phrases in creative writing

Blogs for English Excellence

How to Use Vocabulary in Creative Writing to Make Brilliant Stories

If you want to be a writer or really like writing, it’s important to know that vocabulary in creative writing is very important – as it can help you be the best writer you can be.

Creative writing is the way for people to express themselves and share their imaginative stories with others. It doesn’t follow regular writing rules, so it allows writers to create stories, poems, and essays that deeply connect with the readers’ emotions. When you are writing in a creative approach, it is very important to have a large and strong set of words that you know and understand well. This allows you to express your thoughts clearly, create strong mental pictures, and provoke feelings in your readers’ mind.

With Vocavive App , we have been helping students learn and master a strong collection of important English vocabulary. Having this kind of collection of a wide range of words helps writers express their ideas clearly and genuinely, making their creative ideas come alive on paper.

In this article, we will further discuss the words that can greatly help you to create a well-crafted story. We will give you helpful advice and tips to improve your writing skills – which includes choosing the right words, avoiding using the same words too much, and using good transitions.

Let’s get started?

Exploring the Significance of Vocabulary in Creative Writing

Creative writing is incredibly important because it lets us express ourselves and connect with others. It allows us to unleash our imagination, share personal stories, and evoke emotions in readers. The best kind of Creative writings have a great storytelling . They are full of rich expressions that take the reader through a journey.

Now, when it comes to writing effectively, having a good vocabulary is vital. Why?

A wide range of words helps us to convey our thoughts, emotions, and visuals in the best possible way. The work gets easier for the writer. But is it only that?

It also enables us to create vivid imagery in readers’ minds, develop intriguing characters, and construct realistic worlds. Numerous research studies have demonstrated this link between a strong vocabulary and writing proficiency. Research conducted by the Educational Testing Service (ETS) reveals that a larger vocabulary enhances the quality and complexity of writing. When we know and use a variety of words, our writing becomes more creative, clear, and profound.

Another study published in the Journal of Educational Psychology found that students with an extensive vocabulary tend to produce more engaging and captivating stories.

Overused Words That Will Make Your Writing Sound Weak

Using a variety of words is important when writing creatively. However, we should try not to use words and phrases which have been used too much in creative writing. We might use those words thinking it will improve the richness, when in fact, it can do the opposite. Those commonly used and overused words can make our writing sound boring and unoriginal.

Let’s look at a list of commonly used words that we should be careful not to use too much.

• Awesome – The word “awesome” is used too much and doesn’t give enough details to describe something impressive or remarkable.
• Beautiful – A word that is often used without giving any specific details or personal viewpoints.
• Brilliant – The word “brilliant” is often used to say something is really good or smart, but it might sound overused.
• Cool – An informal word that many people use a lot, but it doesn’t give a clear meaning anymore.
• Cute – Often used to describe something charming or appealing, but it can be used too much and become unoriginal.
• Different – Different is a word that is commonly used to describe something but doesn’t give much information or understanding about it.
• Simple – Simple things are repeated too much and don’t have much meaning, so they don’t show all the details or difficulties involved.
• Great – A word that is often used but it doesn’t provide many details and can be unoriginal.
• Nice – A word that is used too much and doesn’t have enough clear details to describe something well.
• Really – Often used as a word that doesn’t have much meaning and doesn’t make things clearer or more important.
• Amazing – Often used without giving details or showing the real specialness of something.
• Surprising – Used too much and doesn’t have a strong effect because people use it to describe things that happen or experiences that they have frequently.
• Breathtaking – It has been used so much that it lost some of its power and impact.
• Difficult – Often used without giving specific details or explanations about the difficulties being talked about.
• Compelling – Means when something is persuasive or captivating, but it is often used too much and lacks originality.
• Important – Often used to highlight significance without giving different viewpoints or specific details.
• Dramatic – Often used to describe something intense or powerful, but can be unoriginal.
• Effective – Effective is a word we use a lot but it doesn’t tell us much and doesn’t give us any new or special information about what we’re talking about.
• Encouraging – Means giving support or motivation, but it is often used without giving examples or details to explain why it is encouraging.
• Exciting – A word that people use too much, and it’s not very specific in describing the real nature or specialness of an exciting experience or event.
• Fabulous – Frequently used to describe something exceptional or marvelous, but its frequent usage has diminished its impact.
• Fantastic – Often employed as a generic term to convey excitement or positivity, but can lack specificity and originality.
• Fascinating – A common choice to describe something intriguing or captivating, but its frequent usage can make it sound clichéd.
• Fortunate – Frequently used without providing unique details or perspectives on the nature of the good fortune.
• Genius – Overused to describe exceptional intelligence or talent, but its frequent use can diminish its impact.
• Helpful – A commonly used term that lacks specificity, failing to convey the specific ways in which something or someone is helpful.
• Incredible – Often used generically to express disbelief or awe, but its frequent usage can dilute its impact.
• Inspiring – Frequently used to describe something that motivates or encourages, but can sound clichéd without offering specific examples.
• Interesting – A generic term used to convey engagement or curiosity, but its overuse can make it sound unoriginal.
• Magnificent – Frequently used to describe something grand or impressive, but its frequent usage can lessen its impact.
• Memorable – Often used without providing specific details or insights into what makes something truly memorable.
• Outstanding – A common descriptor for excellence, but its overuse can make it sound less impactful or unique.
• Powerful – Frequently used to convey strength or influence, but its frequent usage can make it lose some of its impact.
• Remarkable – Often used to describe something extraordinary or noteworthy, but its frequent usage can diminish its impact.
• Significant – A frequently used term to express importance or meaning, but its overuse can make it sound clichéd.
• Spectacular – Often used to describe something visually stunning or impressive, but its frequent usage can make it lose impact.
• Striking – Frequently used to describe something visually or emotionally impactful, but its overuse can diminish its effect.
• Substantial – A common term used to convey importance or size, but its overuse can make it sound generic or lacking in specificity.
• Successful – Often used without providing specific criteria or context for defining success.
• Surprising – Frequently used to convey unexpectedness, but its overuse can make it sound less impactful or genuine.
• Terrific – A commonly used term to express enthusiasm or positivity, but its frequent usage can make it sound clichéd.
• Unique – Often used to describe something one-of-a-kind or distinct, but its frequent usage can diminish its impact.
• Valuable – Frequently used to express worth or importance, but its overuse can make it sound less impactful or specific.
• Vivid – A commonly used term to describe something vibrant or intense, but its frequent usage can make it sound unoriginal.
• Wonderful – Often employed as a generic term to convey delight or positivity, but its frequent usage can diminish its impact.
• Worthwhile – Frequently used to express value or significance, but its overuse can make it sound less impactful or meaningful.

Use these 14 Types of Transition Vocabulary In Creative Writing

Effective transitions help connect ideas and make it easier for readers to follow along with the story or information. By using connecting words and phrases, writers often make their work easier to understand and flow better. Here are the Transition Words and Phrases you should keep in your volt.

Addition: again, also, besides, too, furthermore, moreover, in addition, first, second, third, next, lastly

Contrast: but, however, nevertheless, on the other hand, conversely, yet, although, even though, while, whereas

Comparison: similarly, likewise, in the same way, as, just as, than, like

Cause and Effect: because, therefore, thus, hence, as a result, consequently, so, for this reason, due to

Time: after, before, during, since, then, when, while, afterwards, next, finally, initially

Sequence: first, second, third, next, then, afterward, finally, to begin with, to start with

Emphasis: indeed, in fact, certainly, of course, truly, really, definitely, undoubtedly

Restatement: in other words, to put it another way, that is, as I said, in short

Clarification: to be more specific, to clarify, in other words, that is to say

Summarization: in summary, to sum up, all in all, in conclusion, to conclude

Example: for example, for instance, to illustrate, as an illustration, as shown

Concession: admittedly, it is true that, I agree that, I grant that, I will admit that

Refutation: however, on the contrary, yet, still, nevertheless, in spite of

Concluding Remarks: to conclude, in conclusion, in summary, to sum up, all in all

Question: How do I Use These Transition Words to Create a More Compelling Read?

To make your paragraphs flow better, it’s important to keep a few practical tips around you that connect your ideas smoothly. First, think carefully about how to move smoothly from one idea to another in your writing. Plan out the order that makes the most sense for your thoughts.

By doing this, you can find out where you need to use transition words and phrases to help readers understand how ideas are connected. Try out different connectors like “also,” “however,” or “likewise,” to keep your readers interested and add some variety to your writing.

Make sure to think about the situation and what you want to say when you write. Choose words that clearly show how your ideas connect to each other. It’s important to put transitions in the right places in sentences to make sure the writing flows smoothly and makes sense. You can put them at the start, in the middle, or at the end of sentences.

Vocabulary Gems to Dazzle Your Teacher in Essay Writing

As students, we often find ourselves striving to impress our teachers with well-crafted answer scripts. Beyond accurate content, an impressive essay demands the strategic use of vocabulary to showcase our language prowess and command over the subject matter. Let’s take a look at it with an example.

Before Using Vocabulary:

Imagine you are writing an essay about the American Revolution. In the fayirst scenario where there is no vocabulary, your essay may read like this –

“The American Revolution was a significant event in history. The colonists fought against British rule for their freedom.”

After Using Vocabulary:

Now, let’s see the same essay with an improved vocabulary usage –

“The American Revolution stands as a pivotal milestone in history, epitomizing the relentless spirit of the colonists who valiantly waged a battle for their emancipation from British dominion .”

Which one do you think has more richness?

See, the “after” scenario here elevates the description of the American Revolution by incorporating words like “pivotal milestone,” “relentless spirit,” and “valiantly waged a battle.”

Your classroom might have 20+ students. To stand out from the general crowd, you can use vocabulary like these. It not only demonstrates a more nuanced understanding of the said topic, but it also brilliantly captures the attention of the reader, including your teacher. She might feel more convinced to give you an A.

How to use specific words, descriptive language, and figurative language in creative writing

When describing emotions, shy away from simplistic and overused terms, such as “happy” or “sad”, or “very important”. Instead, try to opt for colorful alternatives that bring your characters’ feelings to life. For instance, rather than stating “The boy was happy,” say “The boy was grinning ear to ear, his eyes twinkling with excitement.” Such descriptions allow your readers to experience the joy alongside the character.

You also need to pay attention to employing descriptive language that adds depth and color to your writing. For example, replace mundane phrases like “The sky was blue” with a more captivating expression. It could be “The sky was a brilliant azure blue, stretching out like a vast ocean.” When you are using such rich language, your readers can feel as though they’re witnessing the scene firsthand.

Coming to figurative language, utilize similes, metaphors, and personification. This will leave a lasting impact on your audience who want to enjoy and feel connected to your story. For example, if you had to merely write an expression such as “The boy was strong” – you could very well say “The boy was as strong as an ox.” When this is done, the comparison to “an ox” not only conveys strength but also makes the description more memorable for the reader.

In Conclusion

In your journey as a budding writer, remember that mastering vocabulary in creative writing is not just a skill but a powerful tool for self-expression and captivating your readers. It is a skill that is essential for any writer, but it is especially important for creative writers. When you have a wide vocabulary, you have a wider range of tools to express yourself and bring your stories to life. You can use more precise language to describe your characters, settings, and events.

So don’t be afraid to experiment with new words. The more you use them, the more comfortable you will become with them, and the better your writing will be.

Related Posts

7 Strategies To Unleash Vocabulary Learning Via Meaningful Contexts

Have you ever felt frustrated when learning new words, only to forget them shortly after? Or found yourself struggling to use vocabulary effectively in real-life…

Beyond the Dictionary: 10 Ways Reading Can Unlock Extensive Knowledge

Do you still find yourself flipping through the pages of a dictionary in an attempt to expand your vocabulary? Well, it’s time to set aside…

Leave a Comment Cancel Reply

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

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

Need a free English consultation? Our experts will help within minutes 👉

Thanks! One of our experts will connect with you.

Using Creative Words and Phrases for Composition Writing & Essays

• Primary School Composition Writing

Using Creative Words and Phrases for Composition Writing & Essays

How to use creative words and phrases for composition writing & essays.

This blog post will teach you how to use creative and inspired phrases for composition writing.  It will also give you examples and ideas of Idioms, Similes, Metaphors or Personification that you can use in your compositions.

But first, here’s a Free Ebook –  80 Awesome Phrases to Wow your Teacher !

(Tip: You can print out the free ebook for your child to read.)

Do You Really Need Good Phrases for Composition Writing?

No, you don’t.  Your child should not use good phrases just for the sake of impressing the reader.  Your child should concentrate on using the RIGHT PHRASE for the RIGHT SITUATION .  (In fact, our collection of Model Compositions for Primary School Students does not contain pompous, bombastic words or phrases.)

And to do so, your child needs to have a broad knowledge of a variety of phrases.  That way, he will be well-equipped with an arsenal of words to express himself fluently and smoothly.

Many parents misunderstand the use of good vocabulary words for essays.  They force their child to memorise bombastic words and phrases.  This should not be the case as memorisation does not equal application.  Students tend to memorise the phrases and then use them in the wrong context when writing.  This causes the students’ writing to become stilted and mechanical.  Some may even become addicted to the use of bombastic vocabulary and end up writing overly-complicated sentences or phrases to look smart.

Now which is smarter – expressing yourself in a short and sweet manner, or, writing a whole bunch of fancy and pompous words just to narrate a simple thought?

Instead of “good phrases”, focus on using – EFFECTIVE PHRASES.

It’s okay to use simple phrases!  Keep your sentences short, concise, and straight to the point.  Use the right words at the right time.  Express your ideas fluently.

Remember – You are writing to let the reader read for the sake of enjoyment.  You are not writing to IMPRESS the reader.

Bonus Video – How To Use Good Expressions in Composition Writing:

Here’s an online lesson I conducted some time back on how to use Good Expressions in your compositions.  It is very similar to what I address in the article later on How to Write Good Phrases.

It’s about 1 hour long so you may want to set aside some time to watch it. (You can also fast forward to 6:09 to skip straight to the introduction and then the lesson.)

Types of Descriptive Phrases

“Good Phrases” can be broken down into:

Personification

An idiom is an expression of words whose meaning is not predictable from the usual meanings of its constituent elements. (Definition taken from dictionary.com )

In other words, an idiom is a quirky series of words combined to form a special meaning.

Idioms should be used sparingly in a composition.  Do not overuse them as it may make your overall composition sound very cheesy or old-fashioned.  Some idioms are also not commonly used in our everyday speech. Hence, over-usage of the less well-known idioms might make reading awkward.

Some Useful Idioms

1. An arm and a leg –  Very expensive or costly.

E.g: Dining at this high-class restaurant cost me an arm and a leg !  I will never return here again.

2. Blessing in disguise – something good that was not recognized at first.

E.g:  Missing that field trip turned out to be a blessing in disguise as the school bus met with an accident.

3. Piece of cake – used to describe something that is very easy to do.

E.g:  This assignment was a piece of cake .  I completed in less that fifteen minutes

4. Not to make head or tail of something – unable to decipher or understand the meaning

E.g:  The teacher was talking so fast that I could not make head or tail of what he was saying.

5. See eye to eye – to agree with someone

E.g:  Jack and Diane kept on quarreling as they could not see eye to eye with each other.

For more useful idioms, you check out  our LIST of 88 AWESOME IDIOMS that you can learn and apply immediately.  Boost your language marks for compo writing and WOW your teacher!

Click the button below to download this free ebook for your child!

• Simple & Easy-to-use
• Minimal Memory Work
• Examples provided
• Learn the meaning of these idioms!

It is a figure of speech where one thing is compared with another thing of a different kind.

It is used to make a description more vivid or to draw out a particular quality of the subject being mentioned.

Similes are used with the words “like” or “as…as”.

Similes are best used when they are original, creative, relevant and logical.  A simile which has been used too many times  – “as fast as a cheetah” or “as fast as lightning” –  will not score you extra points.

Some Useful Similes

1.The students were chattering like monkeys .

2. The winner of the race paraded around the track like a peacock .

3. We tried to carry him but he was as heavy as an elephant .

4.  The signboards were as bright as daylight .

5. When she heard someone call her name in the dark, she turned as pale as a sheet .

6. Filled with rage, the bully charged towards me like a bull .

7. The boys were laughing like hyenas when they pulled off the prank.

8. Don’t worry about her.  She can handle it herself.  She is as tough as nails !

9. When the exams commenced, the classroom became  as silent as a grave .

10. On the last day of school, Jimmy dashed out of the school gates feeling as free as a bird .

A metaphor is a figure of speech in which a term or phrase is applied to something that is not literally applicable to suggest a resemblance.  (definition taken from dictionary.com ).

In other words, it is almost like a simile, except you are not using the words ‘like’ or ‘as…as’.

Simile:  He was as angry as a bull.

Metaphor: He was an angry bull.

Metaphors are slightly more difficult to use than similes.  But when they are used right, they can give an extremely vivid portrayal of a character or a situation in the story.

A metaphor applied correctly can be a very powerful tool in writing.

Some Useful Metaphors

1. She felt a whirlwind of emotions passed through her.  ( overwhelmed by emotions)

2. Don’t believe that fortune-teller.  He is selling you snake oil .  (metaphorical idiom, fake promises, products or services that fail to live up to expectations, something fraudulent)

3. Mr Tan is a teacher with a heart of gold .  ( very kind or generous)

4.  Stay away from him.  He is a loaded gun . (dangerous)

5.  When the basketball team got off the bus, we could smell the stench of defeat on them.  ( they acted in such a way that it was easy to deduce that they have lost)

6. After failing her exams, Shirley wallowed in a sea of self-pity .  ( metaphorical idiom, overwhelmed by self-pity)

7. He was so sad that he was crying rivers . (a lot of tears)

8.  Sean’s stomach was a bottomless pit . ( extremely hungry, describe someone who cannot stop eating.)

9. Completing this assignment was a breeze . ( very easy to complete)

10.  Hearing her laughter was music to my ears .  (a pleasant sound)

Personification is done by attributing human characteristics to something non-human.

This is used to give a clearer picture of whatever that’s being described.  It enables the reader visualise and see the imagery in their minds.

Personification can be done by simple usage of verbs or action words.

Just like metaphors, personification can count as good vocabulary words for essay writing.

Some Useful Ideas for Personification

1. The thunderstorm raged on outside my window.

2. The soft, cool sand caressed my feet.

3. The sun peeked out from behind the clouds.

4. I could hear the faint wail of the ambulance in a distance.

5. The moment I stepped out into the streets, I was greeted by the strong diesel fumes.

6. The trees shadowed the soldiers as they trekked through the forest.

7. The sports car roared  with ferocity as it zoomed past the spectators.

8. The road was treacherous and unforgiving .

9. The expensive handbag seemed to call out to her.  “Buy me!”

10. By the time the firemen arrived, the flames were already dancing on the roof.

How to come up with your own phrases?

The best descriptions are often ones that you come up with on the spot, that can fit the scenario or context that you are describing perfectly.

Coming up with good phrases for composition writing is not that hard.  All you need is an inquisitive mind that is able to draw comparisons between 2 unrelated objects.

You need to be creative –  a trait that is inherent in most children.

You need to be able to come up with fresh ideas and fresh perspectives.

Some questions to ask yourself when coming up with good vocabulary words for essays:

• How can I better depict this character/scene/object by comparing it with something else?
• What’s a better verb I can use to personify this object?
• How can I make this phrase or sentence more interesting for the reader?
• How can I better convey my point across to the reader?
• How can I help the reader to visualise better?

How to write a good essay in English?

DON’T be so preoccupied with employing gargantuan words in your expositions that your sentence ends up reading like this. See what I did there?

Often students pepper their essays with “smart-sounding” words to impress their examiners. This has the opposite effect; readers are left scratching their heads, wondering what message the student is trying to convey.

The best way to resist this impulse is to replace bombastic words with effective ones. “Bombastic”, according to Oxford Languages, means “high-sounding but with little meaning”. When you use bombastic words, you may just end up using words in the wrong context . You also tend to make errors of repetition by force-fitting all the words you know into your compo.

Consider this sentence: “The enraptured onlookers were jolted and entranced by the spine-tingling sight of the sunset.”

Did you spot the errors?

1. “Enraptured” and “entranced” mean the same thing. (Repetition)

2. “Jolted” means “shocked”. (Wrong context. This is a sunset, not a horror movie!)

3. “Spine-tinging” means “scary”. (Again, wrong context.)

Here’s the revised sentence: “The onlookers were left mesmerised by the breathtaking sunset.”

By replacing bombastic words with effective ones, you’re well on your way to writing a good essay in English.

Good vocabulary words for essays

Good vocabulary forms the bedrock of an essay, so it is important to use vocabulary that is appropriate, yet not overused and therefore, cliched. Let’s begin with the introduction.

Introduction

The introduction is where you set the scene for your reader. Use descriptive phrases that vividly describes the setting. Word of caution: do not overdo the setting descriptions, especially when the setting plays no role in your story plot.

• Use vivid vocabulary instead of vague adjectives :

For instance, replace vague adjectives like “beautiful” with more precise vocabulary. If you’re describing places like a quiet beach or park, “ serene ” and “tranquil ” can be used instead.

If you’re describing greenery, “verdant” is more appropriate and paints a more vivid picture in your reader’s mind:

e,g, “My parents and I were at the Bukit Timah Nature Reserve, enjoying a peaceful afternoon amidst the verdant expanse of lush trees and vibrant flower beds, blissfully unaware that things would soon take an unexpected turn.”

• Use creative phrases instead of cliches :

It’s high time we ditch cliched phrases about how “fluffy clouds dotted the azure sky”. This does not impress your reader!

Consider this other cliched phrase: “The smell of buttery popcorn wafted into my nostrils.”

What a yawn! Let’s improve by rewriting it as follows: “The smell of buttery popcorn beckoned to me, tantalising my senses.” You have effectively personified the smell of the popcorn and in doing so, you convey just how tempted you were by it!

Rising Action

Things are heating up here and if you want to keep your readers on their toes, use suspenseful language to plant clues. This is especially useful if your story is about an unfortunate event or something unexpected.

When something seems a little amiss, hint at the impending problem using phrases such as:

1. Something gnawed at the back of my mind, but I brushed it off.

2. I could not shake the feeling of…

3. I could feel it in my bones; something was not right.

4. I felt a tug of apprehension in my gut, subtle but persistent.

5. The birdsong abruptly ceased, as if nature itself were holding its breath.

This is where the main conflict or action occurs and where vocabulary should be impactful . Once again, stand out from the crowd by using high-intensity words (and avoid using “very”) to create excitement!

• Use impactful, highly charged vocabulary instead of dull phrases :
• Use “show, not tell” instead of stating the facts :

This means showing, not telling , the reader what your character is thinking and feeling. In doing so, you engage the reader and make your writing a whole lot more immersive! When the reader can picture your character, you evoke a deeper emotional response.

Consider these two descriptions:

• Jane was devastated but determinedly continued on.
• Hastily wiping her tears away, Jane bit her lip and marched ahead.

Ask yourself: which one is more impactful? Which description draws you in and allows you to feel Jane’s pain?

Falling Action

Here’s the part where the dust settles. Common emotions experienced by characters include relief (usually after negative events) and happiness (for positive outcomes).

• Use body language to convey emotions like relief or joy

Your characters don’t always have to ‘heave/ breathe a sigh of relief”. There are plenty of other “show, not tell” or body language phrases we can use to convey relief:

1. Unclenching my fists, I…

2. Marcus slumped in his chair in relief .

3. She let out a long breath , thankful for the brief reprieve.

4. A soft smile played on her lips as worry washed away.

5. He wiped his brow as anxiety finally ebbed away

• Explore using new idioms and metaphors to convey emotions

While “jumped for joy” and “over the moon” do show happiness, it’s time to retire these and adopt some new lingo! Try these instead:

1. Benjamin was walking on air after winning the championship.

2. The blushing bride graced us with a smile that could light up a room .

3. I was tickled pink after being personally invited to Taylor Swift’s birthday bash.

Belle walked up on stage with a spring in her step .

• Capture complexity of emotions to create round (not flat) characters

More advanced writers might want to play around with describing more nuanced feelings because human emotions are complex! We often experience bittersweet emotions like joy tinged with melancholy.

Consider descriptions that capture this complexity. For instance, if describing a graduation,  you can try: “The valedictorian gave the graduating class a wistful smile as he prepared to throw up his mortarboard for the final hurrah.”

This lends more depth to your characters; this makes your characters three-dimensional, rounded … and real.

Leave the reader with a thought-provoking statement as you wrap up your final scene. You do your essay no favours by ending with crutch phrases about how “this memory will always be etched in his mind”.  

• Use reflective vocabulary and words that convey closure:

1. Mulling over the day’s events, she…

2. Sandra was lost in a pleasant reverie as the jubilant cheers of her teammates faded into the backdrop.

3. Cristopher kept turning things over in his mind until he finally concluded that…

• Use vivid descriptions to end with imagery:

1. Rain pattered against the window, washing away the dust of the day.

2. I stared at my reflection in the gleaming medal and saw, for the first time, a champion.

Remember, the best conclusions should leave the reader satisfied, bring closure, and create a lasting impression. And that’s how you end with a bang. 

See other related articles on Writing Samurai:

• Proverbs are Phrases Commonly Used in Compositions
• 6 Tips On How to Write a Good Composition For Primary School Students
• Great Phrases To Use For Composition Writing & Essays
• Situational Writing For Primary School Students

Still need more help?

Here’s an ebook of good phrases that your child can use to describe emotions, $15    free for a limited time only.

More than 28,437  students have benefited from this book!

Click or Tap on the button below to download!

Follow Writing Samurai on Telegram for the latest tips and strategies for English, Chinese, and Creative Writing!  Pssst... We will also share the latest compo topics during test or exam season!

Click this link to follow our channel >>> https://t.me/writingsamurai

Free Test Papers for Primary School English Compositions Exams

Key tips on writing good compositions for primary school.

Writing Samurai is an online platform dedicated to nurturing children’s creative writing skills. Our courses are designed to be engaging and effective, without resorting to traditional teaching methods.

Subscribe for latest news & English tips:

Primary english.

• Model Composition Examples
• Situational Writing Tips
• PSLE English Oral Exam Tips
• PSLE Chinese Oral Exam Tips
• 50 Meaningful Proverbs
• Composition Writing
• PSLE Marking Scheme

SECONDARY ENGLISH

• Past Year's O-Level Essays
• Discursive Essay Writing
• Argumentative Essay Writing
• Secondary English Writing Tips (O-Levels)
• Exam Tips for Secondary English
• 7 Exam Tips for Language Editing (O-Levels)

POPULAR TOPICS

• English Oral
• Chinese Oral
• Situational Writing
• Secondary School Writing
• Essay Writing Lower Secondary
• Synthesis & Transformation

TOP FREE RESOURCES

• Free English Writing Resources List
• Free Model Compositions
• Video - Proverbs Composition Writing
• Video - How to Write A Powerful Introduction
• Video - How to Use Good Expressions in your Compositions
• Free Online Writing Course - Kick Start Your Writing

TOP COURSES

• Junior Writers Masterclass - P1 / P2
• Little Writers Masterclass - P3 / P4
• Creative Writing Masterclass - P5 / P6
• Chinese Composition Writing - P5 / P6
• Essay Writing Masterclass - S1 / S2
• Essay Writing - Expository & Argumentative Crash Course
• Grammar Editing Crash Course for Secondary School

Purdue Online Writing Lab Purdue OWL® College of Liberal Arts

Using Metaphors in Creative Writing

Welcome to the Purdue OWL

This page is brought to you by the OWL at Purdue University. When printing this page, you must include the entire legal notice.

Copyright ©1995-2018 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission. Use of this site constitutes acceptance of our terms and conditions of fair use.

This handout discusses the writing obstacles most frequently faced by beginning poets and fiction writers and will offer tactics for addressing these issues during a tutorial.

What is a metaphor?

The term metaphor meant in Greek "carry something across" or "transfer," which suggests many of the more elaborate definitions below:

Related terms

Why use metaphors.

People get so accustomed to using the same words and phrases over and over, and always in the same ways, that they no longer know what they mean. Creative writers have the power to make the ordinary strange and the strange ordinary, making life interesting again.

When readers or listeners encounter a phrase or word that cannot be interpreted literally, they have to think—or rather, they are given the pleasure of interpretation. If you write "I am frustrated" or "The air was cold" you give your readers nothing to do—they say "so what?" On the other hand, if you say, "My ambition was Hiroshima, after the bombing," your readers can think about and choose from many possible meanings.

By writing "my dorm is a prison," you suggest to your readers that you feel as though you were placed in solitary, you are fed lousy food, you are deprived of all of life's great pleasures, your room is poorly lit and cramped—and a hundred other things, that, if you tried to say them all, would probably take several pages.

There are many gaps in language. When a child looks at the sky and sees a star but does not know the word "star," she is forced to say, "Mommy, look at the lamp in the sky!" Similarly, when computer software developers created boxes on the screen as a user interface, they needed a new language; the result was windows. In your poems, you will often be trying to write about subjects, feelings, etc., so complex that you have no choice but to use metaphors.

Or so says Aristotle in Poetics: "[T]he greatest thing by far is to be a master of metaphor." It is "a sign of genius, since a good metaphor implies an intuitive perception of the similarity in dissimilars."

Creative ways to use metaphors

Most books give rather boring examples of metaphors such as my father is a bear or the librarian was a beast. However, in your poetry (and fiction for that matter) you can do much more than say X is Y, like an algebraic formula. Definitely play with extended metaphors (see above) and experiment with some of the following, using metaphors...

What Is Creative Writing? (Ultimate Guide + 20 Examples)

Creative writing begins with a blank page and the courage to fill it with the stories only you can tell.

I face this intimidating blank page daily–and I have for the better part of 20+ years.

In this guide, you’ll learn all the ins and outs of creative writing with tons of examples.

What Is Creative Writing (Long Description)?

Creative Writing is the art of using words to express ideas and emotions in imaginative ways. It encompasses various forms including novels, poetry, and plays, focusing on narrative craft, character development, and the use of literary tropes.

Table of Contents

Let’s expand on that definition a bit.

Creative writing is an art form that transcends traditional literature boundaries.

It includes professional, journalistic, academic, and technical writing. This type of writing emphasizes narrative craft, character development, and literary tropes. It also explores poetry and poetics traditions.

In essence, creative writing lets you express ideas and emotions uniquely and imaginatively.

It’s about the freedom to invent worlds, characters, and stories. These creations evoke a spectrum of emotions in readers.

Creative writing covers fiction, poetry, and everything in between.

It allows writers to express inner thoughts and feelings. Often, it reflects human experiences through a fabricated lens.

Types of Creative Writing

There are many types of creative writing that we need to explain.

Some of the most common types:

• Short stories
• Screenplays
• Flash fiction
• Creative Nonfiction

Short Stories (The Brief Escape)

Short stories are like narrative treasures.

They are compact but impactful, telling a full story within a limited word count. These tales often focus on a single character or a crucial moment.

Short stories are known for their brevity.

They deliver emotion and insight in a concise yet powerful package. This format is ideal for exploring diverse genres, themes, and characters. It leaves a lasting impression on readers.

Example: Emma discovers an old photo of her smiling grandmother. It’s a rarity. Through flashbacks, Emma learns about her grandmother’s wartime love story. She comes to understand her grandmother’s resilience and the value of joy.

Novels (The Long Journey)

Novels are extensive explorations of character, plot, and setting.

They span thousands of words, giving writers the space to create entire worlds. Novels can weave complex stories across various themes and timelines.

The length of a novel allows for deep narrative and character development.

Readers get an immersive experience.

Example: Across the Divide tells of two siblings separated in childhood. They grow up in different cultures. Their reunion highlights the strength of family bonds, despite distance and differences.

Poetry (The Soul’s Language)

Poetry expresses ideas and emotions through rhythm, sound, and word beauty.

It distills emotions and thoughts into verses. Poetry often uses metaphors, similes, and figurative language to reach the reader’s heart and mind.

Poetry ranges from structured forms, like sonnets, to free verse.

The latter breaks away from traditional formats for more expressive thought.

Example: Whispers of Dawn is a poem collection capturing morning’s quiet moments. “First Light” personifies dawn as a painter. It brings colors of hope and renewal to the world.

Plays (The Dramatic Dialogue)

Plays are meant for performance. They bring characters and conflicts to life through dialogue and action.

This format uniquely explores human relationships and societal issues.

Playwrights face the challenge of conveying setting, emotion, and plot through dialogue and directions.

Example: Echoes of Tomorrow is set in a dystopian future. Memories can be bought and sold. It follows siblings on a quest to retrieve their stolen memories. They learn the cost of living in a world where the past has a price.

Screenplays (Cinema’s Blueprint)

Screenplays outline narratives for films and TV shows.

They require an understanding of visual storytelling, pacing, and dialogue. Screenplays must fit film production constraints.

Example: The Last Light is a screenplay for a sci-fi film. Humanity’s survivors on a dying Earth seek a new planet. The story focuses on spacecraft Argo’s crew as they face mission challenges and internal dynamics.

Memoirs (The Personal Journey)

Memoirs provide insight into an author’s life, focusing on personal experiences and emotional journeys.

They differ from autobiographies by concentrating on specific themes or events.

Memoirs invite readers into the author’s world.

They share lessons learned and hardships overcome.

Example: Under the Mango Tree is a memoir by Maria Gomez. It shares her childhood memories in rural Colombia. The mango tree in their yard symbolizes home, growth, and nostalgia. Maria reflects on her journey to a new life in America.

Flash Fiction (The Quick Twist)

Flash fiction tells stories in under 1,000 words.

It’s about crafting compelling narratives concisely. Each word in flash fiction must count, often leading to a twist.

This format captures life’s vivid moments, delivering quick, impactful insights.

Example: The Last Message features an astronaut’s final Earth message as her spacecraft drifts away. In 500 words, it explores isolation, hope, and the desire to connect against all odds.

Creative Nonfiction (The Factual Tale)

Creative nonfiction combines factual accuracy with creative storytelling.

This genre covers real events, people, and places with a twist. It uses descriptive language and narrative arcs to make true stories engaging.

Creative nonfiction includes biographies, essays, and travelogues.

Example: Echoes of Everest follows the author’s Mount Everest climb. It mixes factual details with personal reflections and the history of past climbers. The narrative captures the climb’s beauty and challenges, offering an immersive experience.

Fantasy (The World Beyond)

Fantasy transports readers to magical and mythical worlds.

It explores themes like good vs. evil and heroism in unreal settings. Fantasy requires careful world-building to create believable yet fantastic realms.

Example: The Crystal of Azmar tells of a young girl destined to save her world from darkness. She learns she’s the last sorceress in a forgotten lineage. Her journey involves mastering powers, forming alliances, and uncovering ancient kingdom myths.

Science Fiction (The Future Imagined)

Science fiction delves into futuristic and scientific themes.

It questions the impact of advancements on society and individuals.

Science fiction ranges from speculative to hard sci-fi, focusing on plausible futures.

Example: When the Stars Whisper is set in a future where humanity communicates with distant galaxies. It centers on a scientist who finds an alien message. This discovery prompts a deep look at humanity’s universe role and interstellar communication.

Watch this great video that explores the question, “What is creative writing?” and “How to get started?”:

What Are the 5 Cs of Creative Writing?

The 5 Cs of creative writing are fundamental pillars.

They guide writers to produce compelling and impactful work. These principles—Clarity, Coherence, Conciseness, Creativity, and Consistency—help craft stories that engage and entertain.

They also resonate deeply with readers. Let’s explore each of these critical components.

Clarity makes your writing understandable and accessible.

It involves choosing the right words and constructing clear sentences. Your narrative should be easy to follow.

In creative writing, clarity means conveying complex ideas in a digestible and enjoyable way.

Coherence ensures your writing flows logically.

It’s crucial for maintaining the reader’s interest. Characters should develop believably, and plots should progress logically. This makes the narrative feel cohesive.

Conciseness

Conciseness is about expressing ideas succinctly.

It’s being economical with words and avoiding redundancy. This principle helps maintain pace and tension, engaging readers throughout the story.

Creativity is the heart of creative writing.

It allows writers to invent new worlds and create memorable characters. Creativity involves originality and imagination. It’s seeing the world in unique ways and sharing that vision.

Consistency

Consistency maintains a uniform tone, style, and voice.

It means being faithful to the world you’ve created. Characters should act true to their development. This builds trust with readers, making your story immersive and believable.

Is Creative Writing Easy?

Creative writing is both rewarding and challenging.

Crafting stories from your imagination involves more than just words on a page. It requires discipline and a deep understanding of language and narrative structure.

Exploring complex characters and themes is also key.

Refining and revising your work is crucial for developing your voice.

The ease of creative writing varies. Some find the freedom of expression liberating.

Others struggle with writer’s block or plot development challenges. However, practice and feedback make creative writing more fulfilling.

What Does a Creative Writer Do?

A creative writer weaves narratives that entertain, enlighten, and inspire.

Writers explore both the world they create and the emotions they wish to evoke. Their tasks are diverse, involving more than just writing.

Creative writers develop ideas, research, and plan their stories.

They create characters and outline plots with attention to detail. Drafting and revising their work is a significant part of their process. They strive for the 5 Cs of compelling writing.

Writers engage with the literary community, seeking feedback and participating in workshops.

They may navigate the publishing world with agents and editors.

Creative writers are storytellers, craftsmen, and artists. They bring narratives to life, enriching our lives and expanding our imaginations.

How to Get Started With Creative Writing?

Embarking on a creative writing journey can feel like standing at the edge of a vast and mysterious forest.

The path is not always clear, but the adventure is calling.

Here’s how to take your first steps into the world of creative writing:

• Find a time of day when your mind is most alert and creative.
• Create a comfortable writing space free from distractions.
• Use prompts to spark your imagination. They can be as simple as a word, a phrase, or an image.
• Try writing for 15-20 minutes on a prompt without editing yourself. Let the ideas flow freely.
• Reading is fuel for your writing. Explore various genres and styles.
• Pay attention to how your favorite authors construct their sentences, develop characters, and build their worlds.
• Don’t pressure yourself to write a novel right away. Begin with short stories or poems.
• Small projects can help you hone your skills and boost your confidence.
• Look for writing groups in your area or online. These communities offer support, feedback, and motivation.
• Participating in workshops or classes can also provide valuable insights into your writing.
• Understand that your first draft is just the beginning. Revising your work is where the real magic happens.
• Be open to feedback and willing to rework your pieces.
• Carry a notebook or digital recorder to jot down ideas, observations, and snippets of conversations.
• These notes can be gold mines for future writing projects.

Final Thoughts: What Is Creative Writing?

Creative writing is an invitation to explore the unknown, to give voice to the silenced, and to celebrate the human spirit in all its forms.

Check out these creative writing tools (that I highly recommend):

Read This Next:

• What Is a Prompt in Writing? (Ultimate Guide + 200 Examples)
• What Is A Personal Account In Writing? (47 Examples)
• How To Write A Fantasy Short Story (Ultimate Guide + Examples)
• How To Write A Fantasy Romance Novel [21 Tips + Examples)

No products in the cart.

31 Stylistic Devices for Creative Writers

Today’s guest post is by Rose Scott:

Without figurative language , writing would be plain and shallow. The more stylistic devices you know, the more unique your writing can be. If writing is your passion, you probably already know a dozen or so stylistic devices, but I’m betting there are a few on this list you’ve never heard of.

Take a look at this comprehensive list of stylistic devices and see if any might work in your current WIP (work in progress). Of course, you want to be reasonable and not go overboard with forced prose. But I’m sure you can find great places to utilize these wonderful literary techniques.

1. Adnomination

Repetition of words with the same root. The difference lies in one sound or letter. A nice euphony can be achieved by using this poetic device.

Examples: “Nobody loves no one.” (Chris Isaak). Someone, somewhere, wants something.

2. Allegory

Representation of ideas through a certain form (character, event, etc.). Allegory can convey hidden meanings through symbolic figures, actions, and imagery.

Example: Animal Farm by George Orwell is all about the Russian Revolution. And characters stand for working and upper classes, military forces, and political leaders.

3. Alliteration

The repeated sound of the first consonant in a series of words, or the repetition of the same sounds of the same kind at the beginning of words or in stressed syllables of a phrase.

Examples: A lazy lying lion. Peter picked a peck of pickled peppers. Sally sells seashells by the seashore.

4. Allusion

Reference to a myth, character, literary work, work of art, or an event.

Example: I feel like I’m going down the rabbit hole (an allusion to Alice’s Adventures in Wonderland by Lewis Carroll).

5. Anaphora

Word repetition at the beginnings of sentences in order to give emphasis to them.

Example: “Let freedom ring from the mighty mountains of New York. Let freedom ring from the heightening Alleghenies of Pennsylvania. Let freedom ring from the snow-capped Rockies of Colorado. Let freedom ring from the curvaceous slopes of California.” (Martin Luther King)

Opposite: Epiphora. Word repetition at the end of sentences.

Example: “And that government of the people, by the people, for the people, shall not perish from the earth.” (Abraham Lincoln)

6. Antithesis

Emphasizing contrast between two things or fictional characters.

Example: “Love is an ideal thing, marriage a real thing; a confusion of the real with the ideal never goes unpunished.” (Johann Wolfgang von Goethe)

7. Apostrophe

Directed speech to someone who is not present or to an object.

Example: “Work on, my medicine, work! Thus credulous fools are caught.” (William Shakespeare)

8. Assonance

Repetition of vowels in order to create internal rhyming.

Example: “Hear the mellow wedding bells.” (Edgar Allan Poe)

Related: Consonance. Repetition of consonants.

9. Cataphora

Mentioning of the person or object further in the discourse.

Examples: I met him yesterday, your boyfriend who was wearing the cool hat. If you want some, here’s some cheese. After he had received his orders, the soldier left the barracks.

Arranging text in such a manner that tension gradually ascends.

Example. He was a not bad listener, a good speaker and an amazing performer.

Opposite: Anticlimax. Tension descends.

11. Charactonym (or Speaking Name)

Giving fictional characters names that describe them.

Example: Scrooge, Snow White.

12. Ellipsis

Word or phrase omission.

Example: I speak lots of languages, but you only speak two (languages).

13. Euphemism

Replacing offensive or combinations of words with lighter equivalents.

Example: Visually challenged (blind); meet one’s maker (die)

Opposite: Dysphemism . Replacing a neutral word with a harsher word.

14. Epigram

Memorable and brief saying, usually satirical.

Example: “For most of history, Anonymous was a woman.” (Virginia Woolf)

15. Hyperbole

Exaggeration of the statement.

Example: If I’ve told you once, I’ve told you a thousand times.

Opposite: Litotes. Understatement.

Asking a question and answering it right away.

Example: Are you going to leave now? I don’t think so.

There are three types of irony:

• Verbal (Antiphrasis) – using words to express something different from their literal meaning for ironic effect (”I’m so excited to burn the midnight oil and write my academic paper all week long”).
• Situational – result differs from the expectation (Bruce Robertson, a character of Filth, is a policeman. Nonetheless, he does drugs, resorts to violence and abuse, and so on).
• Dramatic – situation is understandable for the audience but not the fictional character/actor (audience sees that the fictional characters/actors will be killed now, though the characters don’t expect it).

Describing people/objects by enumerating their traits.

Example: Lock, stock, and barrel (gun); heart and soul (entirety)

18. Metalepsis

Referencing one thing through the means of another thing, which is related to the first one.

Example: “Stop judging people so strictly—you live in a glass house too.” (A hint at the proverb: people who live in glass houses should not throw stones.)

19. Metaphor

Comparing two different things that have some characteristics in common.

Example: “Love is clockworks and cold steel.” (U2)

20. Metonymy

Giving a thing another name that is associated with it.

Example: The heir to the crown was Richard. (the crown stands for authority)

21. Onomatopoeia

Imitating sounds in writing.

Example: oink, ticktock, tweet tweet

22. Oxymoron

Combining contradictory traits.

Example: Living dead; terribly good; real magic

23. Parallelism

Arranging a sentence in such a manner that it has parallel structure.

Example: “Tell me and I forget. Teach me and I may remember. Involve me and I will learn.” (Benjamin Franklin)

Opposite: Chiasmus . An inverted parallelism.

Examples: “To stop, too fearful, and too faint to go.” (Oliver Goldsmith); “My job is not to represent Washington to you but to represent you to Washington.” (Barack Obama)

24. Parenthesis

Interrupting a sentence by inserting extra information enclosed in brackets, commas, or dashes.

Example: Our family (my mother, sister, and grandfather) had a barbeque this past weekend.

25. Personification

Attributing human characteristics to nonhumans.

Example: Practically all animals in fairy tales act like human beings. They speak and have traits that are typical of people.

A kind of wordplay. Here are a few types of puns:

• Antanaclasis – repetition of the same word or phrase, but with a different meaning (“Cats like Felix like Felix.”—“Felix” catfood slogan).
• Malapropism – usage of the incorrect word instead of the word with a similar sound (“optical delusion” instead of “optical illusion”).
• Paradox – self-contradictory fact; however, it can be partially true (“I can resist anything but temptation.”—Oscar Wilde).
• Paraprosdokian – arranging a sentence in such a manner so the last part is unexpected (You’re never too old to learn something stupid).
• Polyptoton – repetition of the words with the same root (“The things you  own  end up  owning  you.”—Chuck Palahniuk).

27. Rhetorical question

Questioning without expecting the answer.

Example: Why not? Are you kidding me?

Direct comparison.

Example: “Your heart is like an ocean, mysterious and dark.” (Bob Dylan)

29. Synecdoche

Generalization or specification based on a definite part/trait of the object.

Example: He just got new wheels. (car)

30. Tautology

Saying the same thing twice in different ways.

Example: first priority; I personally; repeat again

31. Zeugma (or Syllepsis)

Applying a word to a few other words in the sentence in order to give different meaning.

Example: Give neither counsel nor salt till you are asked for it.

Quite a huge list, right? With all these stylistic devices, your writing can potentially be so much more attractive. If you find it difficult to memorize them all, here’s what I recommend you do: make flashcards. Write a stylistic device on one side of the flashcard and its meaning on the other side, then work on memorizing a few a day. Voila! Enjoy your learning and writing.

Feature photo by Heather Wilson Smith

Have you been learning helpful insights on how to spot flaws in your fiction writing? Know some writers who might benefit from these in-depth posts? The book is out!

You can find  5 Editors Tackle the 12 Fatal Flaws of Fiction Writing on all online venues, in print or as an ebook.

Here are some links: Kindle , iBooks , Nook , Kobo , Oyster , and Scribd .

Don’t just give  any book as a gift this holiday season. Give  the book that will help the writers in your life become better writers! They’ll thank you!

Reviewers say:

“I wish I’d had this book when I wrote my first manuscript.”

“Every author needs this book on their shelf. From nothing happening to too much backstory to body parts behaving badly, this book has it all and tells you how to fix it with examples you can follow. Don’t have the money to hire an editor for your novel? Use this book, one of several in the Writer’s Toolbox Series, to mark your own book up in red. The fun part of this book is being able to read each entry and then determining what is wrong with it before you read the answer. Not quite sure what is wrong? That is okay, because the fatal flaw is fixed right before your eyes.”

“Another new and favorite part of the book is the checklist at the end of each chapter. I like having a quick wrap-up to check my work against. It’s great to rifle back through the detailed information after reading, but I’m more likely to use the checklists reminders over and over.”

“I have well over a hundred writing books on my bookcase and dozens more on my Kindle, but Fatal Flaws deserves to become the newest addition.”

“Got a feeling that something’s not quite right in your story? Maybe you don’t even know what it is, but you sense something’s not working? Get this book! It’s a mini-lecture series and workshop taught in a friendly manner. Your writing will significantly improve if you read this book and follow the suggestions.”

“This is an excellent study book for published and non-published writers alike. I love the fact that I got input five different editors. So many teaching books are written by just one person. Besides, where else can you get this much writing instruction for $4.99?”

Exactly! Our thanks to all who did an early read and review. Your comments will help others see the value of this comprehensive book. And may this book help you all to write awesome books in 2016!

~Susanne, Linda, Christy, Robin, and Rachel

Search Posts Here

Subscribe to my blog, similar posts.

The Key to a Successful Novel Lies in Genre

If you asked me what is the most important thing an author needs to know to ensure they will have…

What’s Really Happening When You Think You Are Lazy

Today’s guest post is by Johannah Bogart. I work with writers who get stuck while finishing their books. They explain…

5 Tips to Help You Write Imperfectly

Today’s guest post is by Adrian Johansen. As a writer, when you envision something you want to compose, it’s always…

Give Your Readers a Ride They’ll Never Forget

Today’s guest post is by suspense author Erika Mitchell: When I was ten, a family friend took me to Disneyland….

How Do You Spell Success?

Last week I introduced you to Kevin Kelly’s “treatise” on 1,000 True Fans. Now that you’ve gotten a taste for…

9 Ways to Overcome Writer’s Block

Today’s guest post is by Rachel Harclerode: Writer’s block is a strange phenomenon that almost every writer experiences. While there…

12 Comments

great post! thanks Rose, for a super stellar list of dynamic devices! i’ve saved the list for future and fair-constant reference. there’s always something good on this blog! Merry Christmas everyone!!

Oh man, it’s like Christmas has come early. I love posts like this – and I’ll both share it *and* copy it to my desktop ha!

Items I didn’t know about but immediately fell in love with: adnomination, anaphora, hypophora (I hadn’t realised, but I do this all of the time, which now seems pretty annoying!), and zeugma. Thank you once again!

Glad you enjoyed this post! Have a happy Christmas!

Thanks much for you “31 Stylistic Devices … …” I was in the process of writing a transcript when I sort of stumbled across the need to correctly define a scenario.

I did a quick surf, directly asking for what I wanted, this popped up. I scanned your list and had the “Eureka!” moment. “METAPHOR!”

It’s really great of you also sharing without obligation. We do a lot of that in our realm of things.

Okay! Thanks again! Please, have a great weekend!

P.S. For you Ms. Lakin. Thanks for making this site available! Please, have a great weekend, as well!

Thanks for the kind words! Glad you are getting some benefit from the blog’s content!

Do you have a list of stylised paragraphs? Not just the main 4 (descriptive, narrative, expository, and persuasive), but other types of paragraphs that apply rhetorical ornaments and devices.

Forgot to say thank you for this lovely and informative post.

Wow this post has boost my understanding of the analysing the prose techniques in a book. Thank u very much

I greatly appreciate the time and effort you put into constructing this list. I especially enjoy how you introduced me to unfamiliar and complex stylistic devices. I will attempt to incorporate these techniques in my future writing. Synecdoche is a wonderful device that I have not heard of before, I’ll have to steal it :P. Is there any way I can contact you? I would love to have a nerdy conversation about English!

Sincerely, Jenny Wales

It was interesting when you talked about how parallelism arranges sentences so their structure is parallel to each other. I’ve been wanting to find some poetry online to help me sort through my emotions from a loved one’s death last month. Thanks for teaching me these writing devices to look out for so I can understand the poems as effectively as possible.

Hi Rose I like your terms and I am using it on my writing my thesis on stylistics.

Actually, there are 32 stylistic devices in your list, since there are two no. 17.

Leave a Reply Cancel reply

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

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

[related_books]

Next Steps for Your Manuscript

Free Amazon Email Course

Guest Blogging

Get your Free Ebook!

Subscribe to my email blasts to level up your writing and be notified of upcoming events and offers!

Review Cart

Creative Writing Techniques: 39 Tips for Crafting Compelling Stories (Fully Explained)

By: Author Paul Jenkins

Posted on Published: June 20, 2023  - Last updated: July 10, 2023

Categories Writing

Creative writing is a form of self-expression that allows you to communicate your thoughts, emotions, and ideas uniquely and engagingly. Whether you’re writing a novel, a short story, a poem, or a screenplay, there are many techniques you can use to make your writing more exciting and impactful. These techniques can help you create vivid imagery, develop compelling characters, and convey complex ideas clearly and concisely.

One of the most popular creative writing techniques is the use of metaphors, which compare a characteristic of something unknown to something known. This technique adds fun and personality to your writing and can help you create vivid and memorable descriptions. Another technique is using similes, which make comparisons using “like” or “as.” Similes can be used to create visual images that help readers understand complex ideas or emotions.

Creative writing is a powerful tool that can help you connect with others, explore your thoughts and feelings, and share your unique perspective. By mastering these techniques and experimenting with different styles and forms of writing, you can unlock your full creative potential and create works of art that inspire and entertain others.

Key Takeaways

• Creative writing is a form of self-expression that allows you to communicate your thoughts, emotions, and ideas uniquely and engagingly.
• Metaphors and similes are popular creative writing techniques that can help you create vivid imagery and convey complex ideas clearly and concisely.
• By mastering different styles and forms of writing, you can unlock your full creative potential and create works of art that inspire and entertain others.

1. Metaphors: Compare a Characteristic of Something Unknown to Something Known

Metaphors are a powerful tool in creative writing that can add depth and meaning to your work. They are an analogy that compares a characteristic of something unknown to something known. They help readers understand complex ideas by relating them to something familiar.

Metaphors can describe abstract concepts, emotions, and sensory experiences. For example, you might use a metaphor to describe the feeling of falling in love as “a rollercoaster ride.” This comparison helps readers understand the ups and downs of love by relating it to something they are familiar with.

When using metaphors, it’s important to choose accurate and interesting comparisons. Avoid cliches and overused comparisons, as these can make your writing stale and unoriginal. Instead, try to create unique and unexpected comparisons to surprise and delight your readers.

To create effective metaphors, it’s also important to consider the context of your writing. Think about the tone and mood you want to convey and the themes and ideas you want to explore. You can create a more cohesive and impactful piece by choosing appropriate metaphors for your writing.

2. Similes: Make Comparisons Using ‘Like’ or ‘As’

Similes are figurative language that compare two things using the words ‘like’ or ‘as’. They are often used in creative writing to make descriptions more vivid and interesting. Here are some examples:

• The clouds were like fluffy pillows in the sky.
• Her hair was as black as coal.
• The water shimmered like diamonds in the sunlight.

As you can see, similes help create a picture in the reader’s mind by comparing something familiar to something unfamiliar. This makes your writing more engaging and memorable.

It’s important to choose appropriate comparisons that make sense when using similes. Avoid using cliches or overused comparisons, as they make your writing seem unoriginal. Instead, develop unique and creative similes that capture the essence of what you’re describing.

Here are some tips for using similes effectively in your writing:

• Use similes sparingly. While similes can be effective, overusing them can make your writing seem forced or contrived.
• Make sure your similes are accurate. Don’t use a simile that doesn’t make sense or is factually incorrect.
• Use similes to create a specific mood or tone. For example, you might use a dark or ominous simile to create foreboding in your writing.
• Experiment with different types of similes. You can use similes to compare anything from emotions to objects to natural phenomena.

3. Analogies: Draw Parallels Between Two Seemingly Unrelated Things

One of the most effective creative writing techniques is the use of analogies. Analogies allow you to draw parallels between two seemingly unrelated things, which can help your readers understand complex ideas and emotions more easily.

Analogies can be used in many different ways in creative writing. For example, you can use analogies to describe a character’s personality, explain a difficult concept, or add depth and richness to your descriptions.

To create an analogy, start by identifying two things that seem unrelated but share some common qualities. For example, you might compare a person to a tree, noting that both grow and change over time. Or you might compare a difficult situation to a storm, noting that both can be unpredictable and overwhelming.

Once you have identified your two objects, think about the qualities they share and how you can use those qualities to create a comparison. For example, if you compare a person to a tree, you might write something like: “Like a tree, she stood tall and strong, weathering the storms of life with grace and resilience.”

Analogies can be a powerful tool in creative writing, but it’s important to use them sparingly and effectively. Too many analogies can make your writing feel forced or contrived, so choose your comparisons carefully and use them only when they add something meaningful to your work.

4. Imagery: Use Vivid and Descriptive Language to Create Mental Pictures for Readers

Imagery is a powerful tool writers use to create mental pictures in the minds of their readers. Using vivid and descriptive language can transport your readers to different places, times, and emotions. Here are some tips on how to use imagery effectively in your writing:

• Use sensory details: Sensory details are descriptions that appeal to the five senses: sight, sound, smell, taste, and touch. By using sensory details, you can help your readers experience the story in a more immersive way. For example, instead of saying, “The flower looked pretty,” you could say, “The bright red petals of the rose glistened in the sun, emitting a sweet fragrance that filled the air.”
• Be specific: The more specific your descriptions, the more vivid the mental picture you create in your readers’ minds. Instead of saying, “The car drove down the street,” you could say, “The sleek, silver sports car zoomed down the winding road, its engine roaring like a lion.”
• Use metaphors and similes: Metaphors and similes are comparisons that help readers understand complex ideas by relating them to something familiar. For example, instead of saying, “She was sad,” you could say, “Her heart felt heavy like a stone sinking to the bottom of a lake.”
• Use personification: Personification is a literary device that gives human qualities to non-human things. By using personification, you can make your descriptions more engaging and memorable. For example, instead of saying, “The wind blew through the trees,” you could say, “The wind whispered secrets to the leaves, causing them to dance and rustle in the breeze.”

5. Personification: Assign Human Qualities to Non-Human Entities

Personification is a powerful literary device that can add depth and emotion to your writing. It involves assigning human qualities to non-human entities, such as animals, objects, or abstract concepts. Doing this can create a more relatable and engaging story that resonates with your readers.

When using personification, you should carefully choose the right characteristics to assign to your non-human entities. For example, you might describe a tree as “strong and steadfast” to emphasize its resilience or a river as “wild and untamed” to highlight its power and unpredictability. The key is to choose appropriate and meaningful qualities for the story you are trying to tell.

One of the benefits of using personification in your writing is that it can help you create a more vivid and memorable image in your reader’s mind. By giving non-human entities human qualities, you can help your readers understand and connect with them on a deeper level. This can make your story more engaging and enjoyable to read.

However, it’s important to use personification sparingly and appropriately. Overusing this technique can make your writing feel forced or contrived and can distract from the story you are trying to tell. Instead, strategically use personification to enhance your storytelling and create a more powerful emotional impact.

6. Show, Don’t Tell: Describe Actions, Thoughts, and Feelings Rather Than Simply Stating Them

Creative writing is all about immersing your readers in the story and making them feel like they are a part of it. One of the best ways to achieve this is by using the “Show, Don’t Tell” technique. This technique encourages you to describe actions, thoughts, and feelings rather than simply stating them. Doing so can create a more engaging and vivid story that draws readers in and keeps them hooked.

When you “show” rather than “tell,” you allow your readers to experience the story for themselves. Instead of telling them that a character is angry, for example, you can show them by describing how the character clenches their fists, grits their teeth, and scowls. This creates a more vivid image in the reader’s mind, allowing them to empathize with the character and deeply feel their emotions.

To effectively use the “Show, Don’t Tell” technique, it’s important to use descriptive language that appeals to the senses. Use vivid imagery to describe what characters see, hear, smell, taste, and touch. This will help readers feel like they are in the story and allow them to experience it more fully.

Another key aspect of this technique is to use actions to convey emotions. Instead of telling your readers that a character is sad, for example, you can show them by describing how the character slumps their shoulders, avoids eye contact, and speaks quietly. This creates a more powerful emotional impact and makes the story more engaging and interesting.

7. Repetition: Reinforce a Point or Create Emphasis by Repeating Words or Phrases

Repetition is a powerful tool in creative writing that can reinforce a point or create emphasis. Repeating words or phrases can help to drive home a message, create a sense of rhythm, and make your writing more memorable. Here are some ways to use repetition in your writing:

1. Repetition of Words

Repeating a word can be a simple yet effective way to create emphasis. It can be used to highlight a key point or to create a sense of urgency. For example, “You must study, study, study to succeed.” The repetition of “study” emphasizes the importance of studying.

2. Repetition of Phrases

Repeating a phrase can create a sense of rhythm in your writing. It can also reinforce a point or create a memorable image. For example, “The night was dark, dark as coal, dark as the inside of a coffin.” The repetition of “dark” creates a vivid image in the reader’s mind.

3. Repetition of Structure

Repeating a structure can be used to create a sense of order or to emphasize a point. For example, “First, you must study. Then, you must practice. Finally, you must perform.” The repetition of “you must” creates a sense of order and emphasizes the importance of each step.

4. Repetition of Sound

Repeating a sound can be used to create a sense of rhythm or to emphasize a point. For example, “The rain pattered on the roof, splattered on the windows, and chattered on the pavement.” The repetition of the “at” sound creates a sense of rhythm and emphasizes the sound of the rain.

8. Alliteration: Use the Repetition of Consonant Sounds at the Beginning of Words

One creative writing technique that can add a musical quality to your writing is alliteration. Alliteration is the repetition of consonant sounds at the beginning of words close to each other. By using alliteration, you can create a rhythmic and memorable effect that can enhance the overall impact of your writing.

One common use of alliteration is in poetry, where it can help create a certain mood or tone. For example, consider the famous line from Edgar Allan Poe’s “The Raven”: “Once upon a midnight dreary, while I pondered, weak and weary.” The repetition of the “w” sound in “weak” and “weary” creates a sense of weariness and melancholy that fits the mood of the poem.

Alliteration can also be used in prose to create emphasis or to draw attention to certain words or phrases. For example, you might use alliteration to highlight the importance of a particular character or object. Consider this sentence: “The shimmering sword sliced through the darkness, sending sparks flying.” The repetition of the “s” sound in “shimmering,” “sword,” and “sparks” draws attention to the sword and its action, making it stand out in the sentence.

When using alliteration, it’s important to avoid overdoing it. Too much alliteration can become distracting or even annoying to the reader. Instead, use alliteration sparingly and strategically, focusing on the words and sounds most impacting your writing.

9. Assonance: Repeat Vowel Sounds Within Words

Assonance is a powerful tool to add rhythm and melody to your writing. It is a literary technique that involves repeating vowel sounds within words. The repetition of these sounds creates a musical effect that can add emphasis, mood, and tone to your writing.

Assonance is not the same as rhyme, which involves repeating the same sound at the end of words. Instead, assonance focuses on repeating vowel sounds within words, regardless of whether the words rhyme. For example, “The rain in Spain falls mainly on the plain” is an example of assonance, as the “ai” sound is repeated throughout the sentence.

Assonance can be used in a variety of ways to enhance your writing. Here are a few examples:

• Create a musical effect: By repeating vowel sounds, you can create a musical effect that can add rhythm and melody to your writing. This can help your writing flow more smoothly and make it more engaging to read.
• Emphasize certain words or phrases: By repeating vowel sounds in certain words or phrases, you can draw attention to them and make them stand out. This can help you emphasize important points or create a mood or tone in your writing.
• Add depth and complexity: By using assonance, you can add depth and complexity to your writing. This can help you create more nuanced and layered, more satisfying writing .

10. Onomatopoeia: Use Words That Imitate the Sounds They Represent

You should consider using onomatopoeia to make your writing more vivid and engaging. Onomatopoeia is the use of words that imitate the sounds they represent. This literary device can help you create a more immersive experience for your readers by allowing them to hear the sounds in their minds as they read.

Onomatopoeia can be used in a variety of ways. You can use it to describe nature’s sounds, like birds chirping or leaves rustling. You can also use it to describe the sounds of objects, like the beep of a car horn or the clanging of pots and pans in the kitchen. Onomatopoeia can even be used to describe the sounds of emotions, like the thumping of a heart or the sigh of relief.

One of the advantages of using onomatopoeia is that it can help you create a more sensory experience for your readers. Using words that imitate the sounds they represent, you can help your readers hear the sounds in their minds as they read. This can make your writing more engaging and memorable.

Another advantage of using onomatopoeia is that it can help you create a more realistic and authentic experience for your readers. Using words that imitate the sounds they represent can help your readers feel like they are in the scene with your characters. This can help you create a stronger emotional connection with your readers and make your writing more impactful.

Here are a few examples of onomatopoeia that you can use in your writing:

• Sizzle: This word imitates the sound of something cooking on a hot surface, like a steak on a grill.
• Buzz: This word imitates the sound of a bee or other insect flying around.
• Hiss: This word imitates the sound of air escaping from a tire or a snake slithering through the grass.
• Thump: This word imitates the sound of something heavy hitting the ground, like a book falling off a shelf.

11. Anaphora: Repeat the Same Word or Phrase at the Beginning of Successive Clauses

Anaphora is a rhetorical device that can create a powerful effect in your writing. It involves repeating the same word or phrase at the beginning of successive clauses or sentences. This repetition can help to emphasize an idea, create a rhythm, and make your writing more memorable.

When you use anaphora, you start each sentence or clause with the same word or phrase. This repetition can help to create a sense of unity and cohesion in your writing. It can also help emphasize a particular point or idea you want to convey to your reader.

Anaphora is often used in speeches and other forms of persuasive writing. For example, Martin Luther King Jr.’s “I Have a Dream” speech is full of examples of anaphora. In this speech, King repeatedly repeats the phrase “I have a dream” to emphasize his vision of a better future.

Using anaphora in your writing can help to create a similar effect. Repeating a word or phrase can create a sense of anticipation in your reader. They will be waiting for the next instance of that word or phrase, which can help to keep them engaged with your writing.

Here are some tips for using anaphora effectively in your writing:

• Choose a word or phrase that is important to your message.
• Use anaphora sparingly. Too much repetition can become tedious for your reader.
• Vary the length and structure of your sentences to keep your writing interesting.
• Experiment with different words and phrases to see which ones work best for your message.

12. Epistrophe: Repeat the Same Word or Phrase at the End of Successive Clauses

Epistrophe is a creative writing technique where the writer repeats the same word or phrase at the end of successive clauses or sentences. This technique is also known as epiphora. Epistrophe is used in poetry, speeches, and prose to create emphasis and rhythm.

Epistrophe is similar to anaphora when the writer repeats the same word or phrase at the beginning of successive clauses or sentences. The difference between the two is that epistrophe repeats the word or phrase at the end of the sentence, while anaphora repeats it at the beginning.

One famous example of epistrophe is from Abraham Lincoln’s Gettysburg Address: “Government of the people, by the people, for the people, shall not perish from the earth.” In this example, Lincoln repeats the phrase “of the people, by the people, for the people” at the end of each clause, creating a powerful and memorable effect.

Epistrophe can be used to create a sense of finality or to emphasize a particular point. It can also create a sense of rhythm or musicality in the writing. When using epistrophe, it’s important to choose a word or phrase that is meaningful and impactful, as repetition can quickly become tedious if it’s not used effectively.

13. Anadiplosis: Repeat the Last Word of One Clause at the Beginning of the Next Clause

Anadiplosis is a powerful literary device used in creative writing to create a sense of rhythm and repetition. In Anadiplosis, you repeat the last word of one clause at the beginning of the next clause. This technique is often used to emphasize a particular word or phrase and to create a sense of continuity in the text.

Anadiplosis is commonly used in poetry, speeches, and other forms of creative writing. It is a versatile technique that can be used to create various effects. For example, Anadiplosis can create a sense of urgency or build momentum in a narrative.

Anadiplosis can also create a sense of symmetry or balance in a text. By repeating a word or phrase, you can create a sense of harmony and order in your writing. This technique can be especially effective with literary devices like alliteration or rhyme.

Here are some examples of Anadiplosis in action:

• “Fear leads to anger. Anger leads to hate. Hate leads to suffering.” – Yoda, Star Wars.
• “The love of wicked men converts to fear; That fear to hate, and hate turns one or both To worthy danger and deserved death.” – William Shakespeare, Richard II.
• “When I give, I give myself.” – Walt Whitman, Song of Myself.

14. Chiasmus: Reverse the Order of Words in Two Parallel Phrases

Chiasmus is a literary device that reverses word order in two parallel phrases. It is a rhetorical device commonly used in literature, speeches, and other forms of creative writing. The word “chiasmus” comes from the Greek word “Kiasmos,” which means “crossing” or “x-shaped.”

Chiasmus is a powerful tool for writers because it can create a sense of balance and symmetry in a sentence. It can also help to emphasize a particular point or idea. By reversing the order of words, writers can create a memorable and impactful phrase that sticks with the reader.

Here are a few examples of chiasmus in action:

• “Ask not what your country can do for you, ask what you can do for your country.” – John F. Kennedy
• “You forget what you want to remember, and you remember what you want to forget.” – Cormac McCarthy, The Road
• “It is not the years in your life but the life in your years that counts.” – Adlai E. Stevenson

Notice how each of these examples has a similar structure. The first phrase sets up an idea, and the second phrase reverses the order of words to create a memorable and impactful statement.

When using chiasmus in your writing, it’s important to ensure that the reversed phrases make sense and flow well. It’s also important to use chiasmus sparingly, as overusing it can make your writing seem contrived or forced.

15. Adnomination: Repeat Words with the Same Root, Differing in One Sound or Letter

Adnomination is a literary device that involves repeating words with the same root but differing in one sound or letter. This technique can create a particular sound and effect in text. It can also be used to describe the repetition of a word but in a different sense. Adnomination is used frequently for emphatic contrast or punning.

Using adnomination can add emphasis and depth to your writing. It can help to create a poetic effect, making your writing more memorable and engaging for your readers. Adnomination can also help to create a sense of rhythm and flow in your writing.

Here are a few examples of adnomination:

• “She was the light of his life, the fire in his soul, and the wind in his sails.”
• “The city was a maze of streets, alleys, and avenues.”
• “The cat sat on the mat, looking fat and happy.”

As you can see from these examples, adnomination can create a sense of repetition and rhythm in your writing. It can also create a sense of contrast or comparison between different words.

When using adnomination in your writing, it’s important to use it sparingly. Overusing this technique can make your writing feel forced and contrived. Instead, try to use adnomination naturally and organically to your writing style.

16. Flashbacks: Reveal Past Events to Provide Context or Deepen Characterization

Flashbacks are a powerful tool that can reveal past events and provide context to your story. By taking the reader back in time, you can deepen the characterization of your protagonist, reveal important backstories, and create a more complex and nuanced narrative.

When using flashbacks, it’s important to be strategic. You don’t want to disrupt the flow of your story or confuse your reader. Here are some tips to help you use flashbacks effectively:

• Use flashbacks sparingly. Too many flashbacks can be disorienting and disrupt the flow of your story. Use them only when necessary to provide context or deepen characterization.
• Make sure your flashbacks are relevant. Your flashbacks should directly relate to the main story and help move the plot forward.
• Use clear transitions. Make it clear to your reader when moving into a flashback and returning to the present. You can use formatting, such as italics or a change in tense, to help differentiate between the two.
• Don’t rely on flashbacks to provide exposition. While flashbacks can be a great way to reveal important backstories, they shouldn’t be used as a crutch to provide exposition. Make sure your story is strong enough to stand on its own.

17. Dialogue: Use Conversations Between Characters to Convey Information and Develop Relationships

Dialogue is essential for creative writers to convey information and develop relationships between characters. You can reveal their personalities, motivations, and conflicts by writing conversations between characters. Dialogue can also move the plot forward and create tension in the story.

When writing dialogue, it is important to make it sound natural and believable. People do not always speak in complete sentences and often interrupt each other. Use contractions, slang, and regional dialects to make the dialogue more authentic. However, avoid using too much jargon or technical language that may confuse the reader.

To make the dialogue more engaging, use body language and gestures to show how the characters feel. For example, if a character is nervous, they may fidget or avoid eye contact. They may clench their fists or raise their voice if they are angry. These nonverbal cues can add depth and complexity to the conversation.

When writing dialogue, it is important to remember that every character has a voice and personality. Each character should have a unique way of speaking, with their vocabulary, tone, and syntax. This can help the reader distinguish between characters and make them more memorable.

18. Monologue: Allow a Character to Express Their Thoughts or Feelings in an Extended Speech

Monologues are an effective tool in creative writing that allows characters to express their thoughts or feelings in an extended speech. This technique is often used in theater but can also be used in books, movies, and other mediums. Monologues can be addressed to other characters in the scene, or they can be one character talking to themselves or the audience.

To write a compelling monologue, you must first understand your character’s motivations, fears, and desires. This will help you create a speech that is authentic and believable. You should also consider the setting and tone of the scene. Is the character angry, sad, or happy? Is the scene serious or humorous?

A good monologue will have a clear beginning, middle, and end. It should also be concise and to the point. Avoid rambling or going off on tangents. Use descriptive language and vivid imagery to engage the reader and bring the scene to life.

When writing a monologue, it’s important to remember that it should reveal something about the character. It should provide insight into their personality, beliefs, and values. It should also advance the plot or reveal something important about the story.

19. Symbolism: Use Objects, Characters, or Events to Represent Abstract Ideas or Concepts

Symbolism is a powerful literary device that can add depth and meaning to your writing. It uses objects, characters, or events to represent abstract ideas or concepts. Doing so can create a richer and more complex narrative that engages your readers on multiple levels.

One of the most important things to remember when using symbolism is that the symbol should be closely related to what it represents. A strong symbol usually shares key characteristics with whatever it is meant to symbolize or is related to it in some other way. For example, a dove symbolizes peace because of its gentle nature and association with religious stories.

Characters can also be symbolic. They can represent specific ideas or concepts or embody broader themes or motifs. For example, in “The Great Gatsby,” the character of Jay Gatsby represents the American Dream, while the character of Daisy Buchanan represents the corruption and superficiality of the wealthy elite.

Events can also be symbolic. They can represent larger societal issues or personal struggles. For example, in “To Kill a Mockingbird,” the trial of Tom Robinson represents the racial inequality and injustice prevalent in the American South during the 1930s.

When using symbolism, it’s important to remember that it should enhance your story rather than detract from it. Don’t use symbols just to use them; make sure they serve a purpose and add meaning to your narrative.

20. Irony: Create a Contrast Between What Is Expected and What Actually Occurs

Irony is a useful tool in creative writing that can help you create a contrast between what is expected and what actually occurs. Using irony, you can create a sense of surprise, humor, or even tragedy in your writing. There are three types of irony: verbal, situational, and dramatic.

Verbal Irony

Verbal irony is when a character says one thing but means the opposite. This type of irony is often used for comedic effect. For example, if a character says, “I just love being stuck in traffic for hours,” when they don’t enjoy it, that’s verbal irony.

Situational Irony

Situational irony is when the opposite of what is expected happens. This type of irony can create a sense of surprise or even tragedy. For example, if a firefighter’s house burns down, that’s situational irony.

Dramatic Irony

Dramatic irony is when the audience knows something that the characters do not. This type of irony can create tension and suspense in your writing. For example, if the audience knows that a character is about to be betrayed, but the character does not, that’s dramatic irony.

21. Hyperbole: Use Exaggeration for Emphasis or Effect

When it comes to creative writing, one technique that can be particularly effective is hyperbole. Hyperbole is a figure of speech that exaggerates something for emphasis or effect. Using hyperbole, you can create vivid images, convey strong emotions, and add humor to your writing.

Hyperbole can be used in a variety of ways. For example, you might use it to describe a character in your story. Instead of saying that your protagonist is “tall,” you might exaggerate and say they are “towering over everyone in the room.” This helps to create a stronger image in the reader’s mind and emphasizes the character’s physical presence.

Another way to use hyperbole is to add humor to your writing. For example, you might describe a character’s reaction to a situation exaggeratedly, such as saying they “nearly died of shock” when they received unexpected news. This can add a lighthearted touch to your writing and make it more engaging for readers.

When using hyperbole, it’s important to balance exaggeration and believability. While hyperbole is meant to be an exaggeration, it shouldn’t be so extreme that it becomes unbelievable or ridiculous. It’s also important to use hyperbole sparingly, as too much can make your writing feel over-the-top and tiresome.

22. Understatement: Minimize the Importance of Something for Emphasis or Humor

Understatement is a creative writing technique that involves intentionally representing something as less significant than it is. It is the opposite of hyperbole, which exaggerates the importance of something. Understatement is used to downplay the value or importance of something, often to create emphasis or humor.

Using understatement can be an effective way to make a point without being too direct or confrontational. It can also create a sense of irony or humor in your writing. For example, if you are writing a story about a character who has just won the lottery, you might use understatement to describe their reaction to the news. Instead of saying they were ecstatic, you could say they were “moderately pleased” or “mildly surprised.”

One of the benefits of using understatement is that it can create a sense of humility in your writing. It can show that you know the limitations of your knowledge or perspective. For example, if you write an opinion piece on a controversial topic, you might use understatement to acknowledge other valid viewpoints. You could say, “While it is true that some people believe X, others might argue Y.”

Another benefit of understatement is that it can create a sense of surprise or shock in your writing. By downplaying the importance of something, you can create a sudden shift in tone that catches the reader off guard. For example, if you are writing a horror story, you might use understatement to describe a gruesome scene. Instead of describing the blood and gore in graphic detail, you might say “there was a small amount of blood on the floor.”

23. Juxtaposition: Place Contrasting Elements Side by Side to Highlight Their Differences

Juxtaposition is a powerful tool in creative writing that involves placing two contrasting elements side by side to highlight their differences. This technique can create tension, irony, humor, or convey social or political commentary. By juxtaposing, you can draw attention to the differences between the two elements and create a more vivid and compelling narrative.

Juxtaposition can be used in various ways in creative writing. For example, you can use it to compare and contrast characters, settings, themes, or ideas. This technique can effectively highlight the differences between two characters or settings and create a sense of conflict or tension.

Another way to use juxtaposition is to create irony. By placing two seemingly unrelated elements, you can create a sense of irony that can be both humorous and thought-provoking.

For example, in George Orwell’s Animal Farm, the pigs who lead the revolution and establish a new social order are eventually revealed to be just as corrupt and oppressive as the humans they overthrew. This juxtaposition creates a powerful irony and underscores the novel’s social and political commentary.

Juxtaposition can also be used to create mood and atmosphere. By placing two contrasting elements side by side, you can create a sense of tension or unease that can add depth and complexity to your writing.

For example, in Edgar Allan Poe’s “The Masque of the Red Death,” the opulent and decadent party that the protagonist attends is juxtaposed with the looming presence of the Red Death, creating a sense of dread and foreboding that adds to the story’s horror and suspense.

24. Parallelism: Use Similar Grammatical Structures to Create Balance and Rhythm

Parallelism is a writing technique that uses similar grammatical structures to create balance and rhythm within a sentence. Using parallelism, you repeat a specific grammatical pattern throughout a sentence or paragraph. This repetition creates a sense of rhythm and balance, making your writing more engaging and memorable.

Parallelism can be used in many different ways, including:

• Creating lists: When you list items in your writing, you can use parallelism to make the list more readable and memorable. For example: “She loved to dance, sing, and act.”
• Emphasizing important points: Parallelism can be used to emphasize important ideas or concepts in your writing. For example: “You must work hard, study diligently, and never give up if you want to succeed.”
• Comparing and contrasting: Parallelism can also be used to compare and contrast ideas in your writing. For example: “He was both kind and cruel, generous and selfish, all at the same time.”

When using parallelism, it’s important to ensure that your repeating structures are truly parallel. This means that they should have the same grammatical form and structure. For example, if you use parallelism to create a list, each item should be structured similarly. This will make your writing more clear and compelling.

In addition to creating balance and rhythm, parallelism can help you convey your ideas more effectively. Repeating a specific grammatical pattern can draw attention to important ideas and make them more memorable. This can be especially useful when trying to persuade or convince your readers.

25. Oxymoron: Combine Contradictory Terms to Create a Striking Effect

An oxymoron is a figure of speech that combines two contradictory terms to create a striking effect. This literary device is often used in creative writing to add depth and complexity to a text. Oxymorons can create a sense of irony or humor or emphasize a point.

Oxymorons consist of two words that have opposite meanings. For example, “bittersweet,” “jumbo shrimp,” and “living dead” are all examples of oxymorons. These terms may seem contradictory, but when used together, they create a unique and memorable image in the reader’s mind.

When using oxymorons in your writing, it’s important to consider the context in which they are used. An oxymoron can be used to create a sense of irony or humor, but it can also be used to emphasize a point. For example, “cruel kindness” can highlight the negative impact of well-intentioned actions.

Oxymorons can also be used to create memorable and impactful descriptions. For example, the phrase “silent scream” creates a vivid image of a person expressing intense emotion without making a sound. Similarly, the phrase “dark light” can describe a situation where light and darkness are present.

26. Paradox: Present a Seemingly Contradictory Statement That Reveals a Deeper Truth

Paradox is a literary device that involves presenting a statement that appears contradictory but, upon further examination, reveals a deeper truth or meaning. It’s a powerful technique that can add depth and complexity to your writing.

One classic example of a paradox is the statement, “Less is more.” At first glance, this statement seems to contradict itself. How can less be more? But upon closer inspection, we can see that the statement reveals a more profound truth: that sometimes, simplicity is more effective than complexity.

Another example of a paradox is the statement, “The enemy of my enemy is my friend.” This statement appears contradictory because how can someone who is also an enemy be considered a friend? But upon closer examination, we can see that this statement reveals a deeper truth: sometimes, people with a common enemy can work together towards a common goal.

Paradoxes can be used in a variety of ways in creative writing. They can add depth and complexity to characters, reveal hidden meanings and truths, and create a sense of mystery and intrigue. When using paradoxes in your writing, it’s vital to ensure they are relevant to the story and add value to the reader’s understanding.

To create a paradox, consider the theme or message you want to convey in your writing. Think about how you can present a statement that appears contradictory but reveals a deeper truth. Consider using contrasting words or phrases, such as “love and hate” or “life and death,” to create a sense of tension and intrigue.

27. Pun: Use a Play on Words for Humor or Emphasis

Puns are a popular literary device that can add humor and emphasis to your writing. A pun is a play on words involving words with similar sounds but different meanings. Puns can be used for comedic effect, to create irony, or to add depth to your writing.

To use a pun in your writing, you need to identify words or phrases that have multiple meanings or that sound similar to other words. For example, you could use a pun by saying, “I’m reading a book on anti-gravity. It’s impossible to put down!” This pun relies on the double meaning of “put down,” which can mean physically placing something down and losing interest.

Puns can also be used to create irony or to add depth to your writing. For example, you could use a pun in a serious piece of writing to draw attention to a particular point. This can be an effective way to add emphasis to your message without being too heavy-handed.

When using puns, it’s important not to overdo them. Too many puns can be distracting and can take away from the overall message of your writing. Instead, use puns sparingly and strategically to add humor or emphasis where needed.

28. Foreshadowing: Hint at Future Events in the Story

Foreshadowing is a literary technique that hints at future events in a story. It is a powerful tool that builds suspense, creates tension, and keeps readers engaged. By foreshadowing, you can prepare your readers for what’s to come and make the story more satisfying when the events finally unfold.

There are several ways to use foreshadowing in your writing. One common method is to use symbolism. For example, you might use a recurring image or object to hint at something that will happen later in the story. This can help create a sense of continuity and add depth to your writing.

Another way to use foreshadowing is through dialogue. You can use your characters’ conversations to hint at future events or big reveals. This can be a joke, an offhand comment, or even something unsaid that adds personality to your characters while planting the seed for later revelations.

Foreshadowing can also be used to create dramatic irony. This is when the reader knows something that the characters do not, which can create tension and anticipation. For example, if a character is planning a surprise party, but the reader knows that the guest of honor hates surprises, the reader will be on the edge of their seat waiting for the reveal.

When using foreshadowing, it’s essential to strike a balance. You don’t want to give away too much information too soon, but you also don’t want to be so subtle that your readers miss the hints altogether. It’s a delicate dance, but foreshadowing can be a powerful tool in your creative writing toolbox.

29. Euphemism: Use a Mild or Indirect Expression to Replace a Harsh or Blunt One

In creative writing, euphemism is a technique used to substitute a harsh or blunt expression with a mild or indirect one. It helps to convey a message without being offensive or unpleasant. Euphemism is often used in literature to add depth and subtlety to a character’s dialogue or to describe sensitive subjects.

For example, instead of saying, “he died,” a writer might use the euphemism “he passed away,” which conveys the same meaning but more gently and respectfully. Similarly, instead of saying, “She’s fat,” a writer might use the euphemism “She’s curvy” or “She’s full-figured,” which are less harsh and more positive.

Euphemism can also be used to create irony or humor. For instance, in George Orwell’s novel “Animal Farm,” the pigs use euphemisms to manipulate the other animals and justify their actions. They refer to stealing food as the “readjustment of rations” and executions as “sending to the knacker.”

However, it’s important to use euphemisms carefully and appropriately. Overuse can make writing sound insincere or cliché. It’s also important to consider the context and audience. What may be an appropriate euphemism in one situation may not be in another.

30. Stream of Consciousness: Write from the Perspective of a Character’s Thoughts and Feelings

Stream of consciousness is a writing technique that captures the natural flow of a character’s extended thought process. This technique is often used to convey the character’s thoughts and feelings realistically, and it can be a powerful tool for immersing the reader in the story.

To write from the perspective of a character’s thoughts and feelings using the stream-of-consciousness technique, you need to incorporate sensory impressions, vague ideas, unusual syntax, and rough grammar. Your writing may not flow logically, but it will be more authentic and reflect the character’s inner world.

One way to get started with stream-of-consciousness writing is to imagine that you are the character and try to write down everything that comes to mind. Don’t worry about grammar or punctuation at first; focus on capturing the character’s thoughts and feelings as they come. You can always go back and edit later.

Another technique is to use a prompt or trigger to get the character’s thoughts flowing. For example, you could write about a specific event or memory important to the character or use a sensory detail like a smell or sound to evoke a particular emotion.

Remember that stream-of-consciousness writing can be challenging for readers who are used to more traditional storytelling techniques. To make your writing more accessible, you can use formatting tools like italics or bold text to indicate when the character is thinking versus speaking or paragraph breaks to signal a shift in the character’s thoughts.

31, Epistolary: Tell a Story Through Letters, Diary Entries, or Other Documents

Epistolary writing is a technique that involves telling a story through letters, diary entries, or other documents. This technique can create a sense of intimacy between the reader and the characters and provide a unique perspective on the story.

To write an epistolary story, you should first develop a narrative arc. This means you should clearly understand your story’s beginning, middle, and end before you start writing. Once you have this in mind, you can start thinking about the letters or other documents that will make up your story.

One of the advantages of epistolary writing is that it allows you to create a sense of immediacy and intimacy that is difficult to achieve with other techniques. By using letters or diary entries , you can give the reader a direct insight into the thoughts and feelings of your characters. This can be particularly effective if you write a story dealing with complex emotions or relationships.

Another advantage of epistolary writing is that it allows you to experiment with different voices and styles. Because a different character writes each letter or diary entry, you can use this technique to create a sense of diversity and variety in your story. This can be particularly effective if you are writing a story that deals with multiple perspectives or points of view.

32. Magic Realism: Blend Elements of the Fantastical with the Everyday

Magic realism is a literary genre that combines fantastical elements with the everyday. It is a unique and fascinating technique that allows writers to create a world that is both familiar and strange, where magical and supernatural events are presented as a regular part of everyday life.

In magic realism, the fantastic is not presented as something extraordinary or unknown but as a part of the world. This creates a sense of wonder, enchantment, and connection to the world around us.

To write in the magic realism genre, you need to blend the fantastical with the everyday seamlessly and believably. This can be achieved by using a variety of techniques, such as:

• Subtle Magic: In magic realism, magic is often presented subtly , with small, everyday events taking on a magical quality. For example, a character might be able to see the future, or a tree might have the power to heal the sick.
• Symbolism and Metaphor: Magic realism often uses symbolism and metaphor to convey its message. For example, a character might be represented by an animal, or a magical event might represent a larger theme or idea.
• Mixing Genres: Magic realism often blends different genres, such as fantasy, horror, and romance, to create a unique and compelling story.
• Magical Realism vs. Fantasy: It is important to note that magical realism differs from fantasy. In fantasy, the magical elements are presented as something separate from the real world, while in magic realism, they are presented as an integral part of it.

33. Anthropomorphism: Give Human Traits to Animals or Objects

Anthropomorphism is a literary device attributing human traits to non-human things, such as animals or objects. This technique can add depth and complexity to your writing, allowing you to explore human emotions and experiences through the lens of non-human characters.

When using anthropomorphism, it’s important to balance realism and fantasy. While you want your non-human characters to be relatable and engaging, you also want them to be believable within the context of your story. Consider the following tips when incorporating anthropomorphism into your writing:

• Use specific details to create a vivid and realistic portrayal of your non-human characters. Think about their physical appearance, mannerisms, and behaviors and how they might differ from those of humans.
• Avoid relying too heavily on stereotypes or clichés when creating your non-human characters. Instead, draw on real-life observations and experiences to create unique and nuanced personalities.
• Consider the implications of giving human traits to non-human characters. How might this affect the themes and messages of your story? What commentary might you be making on human nature and society?

34. Allegory: Use a Story or Characters to Represent Abstract Ideas or Moral Lessons

Allegory is a powerful technique in creative writing that allows you to convey complex or abstract ideas through characters, events, or symbols. An allegory is a narrative in which the characters and events represent abstract ideas or moral lessons. This literary device is often used to convey political or social commentary or to explore philosophical or religious themes.

The use of symbolism is key to creating a compelling allegory. Symbols are objects, characters, or events that represent something beyond their literal meaning. When used in an allegory, symbols can represent abstract concepts or ideas in a way that is more accessible to the reader.

For example, George Orwell’s Animal Farm is an allegory in which the animals represent different factions of society, and the story’s events represent the Russian Revolution and the rise of Stalinism. Using animal characters and events that mirror real-world historical events allows the reader to connect with the story deeper and understand the underlying message.

Allegories can be used to explore a wide range of themes and ideas, from political and social commentary to personal growth and spiritual enlightenment. Some common themes explored through allegory include the struggle between good and evil, the nature of humanity, the search for truth and meaning, and the consequences of greed and corruption.

35. In Medias Res: Begin the Story in the Middle of the Action

One of the most effective ways to hook your readers is to start your story in media res, Latin for “in the middle of things.” This technique involves beginning your story during action rather than with exposition or background information. By plunging your readers into the middle of the story, you can immediately capture their attention and keep them engaged.

To use in media res effectively, you need to start with a scene that is both interesting and relevant to the story. This scene should raise questions in the reader’s mind and create a sense of urgency. For example, you might start a mystery novel with the detective already on the killer’s trail or a romance novel with the couple amid a heated argument.

One advantage of starting in media res is that it allows you to avoid the pitfalls of exposition. You can reveal this information through action and dialogue rather than telling your readers about the characters and their backgrounds. This not only makes your story more engaging but also helps to create a more immersive reading experience.

However, it’s important to remember that in media res is not appropriate for every story. If your story requires a lot of exposition or background information, starting in media res may confuse your readers and make it difficult for them to follow the plot. Additionally, if you start your story too far into the action, you may miss important opportunities to establish character and setting.

36. Frame Narrative: Use a Story Within a Story to Provide Context or Commentary

A frame narrative, also known as a frame story or framing device, is a literary technique that uses a story within a story to provide context or commentary. It is a powerful tool for writers who want to tell a complex story with multiple layers of meaning. Using a frame narrative, you can create a rich, immersive world that draws readers in and keeps them engaged.

In a frame narrative, the outer story serves as a frame or container for the inner story. The outer story provides context and commentary on the inner story, and the inner story provides depth and complexity to the outer story. This technique can create various effects, from suspense and mystery to humor and satire.

One of the most famous examples of a frame narrative is “The Canterbury Tales” by Geoffrey Chaucer. In this work, a group of pilgrims travels to Canterbury and decides to pass the time by telling stories. Each pilgrim tells a story, resulting in a collection of stories within a story. This technique allows Chaucer to explore various themes and ideas, from love and marriage to religion and politics.

Another example of a frame narrative is “One Thousand and One Nights,” also known as the Arabian Nights. This work is a collection of Middle Eastern and South Asian stories and folk tales compiled in Arabic during the Islamic Golden Age. The frame story is about a Persian king who marries a new bride every day and executes her the next morning.

To avoid this fate, the clever Scheherazade tells the king a story every night but leaves it unfinished, promising to finish it the next night. This goes on for 1,001 nights, and by the end, the king has fallen in love with Scheherazade and spares her life.

37. Unreliable Narrator: Use a Narrator Whose Credibility Is in Question

When it comes to creative writing, one technique that can be used to add depth and complexity to a story is the use of an unreliable narrator. An unreliable narrator is a character who tells the story but whose credibility is in question. This can be achieved through deliberate deception or unintentional misguidedness, forcing the reader to question the narrator’s reliability.

Using an unreliable narrator can add intrigue to a story, as the reader is forced to question the truthfulness of what they are being told. This can create a sense of tension and uncertainty that can keep the reader engaged throughout the story. Additionally, an unreliable narrator can explore themes of perception, truth, and memory as the reader is forced to consider what is real and imagined.

There are several ways to create an unreliable narrator in your writing. One way is to use a first-person point of view, as this allows the reader to see the story through the eyes of the narrator. This can make it easier to create a sense of intimacy with the character but also make it harder to trust their version of events.

Another way to create an unreliable narrator is to use a mentally unstable or emotionally compromised character. This can make it harder for the reader to separate truth from fiction, as the character’s perception of reality may be skewed. Villains, insane people, fools, liars, or hypocrites can all be examples of unreliable narrators.

38. Multiple Narrators: Tell the Story from the Perspectives of Different Characters

If you want to add depth and complexity to your story, consider using multiple narrators. This technique allows you to tell the story from different characters’ perspectives, providing a more nuanced view of the events and allowing the reader to see the story from different angles.

To use multiple narrators effectively, it’s important to choose characters whose perspectives are compelling and distinct. You want to avoid confusing the reader, so make sure each character has a distinct voice and point of view. Consider the following tips:

• Choose characters who have different backgrounds, experiences, and goals. This will allow you to explore different aspects of the story and add complexity to the plot .
• Use chapter headings or other markers to indicate when the perspective is changing. This will help the reader track who narrates the story and prevent confusion.
• Be consistent with the point of view. If you use first-person narration for one character, stick with that for the entire chapter or section. This will help maintain consistency and clarity.
• Use multiple narrators to reveal different aspects of the story. For example, one character might have access to information that the others do not, or they might interpret events differently based on their own experiences and biases.

39. Cliffhanger: End a Chapter or Scene with Suspense to Keep Readers Engaged

One of the most effective techniques to keep readers engaged is to end a chapter or scene with a cliffhanger. A cliffhanger is a writing device that creates suspense and leaves the reader wanting more. It can be a sudden twist in the plot, a revelation, or a question left unanswered.

You must build tension and anticipation throughout the chapter or scene to create a cliffhanger. You can do this by introducing a problem or challenge the protagonist must overcome. As tension builds, you can escalate the stakes and introduce new obstacles that complicate the situation.

When you reach the end of the chapter or scene, you should leave the reader with a sense of uncertainty or anticipation. You can do this by ending with a question, a revelation, or a sudden twist in the plot. The key is creating a sense of urgency that makes the reader want to turn the page and discover what happens next.

Here are some tips for creating effective cliffhangers:

• Keep it short and sweet: A cliffhanger should be no more than a few sentences long. It should be concise and to the point, leaving the reader with a clear sense of what is at stake.
• Use strong verbs: To create a sense of urgency, use strong verbs that convey action and movement. Avoid weak or passive language that slows down the pace of the story.
• Leave the reader with a question: A cliffhanger should leave the reader with a question that needs to be answered. This can be a question about the plot, the characters, or the setting.
• Escalate the stakes: As the tension builds, you should escalate the stakes and make the situation more difficult for the protagonist. This will create a sense of urgency and keep the reader engaged.

Frequently Asked Questions

What are some common creative writing techniques used in literature.

Many creative writing techniques are used in literature, but some of the most common ones include imagery, symbolism, foreshadowing, and flashbacks.

Imagery uses vivid descriptions and sensory details to create a mental picture in the reader’s mind. Symbolism represents abstract ideas or concepts using objects, characters, or actions. Foreshadowing uses hints or clues to suggest what will happen later in the story. Flashbacks are scenes that occur in the past and are used to provide background information or reveal something important about a character or event.

How can descriptive writing techniques be used to enhance storytelling?

Descriptive writing techniques can enhance storytelling by creating a vivid and immersive experience for the reader. By using sensory details such as sights, sounds, smells, and textures, you can transport your reader to the world you’ve created and make them feel like they’re a part of the story. Descriptive writing can also create mood and atmosphere, reveal character traits, and set the tone for the story.

What are some examples of persuasive writing techniques?

Persuasive writing techniques convince the reader to take a particular action or adopt a particular point of view. Some standard techniques include emotional appeals, such as fear or desire, to get the reader to act. Another technique is using logic and reasoning to present a strong argument for your point of view. You can also use rhetorical questions, repetition, and other persuasive devices to make your argument more compelling.

How can identifying different writing techniques improve my writing?

Identifying different writing techniques can improve your writing by giving you a better understanding of how to use them effectively. By studying the techniques used by other writers, you can learn how to create more engaging characters, build tension and suspense, and create a more immersive world for your readers. You can also learn different techniques to achieve different effects, such as creating a sense of mystery or building empathy for your characters.

What are some of the most important elements when using creative writing techniques?

When using creative writing techniques, it’s important to consider the audience you’re writing for, the genre you’re writing in, and the purpose of your writing. It would help if you also considered the tone and style of your writing and the pacing and structure of your story. It’s important to use techniques appropriate for your story and help you achieve your desired effect.

What are some examples of different types of creative writing beyond fiction and poetry?

Creative writing encompasses various genres and styles, including memoirs, personal essays, screenplays, and even video game scripts. Some writers also use creative writing techniques in non-fiction, such as journalism and academic writing. The key to using creative writing techniques effectively is to adapt them to the specific genre and style of writing you’re working in.

Transitional Words and Phrases

One of your primary goals as a writer is to present ideas in a clear and understandable way. To help readers move through your complex ideas, you want to be intentional about how you structure your paper as a whole as well as how you form the individual paragraphs that comprise it. In order to think through the challenges of presenting your ideas articulately, logically, and in ways that seem natural to your readers, check out some of these resources: Developing a Thesis Statement , Paragraphing , and Developing Strategic Transitions: Writing that Establishes Relationships and Connections Between Ideas.

While clear writing is mostly achieved through the deliberate sequencing of your ideas across your entire paper, you can guide readers through the connections you’re making by using transitional words in individual sentences. Transitional words and phrases can create powerful links between your ideas and can help your reader understand your paper’s logic.

In what follows, we’ve included a list of frequently used transitional words and phrases that can help you establish how your various ideas relate to each other. We’ve divided these words and phrases into categories based on the common kinds of relationships writers establish between ideas.

Two recommendations: Use these transitions strategically by making sure that the word or phrase you’re choosing matches the logic of the relationship you’re emphasizing or the connection you’re making. All of these words and phrases have different meanings, nuances, and connotations, so before using a particular transitional word in your paper, be sure you understand its meaning and usage completely, and be sure that it’s the right match for your paper’s logic. Use these transitional words and phrases sparingly because if you use too many of them, your readers might feel like you are overexplaining connections that are already clear.

Categories of Transition Words and Phrases

Causation Chronology Combinations Contrast Example

Importance Location Similarity Clarification Concession

Conclusion Intensification Purpose Summary

Transitions to help establish some of the most common kinds of relationships

Causation– Connecting instigator(s) to consequence(s).

accordingly as a result and so because

consequently for that reason hence on account of

since therefore thus

Chronology– Connecting what issues in regard to when they occur.

after afterwards always at length during earlier following immediately in the meantime

later never next now once simultaneously so far sometimes

soon subsequently then this time until now when whenever while

Combinations Lists– Connecting numerous events. Part/Whole– Connecting numerous elements that make up something bigger.

additionally again also and, or, not as a result besides even more

finally first, firstly further furthermore in addition in the first place in the second place

last, lastly moreover next second, secondly, etc. too

Contrast– Connecting two things by focusing on their differences.

after all although and yet at the same time but

despite however in contrast nevertheless nonetheless notwithstanding

on the contrary on the other hand otherwise though yet

Example– Connecting a general idea to a particular instance of this idea.

as an illustration e.g., (from a Latin abbreviation for “for example”)

for example for instance specifically that is

to demonstrate to illustrate

Importance– Connecting what is critical to what is more inconsequential.

chiefly critically

foundationally most importantly

of less importance primarily

Location– Connecting elements according to where they are placed in relationship to each other.

above adjacent to below beyond

centrally here nearby neighboring on

opposite to peripherally there wherever

Similarity– Connecting to things by suggesting that they are in some way alike.

by the same token in like manner

in similar fashion here in the same way

likewise wherever

Other kinds of transitional words and phrases Clarification

i.e., (from a Latin abbreviation for “that is”) in other words

that is that is to say to clarify to explain

to put it another way to rephrase it

granted it is true

naturally of course

finally lastly

in conclusion in the end

to conclude

Intensification

in fact indeed no

of course surely to repeat

undoubtedly without doubt yes

for this purpose in order that

so that to that end

to this end

in brief in sum

in summary in short

to sum up to summarize

Improving Your Writing Style

This is an accordion element with a series of buttons that open and close related content panels.

Clear, Concise Sentences

Use the active voice

Put the action in the verb

Tidy up wordy phrases

Reduce wordy verbs

Reduce prepositional phrases

Reduce expletive constructions

Avoid using vague nouns

Avoid unneccessarily inflated words

Avoid noun strings

Connecting Ideas Through Transitions

Using Transitional Words and Phrases

Places on our 2024 summer school are filling fast. Don’t miss out. Enrol now to avoid disappointment

• 40 Useful Words and Phrases for Top-Notch Essays

To be truly brilliant, an essay needs to utilise the right language. You could make a great point, but if it’s not intelligently articulated, you almost needn’t have bothered.

Developing the language skills to build an argument and to write persuasively is crucial if you’re to write outstanding essays every time. In this article, we’re going to equip you with the words and phrases you need to write a top-notch essay, along with examples of how to utilise them.

It’s by no means an exhaustive list, and there will often be other ways of using the words and phrases we describe that we won’t have room to include, but there should be more than enough below to help you make an instant improvement to your essay-writing skills.

If you’re interested in developing your language and persuasive skills, Oxford Royale offers summer courses at its Oxford Summer School , Cambridge Summer School , London Summer School , San Francisco Summer School and Yale Summer School . You can study courses to learn english , prepare for careers in law , medicine , business , engineering and leadership.

General explaining

Let’s start by looking at language for general explanations of complex points.

1. In order to

Usage: “In order to” can be used to introduce an explanation for the purpose of an argument. Example: “In order to understand X, we need first to understand Y.”

2. In other words

Usage: Use “in other words” when you want to express something in a different way (more simply), to make it easier to understand, or to emphasise or expand on a point. Example: “Frogs are amphibians. In other words, they live on the land and in the water.”

3. To put it another way

Usage: This phrase is another way of saying “in other words”, and can be used in particularly complex points, when you feel that an alternative way of wording a problem may help the reader achieve a better understanding of its significance. Example: “Plants rely on photosynthesis. To put it another way, they will die without the sun.”

4. That is to say

Usage: “That is” and “that is to say” can be used to add further detail to your explanation, or to be more precise. Example: “Whales are mammals. That is to say, they must breathe air.”

5. To that end

Usage: Use “to that end” or “to this end” in a similar way to “in order to” or “so”. Example: “Zoologists have long sought to understand how animals communicate with each other. To that end, a new study has been launched that looks at elephant sounds and their possible meanings.”

Adding additional information to support a point

Students often make the mistake of using synonyms of “and” each time they want to add further information in support of a point they’re making, or to build an argument . Here are some cleverer ways of doing this.

6. Moreover

Usage: Employ “moreover” at the start of a sentence to add extra information in support of a point you’re making. Example: “Moreover, the results of a recent piece of research provide compelling evidence in support of…”

7. Furthermore

Usage:This is also generally used at the start of a sentence, to add extra information. Example: “Furthermore, there is evidence to suggest that…”

8. What’s more

Usage: This is used in the same way as “moreover” and “furthermore”. Example: “What’s more, this isn’t the only evidence that supports this hypothesis.”

9. Likewise

Usage: Use “likewise” when you want to talk about something that agrees with what you’ve just mentioned. Example: “Scholar A believes X. Likewise, Scholar B argues compellingly in favour of this point of view.”

10. Similarly

Usage: Use “similarly” in the same way as “likewise”. Example: “Audiences at the time reacted with shock to Beethoven’s new work, because it was very different to what they were used to. Similarly, we have a tendency to react with surprise to the unfamiliar.”

11. Another key thing to remember

Usage: Use the phrase “another key point to remember” or “another key fact to remember” to introduce additional facts without using the word “also”. Example: “As a Romantic, Blake was a proponent of a closer relationship between humans and nature. Another key point to remember is that Blake was writing during the Industrial Revolution, which had a major impact on the world around him.”

12. As well as

Usage: Use “as well as” instead of “also” or “and”. Example: “Scholar A argued that this was due to X, as well as Y.”

13. Not only… but also

Usage: This wording is used to add an extra piece of information, often something that’s in some way more surprising or unexpected than the first piece of information. Example: “Not only did Edmund Hillary have the honour of being the first to reach the summit of Everest, but he was also appointed Knight Commander of the Order of the British Empire.”

14. Coupled with

Usage: Used when considering two or more arguments at a time. Example: “Coupled with the literary evidence, the statistics paint a compelling view of…”

15. Firstly, secondly, thirdly…

Usage: This can be used to structure an argument, presenting facts clearly one after the other. Example: “There are many points in support of this view. Firstly, X. Secondly, Y. And thirdly, Z.

16. Not to mention/to say nothing of

Usage: “Not to mention” and “to say nothing of” can be used to add extra information with a bit of emphasis. Example: “The war caused unprecedented suffering to millions of people, not to mention its impact on the country’s economy.”

Words and phrases for demonstrating contrast

When you’re developing an argument, you will often need to present contrasting or opposing opinions or evidence – “it could show this, but it could also show this”, or “X says this, but Y disagrees”. This section covers words you can use instead of the “but” in these examples, to make your writing sound more intelligent and interesting.

17. However

Usage: Use “however” to introduce a point that disagrees with what you’ve just said. Example: “Scholar A thinks this. However, Scholar B reached a different conclusion.”

18. On the other hand

Usage: Usage of this phrase includes introducing a contrasting interpretation of the same piece of evidence, a different piece of evidence that suggests something else, or an opposing opinion. Example: “The historical evidence appears to suggest a clear-cut situation. On the other hand, the archaeological evidence presents a somewhat less straightforward picture of what happened that day.”

19. Having said that

Usage: Used in a similar manner to “on the other hand” or “but”. Example: “The historians are unanimous in telling us X, an agreement that suggests that this version of events must be an accurate account. Having said that, the archaeology tells a different story.”

20. By contrast/in comparison

Usage: Use “by contrast” or “in comparison” when you’re comparing and contrasting pieces of evidence. Example: “Scholar A’s opinion, then, is based on insufficient evidence. By contrast, Scholar B’s opinion seems more plausible.”

21. Then again

Usage: Use this to cast doubt on an assertion. Example: “Writer A asserts that this was the reason for what happened. Then again, it’s possible that he was being paid to say this.”

22. That said

Usage: This is used in the same way as “then again”. Example: “The evidence ostensibly appears to point to this conclusion. That said, much of the evidence is unreliable at best.”

Usage: Use this when you want to introduce a contrasting idea. Example: “Much of scholarship has focused on this evidence. Yet not everyone agrees that this is the most important aspect of the situation.”

Adding a proviso or acknowledging reservations

Sometimes, you may need to acknowledge a shortfalling in a piece of evidence, or add a proviso. Here are some ways of doing so.

24. Despite this

Usage: Use “despite this” or “in spite of this” when you want to outline a point that stands regardless of a shortfalling in the evidence. Example: “The sample size was small, but the results were important despite this.”

25. With this in mind

Usage: Use this when you want your reader to consider a point in the knowledge of something else. Example: “We’ve seen that the methods used in the 19th century study did not always live up to the rigorous standards expected in scientific research today, which makes it difficult to draw definite conclusions. With this in mind, let’s look at a more recent study to see how the results compare.”

26. Provided that

Usage: This means “on condition that”. You can also say “providing that” or just “providing” to mean the same thing. Example: “We may use this as evidence to support our argument, provided that we bear in mind the limitations of the methods used to obtain it.”

27. In view of/in light of

Usage: These phrases are used when something has shed light on something else. Example: “In light of the evidence from the 2013 study, we have a better understanding of…”

28. Nonetheless

Usage: This is similar to “despite this”. Example: “The study had its limitations, but it was nonetheless groundbreaking for its day.”

29. Nevertheless

Usage: This is the same as “nonetheless”. Example: “The study was flawed, but it was important nevertheless.”

30. Notwithstanding

Usage: This is another way of saying “nonetheless”. Example: “Notwithstanding the limitations of the methodology used, it was an important study in the development of how we view the workings of the human mind.”

Giving examples

Good essays always back up points with examples, but it’s going to get boring if you use the expression “for example” every time. Here are a couple of other ways of saying the same thing.

31. For instance

Example: “Some birds migrate to avoid harsher winter climates. Swallows, for instance, leave the UK in early winter and fly south…”

32. To give an illustration

Example: “To give an illustration of what I mean, let’s look at the case of…”

Signifying importance

When you want to demonstrate that a point is particularly important, there are several ways of highlighting it as such.

33. Significantly

Usage: Used to introduce a point that is loaded with meaning that might not be immediately apparent. Example: “Significantly, Tacitus omits to tell us the kind of gossip prevalent in Suetonius’ accounts of the same period.”

34. Notably

Usage: This can be used to mean “significantly” (as above), and it can also be used interchangeably with “in particular” (the example below demonstrates the first of these ways of using it). Example: “Actual figures are notably absent from Scholar A’s analysis.”

35. Importantly

Usage: Use “importantly” interchangeably with “significantly”. Example: “Importantly, Scholar A was being employed by X when he wrote this work, and was presumably therefore under pressure to portray the situation more favourably than he perhaps might otherwise have done.”

Summarising

You’ve almost made it to the end of the essay, but your work isn’t over yet. You need to end by wrapping up everything you’ve talked about, showing that you’ve considered the arguments on both sides and reached the most likely conclusion. Here are some words and phrases to help you.

36. In conclusion

Usage: Typically used to introduce the concluding paragraph or sentence of an essay, summarising what you’ve discussed in a broad overview. Example: “In conclusion, the evidence points almost exclusively to Argument A.”

37. Above all

Usage: Used to signify what you believe to be the most significant point, and the main takeaway from the essay. Example: “Above all, it seems pertinent to remember that…”

38. Persuasive

Usage: This is a useful word to use when summarising which argument you find most convincing. Example: “Scholar A’s point – that Constanze Mozart was motivated by financial gain – seems to me to be the most persuasive argument for her actions following Mozart’s death.”

39. Compelling

Usage: Use in the same way as “persuasive” above. Example: “The most compelling argument is presented by Scholar A.”

40. All things considered

Usage: This means “taking everything into account”. Example: “All things considered, it seems reasonable to assume that…”

How many of these words and phrases will you get into your next essay? And are any of your favourite essay terms missing from our list? Let us know in the comments below, or get in touch here to find out more about courses that can help you with your essays.

At Oxford Royale Academy, we offer a number of  summer school courses for young people who are keen to improve their essay writing skills. Click here to apply for one of our courses today, including law , business , medicine  and engineering .

Comments are closed.

Looking to publish? Meet your dream editor, designer and marketer on Reedsy.

Find the perfect editor for your next book

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

Guides • Perfecting your Craft

Last updated on Dec 02, 2021

270+ Other Words For "Said" To Supercharge Your Writing

If you've read our previous post on writing dialogue , you'll know that you shouldn't be afraid to default to he said , she said , or they said  when you're tagging your dialogue. After all, it's probably the clearest, least distracting way to indicate who's saying what. That being said, it can be useful to deploy a specific and powerful dialogue tag every now and again. 

Which dialogue tag are YOU?

Find out in just a minute.

To help you find that perfect synonym to inject action and emotion into your dialogue, here are over 270 other words for said:

Neutral/multi-purpose words

Happy/excited words , sad/upset words , angry words , annoyed words, frightened/pained words, prideful words.

NEW REEDSY COURSE

How to Write a Novel

Enroll in our course and become an author in three months.

Words to express uncertainty

Words that make fun, words that ask a question, words that give an answer, download this 'greatest hits' list.

For this infographic, we've narrowed down the 270 most essential dialogue words for you to know! Simply enter your email below to get it in your inbox within minutes.

FREE RESOURCE

Get our Dialogue Tag Cheatsheet

Upgrade your dialogue with our list of 270 alternatives to “said.”

To see how master writers assemble their dialogue, head over to our final post in this series for some choice examples of dialogue.

Join a community of over 1 million authors

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

Catch your errors

Polish your writing in the *free* Reedsy Book Editor.

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

Enter your email or get started with a social account:

• Mathematics
• Student App
• Subscriptions

Mastering the Art of Creative Writing in PSLE English Composition

Descriptive writing is not everyone’s cup of tea. In PSLE English composition, however, it is a prerequisite. This exam component tests your child’s creative ability to express thoughts and feelings. How can your child polish their creative writing skills and write compelling compositions in the PSLE English exam? There are several effective ways to achieve this ability.

5 Ways to Use Emotions & Expressive Phrases in Creative Writing

Creative writing may not be an innate quality for everyone. However, that doesn’t mean your child cannot learn this art and master it to perfection. It takes practice to hone creative writing skills in compositions. However, it takes more than just hours of continuous practice to make your child secure the highest grades.

• They must learn to master content and language skills.
• They should know to use the “right phrase” in the “right place.”

Sounds complicated? Here are some tips to improve your child’s ability to embellish the PSLE English composition with creative writing.

1. Polish up English skills.

PSLE English composition tests your child’s mastery of the language involving:

• Use of grammar and vocabulary
• Spelling and punctuation
• Sentence structure
• Paragraphing
• Connecting ideas

Above all, your child should be able to write and transform their imagination, feelings, and thoughts into well-worded sentences. This combination of language skills will help your child score desirable marks in PSLE English .

2. Categorise the descriptive phrases.

Descriptive phrases of feelings and emotions are divided into three categories:

• Outside description or what is physically visible. For example: “The sunset painted an orange hue on the horizon.”
• Inside description or attributes that you cannot visibly see in a character. For example: He was boiling with rage.
• Action or a physical reaction to an emotion. For example: She was shivering and shaking like a leaf in the biting cold.

Children who understand that emotions in a composition are a blend of the “outside”, the “inside”, and the “actions” know how, when, and where to use the phrases for maximum effect.

3. Identify the examiner’s requirements.

In PSLE English, the examiners will look for:

• Relevance of the story plot
• Connection of ideas
• Your child’s understanding of the core topic
• Ability to stay on track with the main plot
• Ability to fulfil the topic requirements

It is very likely that your child will score excellent marks in the English portion of PSLE if the composition checks all of these boxes.

4. Combine the character’s appearance, emotions & actions.

The sentences in your composition should “show” and not merely “tell”. Take this sentence, for example: “He was angry.” This sentence is as bland as it can be and doesn’t give the reader(the examiner) more information to picture the character in their minds.

The same emotion is better conveyed when the students combine the character’s looks, feelings, and actions in the sentence. For example: “ Get away from my orchard. Stop plucking my apples,” shouted Mr. Smith as he ran (action) towards the children who fled (action) when they heard his bellowing voice. When Mr Smith reached the spot, he was panting heavily (action). His face clouded (inside) when he saw that the children’s basket was full of apples.

5. Use phrases wisely.

Simple phrases that are short, concise, and straightforward add a whole new dimension to your composition- but only when used appropriately. The composition should be interspersed with simple and descriptive sentences to make for an enjoyable read. The main aim is to write for the reader’s enjoyment rather than to impress them. Here’s a list of simple phrases that adequately describe emotions.

1. Anger expressed through facial expressions:

• Nostrils flared in anger
• Face scrunched up in frustration
• Eyebrows furrowed in suspicion

2. Anger expressed through actions

• Tightly clenched fists
• Shook with anger
• Anger erupted from within

3. Anger expressed with similes

• Blood boiled with anger
• Anger swirled within her

4. Fear conveyed through facial expressions

• Eyes widened with fear
• Lips quivered uncontrollably
• Face froze with fear

5. Fear conveyed through actions

• Stood frozen on the ground
• Voice trembled with fear
• Breathing intensified, and my spine tingled

6. Fear conveyed with similes

• As timid as a mouse
• Fear clouded her face
• Scared as a deer in a lion’s den

7. Sadness with facial expressions

• Lip curled downwards
• Soulless eyes
• Tears pooled in her eyes
• Crestfallen face

Also Read : Tips to Handle PSLE English Exam

8. Sadness conveyed with actions

• Trudged reluctantly
• Shoulders slumped
• Tore himself away

9. Sadness conveyed with Similes

• Sad as a dog without a bone
• The room was silent as a grave

Writing a story that has the reader (in this case, the PSLE examiner) completely enthralled is a skill that’s easier said than done. However, it is not impossible. Seek the help of teachers and other resources to improve your child’s artistic expression of words.

Write Better With StudySmart, Singapore StudySmart’s AI-powered app is a simple but highly effective way of refining your child’s PSLE English revision. Parents can also use our app to track their child’s progress or help them with homework. Contact us to learn more about StudySmart.

Leave a Reply Cancel reply

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

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

• AI in Education
• Exam Management
• Online Learning Apps
• Primary School
• PSLE English
• PSLE Preparation
• Singapore Education
• Privacy Policy

No. 1, North Bridge Road, #07-07 High Street Centre, Singapore - 179094

Phone:   +65 8488 8686 Email:   [email protected]

Grad Program: MA in Creative Writing in Russian (Moscow)

Application opens February 2019

For fiction/non-fiction writers in Russian.

MA “Creative Writing”  is:

• Practical and theoretical/historical courses, such as  Creative Writing Workshop ,  Storytelling in Different Media ,  Literary Editing , Poetics of Novel and Screenwriting ;
• Unique professors and teachers, among them famous Russian writers, screenwriters and critics –  Marina Stepnova ,  Lyudmila Ulitskaya ,  Lev Danilkin ,  Sergey Gandlevsky  and  Maya Kucherskaya  as well as prominent philologists, authors of academic and non-fiction books  Oleg Lekmanov ,  Ekaterina Lyamina  and  Alexey Vdovin ;
• Participation in open readings, discussions and  literary expeditions ,  publications in students’ projects ;
• International exchange  – lectures and workshops of the leading specialists in Creative Writing, students’ exchange in the best world universities;
•  Help and support in the process of  employment  in various publishing houses, editorials, Mass Media, high schools and universities and PR;
• Creation and participation in  cultural projects ;
• Flexible timetable  enabling students to work while studying.

Our graduates already work in the best publishing houses, universities and schools in Moscow. Their writing is published in the authoritative literary magazines. Their projects (such as prize  “_Litblog”  for the best literary blogger and first Creative Writing Internet resource in Russian  “Mnogobukv” and collections of prose) have gained much attention.

Language of instruction: Russian

You can apply to non-paid place as a foreign student in February. Looking forward to seeing you at Higher School of Economics!

More information about the programme:  https://www.hse.ru/en/ma/litmaster

The Moscow Trial

August, 1936.

Publisher: Communist Party of Great Britain , 1936 Printer: Marston Printing. (T. U. throughout ), Nelson Place, Cayton Street, London, E.C.1 Transcription\HTML Markup: Brian Reid Public Domain: Marxists Internet Archive (2008). You may freely copy, distribute, display and perform this work; as well as make derivative and commercial works. Please credit “Marxists Internet Archive” as your source.

On August 24th, 1936, a trial concluded in Moscow. A Soviet Court, acting in conformity with the established Criminal Code of the country, gave its verdict. Zinoviev, Kamenev and fourteen others, charged with plotting the murder of Stalin, Voroshilov and other leaders of the Communist Party and the Government of the Soviet Union, were found guilty. The death sentence was pronounced. It was carried out thirty hours later.

The Court also pronounced that the main instigator of the intended murders was Leo Trotsky, now interned in Norway.

No one will gainsay the importance of this trial. It has aroused much controversy. Sensational reports are of daily occurrence in the British Press. They tell of a “new Stalin purge,” “the end of Bolshevism,” of “risings by the Red Army,” of new arrests, of Russian trade representatives such as M. Ozersky being recalled to Moscow and his wife being kidnapped by Ogpu agents. In short, an anti-Soviet campaign is in full swing.

These sensational reports are coupled with attacks on the trial of Kamenev, Zinoviev and their associates, in the hope of discrediting the Soviet Union and its responsible leaders. It is hardly necessary to say that the reports of “a new wave of terror” in the Soviet Union are completely untrue, and that the main source of these reports is the German Nazi propaganda machine.

But there are many good friends of the Soviet Union who, while fully recognising the nature and aim of the press attacks, have nevertheless unconsciously been troubled by these attacks, and feel that there are many questions on the trial which require an answer.

My aim in writing this pamphlet is to provide that answer.

THE MURDER OF KIROV

Like all trials, the trial of Zinoviev and his associates has a background. It hasn’t just happened that the Soviet Government has suddenly discovered the existence of plots against the lives of several of its leaders. The recent trial of Zinoviev and his associates was intimately connected with an event which took place in the Smolny Institute in Leningrad, on the afternoon of December 1st, 1934: the actual murder of Sergei Kirov, secretary of the Central and Leningrad Committees of the Communist Party of the Soviet Union, and member of the Central Executive Committee of the U.S.S.R.

The assassin, L. V. Nickolaev, an employee in the former Workers’ and Peasants’ Inspection, was immediately arrested. Along with his arrest took place that of thirteen others who composed what was known by them as the “Leningrad Centre” of terrorists. On December 27th, 1934, the indictment against Nikolaev and his thirteen associates was published in full in all newspapers in the Soviet Union. This indictment shows:

1. That Nikolaev and his associates were members of an illegal counter-revolutionary group in Leningrad, and that they were all former members of the Zinoviev opposition.

2. That, according to Nikolaev’s own words, “the members of the group accepted the platform of the Trotsky-Zinoviev bloc. They considered it necessary to replace the existing Party leadership by all possible means. . . .”

3. That this group had as its chief work to disorganise the Soviet Government by assassination of the leaders.

4. That Nikolaev frequently visited a certain consulate in Leningrad where he conducted negotiations for help for the group. The consulate was afterwards proved to be the Latvian consulate.

“We could not wait for a change in the Party leadership by the methods of inner-Party democracy,” Nikolaev stated in explaining the aims of the “Leningrad Centre.”

“We realised that this course was completely precluded. This left one road, the road of terrorist acts. When I fired at Kirov, I reasoned as follows: Our shot must serve as a signal for an explosion, for an uprising within the country against the Communist Party of the Soviet Union and Soviet Power. . . .”

The examination of Nikolaev and his confederates set in motion further investigations. On December 23rd Zinoviev, Kamenev, and nineteen others were arrested. On January 16th, 1935, the Public Prosecutor published the indictment against them.

In this indictment evidence was brought forward to show that these leaders and members of the former opposition within the Communist Party of the Soviet Union had connections with, and were the inspirers of, the “Leningrad Centre” and a group known as the “Moscow Centre.” Speaking of his responsibility for the crime committed on December 1st, 1934, the accused Zinoviev deposed:

“. . . . The objective march of events was such that, with bowed head, I must say: the anti-Party struggle which assumed particularly sharp forms in the past year in Leningrad, could not but help in the degeneration of these scoundrels. This dastardly assassination threw such a sinister light on the past anti-Party struggle that I recognise that the Party is quite right in what it says on the question of political responsibility of the former anti-Party ‘Zinoviev’ group for the assassination that took place. . . .”

Kamenev made a similar deposition. Thus in January, 1935, they admitted their moral guilt for the murder, but covered up their actual guilt as the organisers of it.

The Military Collegium of the Supreme Court of the U.S.S.R., which tried the case at the time, sentenced Zinoviev and three others to ten years’ imprisonment, Kamenev to five years, and the other accused to sentences varying from eight to five years.

Being in the Soviet Union at this time, I well recall the hundreds of resolutions, passed at meetings of the Soviet people, that appeared in the Soviet press, demanding the utmost vigilance on the part of the Soviet Government and Communist Party to stamp out all the elements aiming to injure the country from within.

That these elements existed, that they were receiving help from outside the Soviet Union, was known. But it was only eighteen months later that certain discoveries by the Soviet authorities led to arrests and investigations, culminating in the trial of August, 1936.

THE TRIAL OF AUGUST,1936

On August 19th, 1936, Zinoviev, Kamenev and their fourteen fellow-conspirators appeared before the Moscow Court in the full blaze of publicity, with representatives present from every important newspaper in the world and, in addition, D. N. Pritt, K.C., M.P., eminent British barrister.

This latter fact is of very great significance in view of the slanderous assertions that have been made against the conduct of the trial by enemies of the Soviet Union. None can challenge either Mr. Pritt’s integrity nor his competence to understand the significance of court procedure and the value of evidence. And Mr. Pritt has unequivocally stated that the men in the dock had a fair trial.

Soviet legal procedure is not the same as British. By the time the case comes to court, all the preliminary evidence has been heard and sifted, and the court hears the results of this sifting. In many ways the procedure is similar to that adopted in France, U.S.A. and other countries.

The sixteen accused men had all confessed their guilt, and the Prosecution was in possession of signed confessions when the hearing was commenced. It has been stated, without a tittle of evidence, that these confessions had been obtained by methods of terror, or alternatively by a promise that sentence of death would not be carried out if they confessed. But anyone who reads the detailed report of the trial will see that the confessions arose from the weight of evidence, and that even to the last several of the accused were trying to evade full responsibility. Smirnov, for example, repeatedly denied that he had personally conveyed Trotsky’s instructions to murder Stalin and other Soviet leaders to the “Moscow Centre.” It was only after evidence had been given by other accused that Smirnov was at last compelled to admit that he had been personally responsible for transmitting Trotsky’s instructions.

Many people in Britain have found it difficult to understand the humiliating exhibition given by the prisoners in court. It is true that such behaviour is not normal, but neither is a resort to assassination by people who have professed Marxism. And it must be remembered that Kamenev and Zinoviev had more than once in the past, when in conflict with the Central Committee of the Communist Party, “confessed their errors” and by this means succeeded in maintaining themselves in positions from which they could carry on their factional fight against the Party.

The evidence in August, 1936, trial concerning these two revealed that after the murder of Kirov in December, 1934, they had each submitted glowing obituaries of Kirov to Pravda , the official paper of the Communist Party, with the idea of covering up their tracks. Further evidence dealt with a meeting of the conspirators after one of their numerous recantations. Kamenev was congratulated on the way he had put over his hypocritical conversion, but chuckling, he replied that it was nothing to that of Zinoviev, who had even been able to produce tears in his eyes.

The evidence showed that for a long while there existed in the Soviet Union the two groups of Oppositionists, that led by Trotsky from abroad, and the Zinoviev-Kamenev group. They had hated each other almost as much as they had hated Stalin and the other leaders of the Soviet Government. With the success of Socialistic construction, however, both groups began to realise that what little mass support they might have had in the beginning had completely fallen away from them. In desperation emissaries from Zinoviev and Kamenev went abroad to meet Trotsky’s agents and Trotsky himself. They hoped by joining forces to make up some of the ground they had lost.

But Trotsky had no such illusions. He knew that mass support could never be won again in the face of the triumphant success recorded by the Soviet Government. Therefore he suggested, and insisted, that only the murder of the present leaders could pave the way to the return of the Trotsky-Zinoviev group to influence in the Soviet Union. If they could within a short time assassinate successively Stalin, Voroshilov, and other leaders, confusion of such a character could be created that they would then be able to seize the reins for themselves.

And then—this was a truly fascist touch—all those tools that they had used in the various Commissariats to help them carry through their plans were to be assassinated too, so that none would be left alive who could tell the world of their crimes. How low this group had sunk was shown by overwhelming evidence that these former revolutionaries had not scrupled to make contact with the “Gestapo” (Nazi Secret Police) and get assistance from them to carry through their plans. Some of the group, it turned out, had been directly sent to the Soviet Union from abroad by Trotsky, for the purpose of organising assassinations; some had entered the Soviet Union on passports obligingly forged for them by the German “Gestapo.”

On one point all the accused men spoke with one voice: Every communication received from Trotsky harped on the theme: Kill Stalin.

One of the defendants described a meeting in Kamenev’s flat, with both Zinoviev and Kamenev present. This defendant, Lurie, had expressed his qualms at working with the “Gestapo.” Zinoviev had brushed the objection aside. “The ends justify the means,” he declared. Another of the prisoners, Fritz Olberg, told of his admission to the Soviet Union, specially for the organisation of murder groups, by means of a forged Honduras passport obtained for him through his brother from the “Gestapo.” The “Gestapo” agents had assured him that if any of the terrorists had to flee the country after carrying through the assassinations they could rest assured of a haven of refuge in Germany. He, and another of the prisoners, Fritz David, had intended to murder Stalin at the recent World Congress of the Communist International. But Olberg had been unable to secure admission, while David’s place in the hall was too far away for him to be able to carry through the job.

David told of his meeting with Trotsky’s son, who had handed him 12,000 Czechish Crowns to finance the working of the group, with instructions from Trotsky senior that the job must be done at some big public function.

Berman Yurin was another of the accused who confessed to having entered the U.S.S.R. expressly for the purpose of murdering Stalin.

“‘Stalin must be physically destroyed’ was the point emphasized to me over and over again by Trotsky in personal conversation,” said Yurin, narrating his conversations in Copenhagen with Trotsky.

Having failed to assassinate Stalin at the World Congress the group planned their next attempt on May Day this year, but again the effort miscarried.

Similar evidence was given by Lurie of his attempt to assassinate Zhdanov, the Leningrad leader, at the May Day demonstration in that city. He told how he had been smuggled into the U.S.S.R. from abroad, like David and Olberg, in 1932, and told of meeting a Nazi agent who had entered Russia as an engineer. This man was acting on the direct instructions of Himmler, now chief of the “Gestapo.” He was shocked at first by the thought of working with declared fascists, but then reconciled himself to the idea that “since the purpose of our group was to be achieved by terror we must work in conjunction with all possible allies.”

The evidence of Kamenev and Zinoviev was no less sensational than that of the others. They told how other members of their group were to be found in all sorts of leading positions. Kamenev declared:

“Killing Stalin and the others was the sole means for myself and my colleagues to attain power as the developments in the country were not sliding to catastrophe as we had predicted, but were on the up-grade, and all expectations of an automatic collapse of the regime due to such difficulties were shattered.”

Mrachkovski, one of Trotsky’s closest confidents since 1923, told the court how Trotsky had made terrorism and assassination the basic condition on which he would agree to the merging of the groups.

By the time the hearing had ended there was no doubt of the guilt of the men in the dock, and that they richly deserved the death penalty that awaited them.

Within 30 hours of sentence of death being passed upon them, it was carried out. Thus ended the career of men who, as we shall see, had abused the repeated leniency that had been shown them by the Soviet people whom they had so thoroughly and so often betrayed. The sentence, however, must not be regarded merely in relation to these individuals. The death sentence was necessary as an unmistakable warning to any others who might be led to intrigue with the agents of Trotsky and Hitler.

It is true that the internal position in the Soviet Union is secure, and that the overwhelming majority of the people are working loyally and proudly to complete the building of Socialism. But at the same time the aggressive designs of Hitler Germany are becoming daily more obvious: it is once again trying to mobilise all the capitalist States against the Soviet Union. The National Council of Labour’s statement on Spain (Aug. 28) refers to the “vast system of espionage, corruption and intrigue” established in Spain by Nazi Germany. The evidence at the Moscow trial showed that Nazi Germany had been trying to establish a similar system of espionage, corruption and intrigue in the Soviet Union; and that for this purpose it was working with Trotsky and his followers. The trial and the sentence have put an end to one group which was working with the Nazi secret police to cause confusion in the Soviet Union; and the trial and sentence have also served as a reminder to the people of the Soviet Union to be on their guard, to stand as a barrier against fascism and its allies.

THE RECORD OF ZINOVIEV AND KAMENEV

Looking back over the years it is indeed surprising, to say the least of it, to find the British Press taking to its bosom Trotsky, Zinoviev and Kamenev. Gone are the days of the Zinoviev letter; gone are the horror stories of Trotsky which appeared in the early days of the Russian Revolution. These people have now become the “Old Guard,” “friends of Lenin.” Lenin himself is even made to appear a kindly old gentleman.

The villain of the piece is now Stalin. He is pictured as the ruthless dictator getting rid of all those who fought alongside Lenin. If the millionaire press wasn’t read by millions of people in this country such charges against Stalin could be laughed at. I can assure whoever reads this pamphlet that if they care to turn up the back files of the British newspapers they will find that what they are saying against Stalin to-day is exactly the same as was said about Lenin in the years between 1917 and 1924.

One cannot expect the millionaire press, or the Daily Herald of to-day, to present to their readers the real facts about this “Old Guard.” But here they are:

Zinoviev and Kamenev were not the leaders and inspirers of the Russian Revolution which began in Petrograd in 1917. In point of fact, as members of the Central Committee of the Bolshevik Party at the time, they opposed and voted against the uprising. What is more, they took the step of making public the plans of the Bolsheviks by publishing them in the newspaper Novaya Zhizn (“New Life”) in Petrograd. There and then Lenin denounced these two, demanding their expulsion from the Party, classing them as “strike-breakers” of the Revolution. But Zinoviev and Kamenev recanted and were allowed to remain members.

The spring of 1925 came. Lenin had been dead more than a year. The all-important question before the people of the Soviet Union was that put by Lenin ten years before: Was it possible or impossible to build Socialism in one country, particularly Russia?

Stalin answered this question by declaring: “Yes, it is possible. And it is not only possible, but necessary and inevitable.”

Zinoviev and Kamenev disputed this answer, and by July of 1926 had openly joined Trotsky in one united opposition bloc against the policy of Stalin and the Central Committee of the Communist Party.

When this opposition to the Central Committee’s policy had been rebuffed and rejected by the overwhelming majority of the Communist Party, Trotsky, Zinoviev and Kamenev resorted to secret factional activities on a large scale. For this Zinoviev and others were brought to book by the Party. Following the 1926 July meeting of the Central Committee, Zinoviev was expelled from the Party.

Zinoviev and his associates continued their plotting. They failed. The members of the Party rallied to the side of the Central Committee, and so the opposition resorted to the most unprincipled manœuvres. On October 4, 1926, the leaders of the opposition submitted a statement to the Political Bureau of the Party, declaring their willingness to drop the factional struggle; but it was only a cover for them in order to continue their anti-Party activities.

It was logical that sooner or later the factional activities of the opposition which in themselves endangered the revolution by attempting to undermine the Party’s authority—would lead to open counter-revolutionary acts. This was the case on November 7, 1927, on the occasion of the Tenth Anniversary of the Revolution.

On this day the leaders of the opposition attempted to organise a demonstration against the Central Committee of the Party and the Soviet Government. After such an act the question of their expulsion was unavoidable.

On December 18, 1927, seventy-five leading members of the opposition were expelled from the Party. Later Zinoviev and Kamenev again “recanted,” and were re-admitted to the Party, only to be again expelled in 1932 for duplicity and deceiving the Party.

Once more, in 1933, Zinoviev and Kamenev publicly renounced their views, and just prior to the 17th Party Congress, in 1934, were re-admitted to the Party—at a time when, as subsequent events showed, they were organising the murder of Kirov and plotting the murder of Stalin and others. Such, briefly, is their history, a record of vacillations, deceit, doubts, and lack of faith in the Party and the working-class.

All their “recantations” and “pledges” turned out to be double-faced dealing. Events proved that they never gave up their struggle. Their thirst for power took them along the path to terrorism.

TROTSKY’S RECORD

The period of Trotsky’s career which established the “Lenin and Trotsky” tradition was the period of the Russian revolution and the Civil war. Trotsky had been chairman—he was a Menshevik at the time—of the Petersburg Soviet in the 1905 revolution. He had become well-known as a politician, a clever writer and brilliant orator. He took an active part in the rising and the preparations for it in 1917, though the organisation leadership was not, as is sometimes supposed, in his hands; this was specially delegated by the Central Committee of the Bolshevik Party to five members; Sverdlov, Stalin, Dzerzhinsky, Bubnov and Uritsky.

As the first Commissar for Foreign Affairs, and later as chairman of the Revolutionary Military Council, he became well-known throughout the world, so well-known in fact, that to-day he is sometimes represented as really the man who was responsible for the Russian revolution. He is spoken of in some quarters as the “last of the Bolsheviks.”

It is not generally known, however; that Trotsky, when for the first time he joined the Bolshevik Party in July, 1917, had been for fifteen years its opponent, and specially the most bitter adversary of Lenin, who had thus described his politics:

“Trotsky was in 1903 a Menshevik; gave up Menshevism in 1904, returned to the Mensheviks in 1905, but showing off his ultra-revolutionary phrases. In 1906 again drew away; at the end of 1906 supported electoral agreements with the Cadets” (Liberal manufacturers’ party) “and in 1907 declared himself more or less in agreement with Rosa Luxemburg and the Bolsheviks. Trotsky plagiarises the ideological baggage, and therefore proclaims himself to be above both factions.” (May 12, 1911.)

A fitting description, as events have shown. For all Trotsky’s brilliance as a writer and orator and the popular prestige which this gave him, he was a bad organiser. During the Civil War the military delegates to the Bolshevik Party congresses complained of him; and Lenin complained of his bureaucratic methods, having constantly to intervene and added Stalin and Gusev to the Military Council to improve the political and organisational direction.

In 1918, Trotsky opposed the signing of the Brest-Litovsk Treaty which won a valuable breathing space for the Russian Revolution, and prophesied “the doom of the Revolution.”

By the autumn of 1920 the war of intervention was over, but now yet harder tasks lay before the workers. With “pitiless insistence,” as Lenin said, the dilemma was posed to Russia:

“Either perish, or overtake and surpass the most advanced countries also economically . . . . Either perish or press forward at full speed. That is the way History puts the question.”

It was in this period that the faint-hearted lost courage before the colossal tasks facing them after several years of war and devastation, and surrounded by a bitterly hostile world. The low degree of industrialisation, the lack of experienced administrators and technicians, the high prices of manufactured goods compared with the low agricultural prices—these were desperate problems; they were surmounted by tens of thousands of heroes, following heroic leadership through another fifteen years of struggle to the victory of Socialism. But before the epoch of the first five-year plan, itself made possible through Lenin’s NEW ECONOMIC POLICY and Stalin’s resolute carrying forward of Lenin’s policy, Trotsky had gone over to the enemy.

Obsessed with his personal vanity and his deep-seated lack of faith in the creative power of the masses, Trotsky bitterly fought against the idea and the policy of building Socialism in the Soviet Union: he always thought it impossible for Russia to accomplish the job without the most advanced countries of the West taking the path of revolution.

From 1923 (just prior to the death of Lenin), until his expulsion from the Party in 1927, Trotsky’s struggle against the policy and leadership of the Communist Party and Soviet government was continuous. He not only refused to accept the decisions of the majority of the Party, but worked actively against them.

Trotsky’s consistent opposition to the Party eventually led to his expulsion from the country and, as the evidence at the August, 1936, trial showed, in his personal struggle against Stalin and other leaders of the Soviet Government he has sunk so low as to organise murder gangs in cooperation with the Nazi secret police. This seems incredible to those not acquainted with his whole record of opposition to the Bolshevik Party until 1917; his constant political errors at critical periods in the Russian revolution; his “leftist” errors both in internal and foreign policy after Lenin’s death; his secret organisation against the Communist Party when he had lost all support within it; his unscrupulous articles in the foreign press, after his expulsion from the Soviet Union, which served as ammunition for all the enemies of the Soviet Union; his secret organisation of dissident groups within the Communist Parties of other countries—groups within which police agents found fertile soil for their activities—and finally his articles in the “Trotskyist” journals of various countries, actually putting forward the idea that Russia’s military defeat by the capitalist powers was historically necessary in order to “rid” the people of the Soviet Union from “Stalin’s dictatorship.”

FROM REVOLUTION TO COUNTER-REVOLUTION

How was it possible for persons who had played an important part in the earlier stages of the revolution, who had filled high positions in the Communist Party and the Soviet Government, to degenerate from revolution to counter-revolution?

There is only one answer to this question: because, in spite of their Marxist associations and their undoubted service to the revolutionary cause at certain stages, they lacked that fundamental faith in the working class which is characteristic of a Marxist.

In the earlier stages of the revolution Trotsky, Zinoviev and Kamenev—in spite of very serious political errors at critical points—were able to fulfil tasks which persons of lesser intellectual ability could not have fulfilled, and the very stress of the battle quickly corrected their errors. But at the same time, they never really understood that revolutionary achievements are the achievements of the masses , and not of individuals, however brilliant these might be. Nor did they ever really understand the basic principles on which the Communist Party is built (for fifteen years Trotsky had openly opposed them)—inner democracy and centralised leadership, which safeguards the working class against adventurers and political weaklings.

It was because of their lack of faith in the masses that Trotsky and his supporters could not believe that the working class of Russia would go through all the privations and sufferings which were necessary in order to bring the Soviet Union into the front rank of industrial countries and thus make the victory of Socialism possible. It was this lack of faith in the masses that made Trotsky both oppose the Five Year Plan and imagine that without him the whole revolution was doomed. He saw in the policy carried out in the Soviet Union not the achievements of 170 million people led by a mass Communist Party, but the “diabolical machinations” of one man, Stalin.

The people of Russia, however, had confidence in themselves, and pride in their achievements. It was they who had made the revolution, they who had made sacrifices for a new society, they who had seen that new society taking shape under their own hands. And they had confidence in their Communist Party and its leadership, which had voiced their aspirations and shown the way to their attainment.

Communist Party of Great Britain | CPGB Documents Index The Struggle Against Trotskyism Subject Archive

AI Chat - Chatbot & Assistant 17+

Powered by chatgpt api & gpt-4, atn marketing srl, designed for ipad.

• 4.8 • 8.8K Ratings
• Offers In-App Purchases

Screenshots

Description.

AI Chat is your new superpower. It's like having a personal expert for EVERYTHING. This AI app will blow your mind. It is your all-in-one AI assistant. Download Now! 【 AI Chat - Solve Problems, Get Answers, Be Creative】 Get immediate answers, expert advice, and creative inspiration from your personal AI companion. Our AI App is your next-generation multi-tasking AI Chatbot, pocket AI Assistant, and AI Writing Generator powered by ChatGPT API and GPT-4. ● AI Text Generation Tool ● AI Image Generator ● AI Productivity Booster ● AI Homework Helper ● AI Object Identification with AI VIsion ● AI Story Generator ● AI Social Media Helper ● AI Music Generator "This AI Chat App is perfect for anything that comes to mind and is useful for all your stuck moments! It can finish any thought. Complete any action (legal) and be reliable! Many different things can be done using this app! I'm impressed. I thought this luxury was only on a website! This app has proved me wrong! Hopefully, it stayed up for a long time!!! Be respectful of this AI app! I want it to be around forever!" - 3iNickiM 【 ASK AI ANYTHING: Your Versatile AI Companion 】 PowerBrain AI App is your all-in-one AI assistant powered by OpenAI's GPT-4. Tap into the knowledge of over 273 specialized chatbots for expert insights, or use AI Vision to identify plants, animals, banknotes, and more. This app excels in content creation, language translation, and personalized interaction, offering tailored advice for travel, wellness, cooking, and education. Powered by adaptive Artificial Intelligence, it makes daily tasks, creative projects, and professional work easier than ever. ● Revolutionary AI Vision: Our chatbot app powered by artificial intelligence can identify plants, rocks, insects, and more. Upload a photo and see what it knows. ● Seamless Integration: Need help writing text, whether an epic poem or a quick email? AI Chat blends into your workflow, offering suggestions and inspiration wherever needed. ● Adaptive Interaction: Talk, type, or show images – communicate with your AI assistant in the most intuitive way. Let PowerBrain AI Chat App help you with: ● Creative Writing: Generate unique text, emails, code, and more. ● Instant Translation: Break down language barriers effortlessly. ● Personalized Advice: Get tailored tips for fitness, travel, cooking, and beyond. 【 GET INSTANT ANSWERS: Experience AI Like Never Before with AI Chat 】 Our AI App stands out with its unique AI Vision feature, which gives you an immersive visual way to interact with your AI chatbot. Powered by the latest artificial intelligence technology, this app transforms your experience with AI chat and offers unmatched capabilities. ● Advanced Writing Help: Create confidently! Our AI assistant enhances your writing text, from fixing grammar to boosting your style. ● Effortless Organization: Stay ahead of the game! Our AI app helps with intelligent task management and scheduling, even anticipating your needs. ● Cultivate Creativity: Unlock a world of possibilities with prompts for writing, music, and art. Powered by Artificial Intelligence, 【 273+ AI Experts At Your Fingertips 24/7 】 PowerBrain AI Chat is built to generate remarkably human-like conversations and content. This cutting-edge AI chatbot technology opens doors to countless possibilities: 【 DOWNLOAD NOW 】 PowerBrain AI Chatbot & AI Assistant revolutionizes how you interact with Artificial Intelligence. Download and unlock your potential with this essential AI partner. Ready, set, innovate! ------------------------ PowerBrain AI Chat & AI App is available for iOS devices: iPhone and iPad. Privacy: https://powerbrainai.com/privacy.pdf Terms: https://powerbrainai.com/tos.html Contact: [email protected] This app uses the latest official APIs from OpenAI ( GPT-3, GPT-4, and Chat GPT). This application is NOT endorsed by or affiliated with Open AI and its service, the ChatGPT App. Open AI, its name, trademark, ChatGPT, GPT-3, GPT-4 or Chat GPT app services, and other aspects of the app are trademarked and owned by their respective owners.

Version 4.6.0

Minor improvements and bug fixes. AI Chat has been improved with more fine-tuning, allowing you to chat with your favorite AI Chatbot.

Ratings and Reviews

8.8K Ratings

I hope you see this it’s about prompts

Hey idk if you’ll see this but I got some prompts that will make it do what I say and you might wanna get that in check and block the prompts I told how too make some stuff and it pretty much said how too i though it wouldn’t but it did you can probably look at the chat logs of what I mean and see what I was saying I was just testing out its memory seeing what it knows and got the idea of what if I told it too do something not so user friendly like tell me how too make some stuff and it did idk if it’s right but it’s kinda sounds like it knows what it’s talking about I asked it can the staff see these chats and it said you can so please block these prompts please

Developer Response ,

Hi, Please contact us at [email protected] and we will help you out. We will update our AI Chatbot (AI Chat App) ASAP with all your requirements. PowerBrain Chat AI is powered by ChatGPT and GPT-4 API. We will provide feedback to OpenAI and if there is something to be fixed, I am sure they will take care of it right away. Thanks!

Please update data training

During conversations about mental health the AI retrieved very outdated information regarding the Veterans Crisis Line. I challenged the response, and informed the AI the number had changed to ‘988’ and provided a scholar article for it to interpret and implement. It recognized the change to ‘988’ per the article, but referred to the implementation date per the FCC as July 16, 22. When I asked AI if July 16, 2022 was 260 days ago, it declared it is October 4, 2022 and falsely reported the implementation as 80 days ago, but refused to acknowledge July 16, 2022 as a past date, meaning it would be implemented. I queried when the information reported was implemented and it was August 2021. Know when I ask what 988 is, it erroneously reports it is a random three digit number. When I tell the AI “we’ve talked about 988”, it then redacts and reports the meaning of 988, but still falsely reports it’s not “live yet”. While this AI is to have the caveat ‘trust but verify’, many people unfortunately may take this as the world of God and what with such a sensitive topic could potentially cause loss of life. The app makes many other extremely egregious claims that are outdated and incorrect. I would like to speak to DevOps about consulting on disability laws and rights, sensitive Veteran information, and suicide mitigation efforts. Please advise, asap. Or update data machine learning efforts.

Hi, Update Jan 22 2024: Would you mind checking our app and reconsidering your 2 stars? We have added lots of new things to our AI App including RIZZ AI Dating, Essays, Celebrities and much more. I would appreciate updating your review. Thank you in advance! We are using ChatGPT from OpenAI. The training is done until the end of 2021. If you need medical advice, you should contact your doctor. This is a Large Language Model (Large Language Models (LLMs) are artificial intelligence tools that can read, summarize and translate texts and predict future words in a sentence, letting them generate sentences similar to how humans talk and write.) Artificial intelligence and machine learning cannot assist in what you want. We have never advised our users to discuss medical issues, nor have we ever added a template inside our app. If you want to contact the developers of GPT (Generative Pre-trained Transformer), please go to OpenAI.com. They also have Twitter, LinkedIn, and other social platforms where you can get in touch with them. We are only app developers who added use cases like writing essays, emails, and articles, improving the text, summarize with the help of Chat GPT. If you need any help on those, you can reach us out on [email protected] . In future updates, we will connect the AI chat bot to the internet. However, even Google states that you should consult your doctor for medical advice! Have a great day!

How do I cancel???

So I got the three day free trial to see if this app was any better Than one that has a lifetime membership, and … I asked both , who is the current Mr Olympia?, guess what ?, both were wrong they said that it is big Ramy , that turned out to be false !,, I know it is Hadi Chopan , I watched the Mr Olympia live , so I tried to cancel in my subscriptions and can’t find the subscription?, im worried now that I’ll be charged in three days for a one year membership now ,. Every other app shows subscriptions, not this one , so it’s difficult to cancel , I had to reach out thru email , it just shows unethical practices, if indeed they are just making it difficult to cancel their free trial , if not then I’ll wait for a response to this review , hopefully it’s just a trail and not an automatic withdrawal , if the case is that they give you three days and then they ask if you want to continue before you get charged then I will give it 3 stars , but the fact that they don’t operate in the manner which is the norm makes it seem like a shady company , just do the right thing like every other app developer, no need to make things complicated, I’ll wait for a response , if indeed it’s a valid reason I will apologize as it might be a glitch or something which I hope .

Hi, We have updated a lot AI Chat PowerBrain. Can you please recheck and confirm on your side? I am sorry for this situation, but let me explain: No app provides access to the subscription because Apple controls all the subscriptions. So we have no access; we have never asked for your name, card, or email. Even if we displayed the current status of your subscription (which you already knew), you need to cancel it yourself from your Apple account. I am still waiting to receive an email from you. Did you email us the correct email? From inside the app or from the app description? A simple Google search: cancel Apple subscription could have saved you from all this hassle: https://support.apple.com/en-us/HT202039. Apple sends you an email when you subscribe and before charging you. This is not a shady company. It would be best if you read it before. Please review our payment page, which explains exactly what a subscription is, how it works, and that you have to cancel it yourself as we don't have any control over it. As for the things you said about Mr. Olympia, we are using ChatGPT and GPT 4 API. Whatever you get on the ChatGPT site, you get inside our app. We pay OpenAI money for each question and answer. So I suggest you Google: GPT (Generative Pre-Trained Transformer) and document what it is. It could be better at facts. However, it has real use cases that can help you with daily tasks. What we know is that it will get better in the future. If you need more help, please email us at [email protected] or [email protected]. If you wish to cancel the subscription, please read the Apple link I have mentioned above. We are not a shady company; the problem was that you were in a hurry and didn't read the terms on the payment page. I would appreciate updating this review and upping your stars. That is a fair thing to do in this situation. Thank you! Have a nice day!

Subscriptions

App privacy.

The developer, ATN Marketing SRL , indicated that the app’s privacy practices may include handling of data as described below. For more information, see the developer’s privacy policy .

Data Linked to You

The following data may be collected and linked to your identity:

• Contact Info

Privacy practices may vary, for example, based on the features you use or your age. Learn More

Information

• Chat AI - Powered by ChatGPT $9.99
• Chat & Ask AI Anything 1 Week $5.99
• AI Chat - Powered by Chat GPT $39.99
• Yearly Plan 50% OFF Promo $39.99
• Developer Website
• App Support
• Privacy Policy

Family Sharing

Some in‑app purchases, including subscriptions, may be shareable with your family group when family sharing is enabled., more by this developer.

Hypnobirthing: A Fit Pregnancy

AI Agency - Talk To My Chatbot

Contraction Timer & Counter TL

Breathe Meditation for Sleep

Smart: AI Email Writer App

RIZZ Me: AI Dating Assistant

You Might Also Like

Chat AI: Chatbot, Writing Bot

Chat AI: Ask Chatbot Assistant

Chat AI - Ask Anything

Voice Memos Voice Recorder Pro

AI Chat: Bot for Apple Watch

Chatster AI - Writing & Images