hope of future work.

Author Bobbi Rebell researched her book Launching Financial Grownups using the IRS’ website . “I might say that you can contribute a certain amount to a 401K, but it might be outdated because those numbers are always changing, and it’s important to be accurate,” she says. “AI and ChatGPT can be great for idea generation,” says Rebell, “but you have to be careful. If you are using an article someone was quoted in, you don’t know if they were misquoted or quoted out of context.”

If you use AI and ChatGPT for sourcing, you not only risk introducing errors, you risk introducing plagiarism—there is a reason OpenAI, the company behind ChatGPT, is being sued for downloading information from all those books.

Audrey Clare Farley, who writes historical nonfiction, has used a plethora of sites for historical research, including Women Also Know History , which allows searches by expertise or area of study, and JSTOR , a digital library database that offers a number of free downloads a month. She also uses Chronicling America , a project from the Library of Congress which gathers old newspapers to show how a historical event was reported, and Newspapers.com (which you can access via free trial but requires a subscription after seven days).

When it comes to finding experts, Farley cautions against choosing the loudest voices on social media platforms. “They might not necessarily be the most authoritative. I vet them by checking if they have a history of publication on the topic, and/or educational credentials.”

When vetting an expert, look for these red flags:

• You can’t find their work published or cited anywhere.
• They were published in an obscure journal.
• Their research is funded by a company, not a university, or they are the spokesperson for the company they are doing research for. (This makes them a public relations vehicle and not an appropriate source for journalism.)

And finally, the best endings for virtually any writing, whether it’s an essay, a research paper, an academic report, or a piece of investigative journalism, circle back to the beginning of the piece, and show your reader the transformation or the journey the piece has presented in perspective.

As always, your goal should be strong writing supported by research that makes an impact without cutting corners. Only then can you explore tools that might make the job a little easier, for instance by generating subheads or discovering a concept you might be missing—because then you'll have the experience and skills to see whether it's harming or helping your work.

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Craft the perfect creative writing prompt from Microsoft Designer's AI images

march 22, 2024

by Monica Jayasinghe

Hello, fellow educators! I recently discovered an exciting way to create engaging writing prompts for my students using AI and Microsoft Designer . The results were amazing, and I can't wait to share this fun and innovative approach with you!

Describing the Vision:

To get started, head over to Microsoft Designer . We'll use the power of AI to generate an image that will serve as the foundation for our writing prompt.

We'll use Image Creator , where you can describe the image you want to create. The goal is to generate an image that will capture your students' imagination and inspire them to write.

For this example, I entered the prompt, A spacecraft landing near a house, futuristic, mysterious.

Choose the image you want to work with

Once you select Generate , Microsoft Designer will provide you with a variety of AI-generated images. Since we're creating a writing prompt, look for an image that has space for adding instructions and is easy to read.

You'll be amazed by the number of options available! When you find an image you like, click on it and select Edit image .

Customize the image

After selecting your preferred image, it's time to customize it.

• Click on Resize in the top panel and adjust the dimensions to match a PowerPoint slide. This will ensure that the image fits perfectly when you're ready to present it to your students. You can also align the image anywhere on the page to create the perfect composition.
• In the box labeled AI tools , you'll see additional customization options. Consider playing with the filters to update the mood and color scheme of your image.

Add instructions and text

To make the writing prompt clear and easy to read, click on the existing text and customize it. To add a heading, click on Text in the left panel. The right panel will populate with even more ideas you can use.

In this example, I changed the color to white and added a story starter.

Engage your students

The possibilities for using AI-generated images as writing prompts are endless! Here are a few options:

Get inspired by the artwork

The most obvious way to use these images is as direct inspiration for student writing. Generate a bold, fantastical, emotional, or silly image and have students write a story about what's happening in the image.

Try this prompt: A whimsical classroom under the sea. The teacher is a wise old octopus. The classroom is decorated with shell desks and seaweed streamers .

Bring stories to life

Another great idea is to take an excerpt from a story you're reading in class and use the AI to generate an image that matches that specific part of the story. This will spark engaging discussions among your students and bring the story to life in a whole new way.

Bring units to life

Why stop at a story? You can also generate images that fit the theme of a unit you're working on, whether you're exploring weather patterns or reliving life on the Oregon Trail.

Consider setting aside some time each day or week for students to free write or journal. Kick off the writing session with an AI-generated image, then throw on some light classical music and let them write. Mix up the kind of images you show them, from lush landscapes to abstract pop art, and see what it inspires.

Try this prompt: An abstract painting in vivid colors

You can even include animated options. After you generate your image in Microsoft Designer, select the image and Create Design . In the right-hand panel that appears, you'll see several design options. Usually, one or more of these options will be animated. Select the animated option and add it to your PowerPoint!

Accessing your AI-generated images

One of the best features of Microsoft Designer is that all the images you create using AI are saved in the My Media section. This means you'll never lose your creations and can easily access them whenever you need them.

This feature enables educators to curate a collection of visuals for various writing themes, be it aliens, dragons, or any other imaginative scenario.

Wrapping up

Microsoft Designer is a game-changer for educators looking to inspire their students' creativity. The AI-generated images, customization options, and easy access to your creations make this a powerful tool for any classroom.

Head over to designer.microsoft.com today and start creating unforgettable writing prompts!

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