good writing vs bad writing mastery test

What Makes Someone a Good Writer?

Hint: The Answer Has Nothing to Do With Sales Figures

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• An Introduction to Punctuation
• Ph.D., Rhetoric and English, University of Georgia
• M.A., Modern English and American Literature, University of Leicester
• B.A., English, State University of New York

Here are 10 writers and editors , ranging from Cicero to Stephen King, offering their thoughts on the differences between good writers and bad writers.

Don't Expect It to Be Easy

"You know what, it is so funny. A good writer will always find it very hard to fill a single page. A bad writer will always find it easy."

-Aubrey Kalitera, "Why Father Why", 1983

Master the Fundamentals

"I am approaching the heart of this book with two theses, both simple. The first is that good writing consists of mastering the fundamentals (vocabulary, grammar, the elements of style ) and then filling the third level of your toolbox with the right instruments. The second is that while it is impossible to make a competent writer out of a bad writer, and while it is equally impossible to make a great writer out of a good one, it is possible, with lots of hard work, dedication, and timely help, to make a good writer out of a merely competent one."

( Stephen King, "On Writing: A Memoir of the Craft", 2000)

Say What You Think

"A bad writer is a writer who always says more than he thinks. A good writer — and here we must be careful if we wish to arrive at any real insight — is a writer who does not say more than he thinks."

-Walter Benjamin, journal entry, Selected Writings: Volume 3, 1935-1938

Reach for the Best Word

"It is the misuse and overuse of vogue words that the good writer must guard against. . . . It is extraordinary how often you will find vogue words accompanied in the same sentence by pretentiousness or sloppiness or other signs of sickness. No motorist is to be blamed for sounding his horn. But if he sounds it repeatedly we are not only offended by the noise; we suspect him of being a bad driver in other respects too."

Ernest Gowers, "The Complete Plain Words", revised by Sidney Greenbaum and Janet Whitcut, 2002

Order Your Words

"The difference between a good and a bad writer is shown by the order of his words as much as by the selection of them."

Marcus Tullius Cicero , "The Oration for Plancius," 54 B.C.

Attend to the Details

"There are bad writers who are exact in grammar, vocabulary, and syntax, sinning only through their insensitivity to tone. Often they are among the worst writers of all. But on the whole, it can be said that bad writing goes to the roots: It has already gone wrong beneath its own earth. Since much of the language is metaphorical in origin, a bad writer will scramble metaphors in a single phrase, often in a single word...

"Competent writers always examine what they have put down. Better-than-competent writers — good writers — examine their effects before they put them down: They think that way all the time. Bad writers never examine anything. Their inattentiveness to the detail of their prose is part and parcel of their inattentiveness to the detail of the outside world."

-Clive James, "Georg Christoph Lichtenberg: Lessons on How to Write." Cultural Amnesia, 2007

Don't Fake It

"In the course of a fairly long work, there are bound to be impasses. The writer must backtrack and choose other alternatives, observe more, and sometimes have bad headaches till he invents something. Here lies the distinction between a good writer and a bad writer. A good writer does not fake it and try to make it appear, to himself or the reader, that there is a coherent and probable whole when there isn't. If the writer is on the right track, however, things fall serendipitously into place; his sentences prove to have more meaning and formative power that he expected; he has new insights; and the book 'writes itself.'"

-Paul Goodman, "Apology for Literature." Commentary, July 1971

Know When to Quit

"Everyone who writes strives for the same thing. To say it swiftly, clearly, to say the hard thing that way, using few words. Not to gum up the paragraph . To know when to quit when you've done. And not to have hangovers of other ideas sifting in unnoticed. Good writing is precisely like good dressing. Bad writing is like a badly dressed woman — improper emphasis, badly chosen colors."

-William Carlos Williams, review of Sol Funaroff's "The Spider and the Clock", in New Masses, August 16, 1938

Lean on Editors

"The less competent the writer, the louder his protests over the editing. . . . Good writers lean on editors; they would not think of publishing something that no editor had read. Bad writers talk about the inviolable rhythm of their prose."

-Gardner Bots Ford, "A Life of Privilege" , Mostly, 2003

10. Dare to Be Bad

"And so, in order to be a good writer, I have to be willing to be a bad writer. I have to be willing to let my thoughts and images be as contradictory as the evening firing its fireworks outside my window. In other words, let it all in — every little detail that catches your fancy. You can sort it out later — if it needs any sorting."

-Julia Cameron, "The Right to Write: An Invitation and Initiation Into the Writing Life", 2000

And finally, here's a cheerless note to good writers from English novelist and essayist Zadie Smith: "Resign yourself to the lifelong sadness that comes from never ­being satisfied."

• How to Write a Good Descriptive Paragraph
• The Basic Characteristics of Effective Writing
• Characteristics of a Good Editor
• detail (composition)
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• revision (composition)
• What's the Secret of Good Writing?
• Writers on Reading
• Guides for Students and Instructors in English 101
• Directness in Speech and Writing
• style (rhetoric and composition)
• 14 Ways to Write Better in High School
• Plain Style in Prose
• Writer-Based Prose
• Vernacular (Language)
• The Difference Between an Article and an Essay

• Fri. Jun 7th, 2024

English Syllabus Guru

Your Ultimate English Syllabus Learning Resource

Guide to Good and Bad Writing with Examples

By Waqas Sharif

Writing is a beautiful art, but like any other art, it takes practice to master. There are many different styles of writing, each with its own set of rules and guidelines. However, there is one thing that is universal when it comes to writing, and that is the difference between good and bad writing. Good writing is clear, concise, and engaging, while bad writing is confusing, rambling, and boring. In this comprehensive guide, we will explore the good, the bad, and the ugly of writing. We will provide you with examples of both good and bad writing, and show you how to identify the difference between them. Whether you are a professional writer or just starting out, this guide will help you improve your writing skills and produce high-quality content.

1. Introduction

Welcome to “The Good, The Bad, and The Ugly: A Comprehensive Guide to Good and Bad Writing with Examples”. Writing is a complex art, and everyone has their own style and preferences. While there is no single correct way to write, there are certain standards that can help you produce better writing.

In this guide, we will explore some of the best examples of good writing and highlight some of the common pitfalls of bad writing. Whether you are an aspiring writer or just looking to improve your everyday writing, this guide is for you.

We will start with the basics of good writing, such as clarity, conciseness, and coherence , and then move on to more advanced topics like tone, voice, and style. We will also examine some of the most common mistakes that writers make, such as spelling and grammar errors, cliches, and poor sentence structure.

Throughout the guide, we will provide examples of both good and bad writing, so you can see the principles in action. We hope that by the end of this guide, you will have a better understanding of what makes good writing and how to avoid common mistakes. So, let’s get started!

2. The qualities of good writing

Good writing is clear, concise, and to the point. It should be easy to read and understand, without the reader having to struggle to decipher the meaning. Sentences should flow naturally from one to the next, and the writing should be free from grammatical errors and typos.

Additionally, good writing should be engaging and interesting to read. It should capture the reader’s attention and keep them interested throughout. This can be achieved through the use of descriptive language, powerful imagery, and storytelling techniques.

Good writing should also be well-researched and accurate. Any claims made should be supported by evidence, and sources should be cited where necessary.

Finally, good writing should be tailored to the audience. It should take into account the reader’s level of understanding and use language that is appropriate for them. It should also be written in a style that is appropriate for the subject matter, whether that be formal or informal.

Overall, good writing is about communicating effectively with the reader in a way that is engaging, accurate, and tailored to their needs.

3. Examples of good writing

Good writing is always a pleasure to read, it flows easily and is easy to understand. It conveys the message in a clear and concise manner. Here are a few examples of good writing that you can learn from:

It does not do well to dwell on dreams and forget to live. J.K. Rowling, Harry Potter, and the Philosopher’s Stone

This sentence is an excellent example of good writing, as it is short and precise, yet conveys a powerful message. It tells the reader that it is important to live in the present and not get lost in thoughts and dreams.

In three words I can sum up everything I’ve learned about life: It goes on. Robert Frost

This quote is an excellent example of good writing, as it is simple and powerful. It tells the reader that no matter what happens in life, it always continues and we must move on.

The only way to do great work is to love what you do. Steve Jobs

This sentence is an excellent example of good writing, as it is short and to the point. It conveys a powerful message about the importance of passion in work and life. These examples show how good writing can be simple, precise, and powerful. By focusing on clarity and brevity, you can convey your message effectively and leave a lasting impact on your readers.

4. The pitfalls of bad writing

Bad writing can be detrimental to your message and your brand. It can cause confusion, and frustration, and even turn off potential customers. One of the biggest pitfalls of bad writing is poor grammar and incorrect spelling. This can make your writing difficult to read and understand, and it can also make your business look unprofessional.

Another common pitfall of bad writing is using overly complicated language and technical jargon. While it may make you sound smart, using terminology that your audience doesn’t understand can lead to confusion and disinterest.

Lack of clarity is also a common trap of bad writing. If your message is confusing or unclear, your readers will quickly lose interest and move on. Your writing should be clear, concise, and easy to follow.

Finally, a lack of originality can also be a pitfall of bad writing. Copying content from other sources without proper attribution or creating content that is too similar to what’s already out there can make your brand seem unoriginal and uncreative.

Avoiding these pitfalls is crucial to effective writing. Your writing should be clear, concise, and engaging, and it should reflect your brand’s unique voice and personality. By avoiding the pitfalls of bad writing, you can create content that stands out and resonates with your audience.

5. Examples of bad writing

As much as we strive for excellence in our writing, sometimes we fall short and produce bad writing. Here are some examples of common mistakes that contribute to bad writing: 1. Run-on sentences: “I woke up this morning, got dressed in a hurry because I was running late for work, grabbed a cup of coffee, spilled it on my shirt, changed my shirt, and then rushed out the door.” 2. Overuse of adjectives: “The beautiful, stunning, picturesque sunset was a breathtaking sight to see.” 3. Use of cliches: “He was as cool as a cucumber.” 4. Poor grammar: “Me and my friends went to the store.” 5. Lack of clarity: “The thing that happened was really bad.” 6. Use of jargon: “The synergistic approach to our marketing strategy was not conducive to our ROI.” These are just a few examples of bad writing that should be avoided at all costs. Remember, good writing is clear, concise, and engaging.

6. How to improve your writing

Time needed:  10 minutes

Improving your writing is an essential part of being a good writer. Whether you’re crafting a novel, writing a blog post or even just sending an email, good writing skills are important in making sure your message is communicated effectively. Here are some tips to help you improve your writing:

The more you read, the more you’ll learn about writing styles, structure, and grammar. Read books, articles, and blogs in your niche and outside it to help broaden your understanding.

Practice makes perfect, so write as often as you can. Even if you’re just jotting down a few sentences every day, you’ll be developing your skills over time.

Sharing your work with others can be scary, but it’s a great way to get constructive criticism. Join a writing group or find a trusted friend or family member who can give you honest feedback.

First drafts are rarely perfect, so be prepared to edit and revise your work. Cut out unnecessary words, rephrase sentences to make them clearer, and make sure your grammar and punctuation are correct.

There are many online tools available that can help you improve your writing, from grammar checkers to writing prompts. Use them to your advantage to help you spot errors and improve your skills.

Improving your writing takes time and effort, but by following these tips and continuing to practice, you’ll soon see a noticeable improvement in your writing style and ability.

7. The importance of editing

Good writing is not just about writing itself, but also about the editing process. Editing is the most crucial part of writing, and it is the process where you can turn a good piece of writing into a great one. Editing helps to refine your writing, making it clearer, more concise, and more readable.

When you are editing your work, you need to look at several things, such as the structure of your writing, the flow of ideas, the tone of your writing, grammar, punctuation, and spelling errors. These are all essential elements of good writing, and if you do not pay attention to them, your writing may not be as effective as you wanted it to be.

The editing process is not just about correcting mistakes; it is also about making sure that your writing is compelling and engaging to your readers. You need to make sure that your ideas flow logically and that your readers can follow your arguments easily. It is also important to make sure that your writing style is consistent throughout your work.

So, editing is an essential part of good writing, and it is a skill that can be learned and improved. So, take the time to edit your work carefully and make sure that your writing is the best it can be.

8. The role of feedback in improving your writing

Feedback is an essential part of improving your writing. Whether you are just starting out or have years of experience, you can always benefit from constructive criticism. Getting feedback from others allows you to see your work from a different perspective, identify areas for improvement, and gain valuable insights into how readers perceive your writing. One of the best ways to get feedback is to join a writing group or workshop. These groups provide a supportive environment where you can share your work with others and receive feedback on your writing. They can also help you develop your skills, learn new techniques, and gain inspiration from other writers. Another great way to get feedback is to ask friends, family, or colleagues to read your work and provide feedback. This can be particularly helpful if you are writing for a specific audience or purpose, as they can offer insights into what works and what doesn’t. When receiving feedback, it’s important to approach it with an open mind and a willingness to learn. Don’t be defensive or dismissive of criticism, but instead, use it as an opportunity to grow and improve your writing. Take note of the feedback you receive and use it to make changes to your work. Finally, it’s important to remember that feedback is subjective. Not everyone will agree on what makes good or bad writing, and you may receive conflicting advice. Ultimately, it’s up to you to decide what changes to make and how to improve your writing. Use feedback as a tool to help you achieve your writing goals, but don’t let it dictate the direction of your work.

9. The importance of reading widely and critically

One of the most important things that any aspiring writer can do is to read widely and critically. By doing so, you’ll be able to see firsthand what works and what doesn’t work in writing. This includes everything from sentence structure and word choice to the pacing of a story and character development.

Reading widely also exposes you to different genres and styles of writing, which can help you develop your own unique voice. For example, if you’re interested in writing mystery novels, it’s important to read widely within that genre to see what techniques successful mystery writers use to keep their readers engaged.

However, it’s not enough to simply read widely – you also need to read critically. This means examining the choices that the writer made and thinking about why they made those choices. For example, if you’re reading a novel and you notice that the author uses short, choppy sentences during an action scene, ask yourself why they made that choice. Was it to create a sense of urgency? To make the scene feel more chaotic?

By reading widely and critically, you’ll develop a deeper understanding of the craft of writing, which will in turn make you a better writer. So the next time you pick up a book, take the time to analyze what the author is doing and think about how you can apply those techniques to your own writing.

10. Conclusion

In conclusion, good writing is a skill that can be learned and perfected with practice and dedication. The key to good writing is clarity, coherence, and conciseness. Your message should be clear, your thoughts should flow smoothly, and unnecessary words or phrases should be avoided. Good writing engages readers, creates a connection with them, and leaves a lasting impression. On the other hand, bad writing is often characterized by poor grammar, spelling mistakes, and a lack of structure. It can be confusing, difficult to follow, and ultimately fail to convey the intended message. Bad writing can be a turn-off for readers and may even harm your credibility and reputation. Remember, the way you write reflects who you are as a person or a brand. Whether you’re writing an email, a blog post, or a social media update, always strive for good writing. Take the time to proofread and edit your work, and seek feedback from others to improve. With these tips and examples in mind, you can become a better writer and communicate more effectively with your audience.

We hope that our comprehensive guide to good and bad writing has been helpful. Writing is a craft that takes time and practice to master, but by following the tips in this article, you can improve your writing skills and avoid common mistakes. Remember, good writing is clear, concise, and engaging, while bad writing is confusing, poorly structured, and uninteresting. We included examples of both good and bad writing to help you better understand what to do and what not to do. Keep practicing and refining your writing skills, and you’ll be able to communicate your ideas and thoughts more effectively.

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Mr. Waqas Sharif is an English Language Teaching (ELT) Professional, Trainer, and Course Instructor at a Public Sector Institute. He has more than ten years of Eng Language Teaching experience at the Graduate and Postgraduate level. His main interest is found in facilitating his students globally He wishes them to develop academic skills like Reading, Writing, and Communication mastery along with Basics of Functional Grammar, English Language, and Linguistics.

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How to Differentiate Good Writing From Bad

How do you differentiate between "good" and "bad" writing?

We're not talking about whether or not a screenplay or novel has seemingly endless grammar, spelling, and format errors. That's an obvious objective observation.

Beyond such errors, writing is actually subjective — a fact that most people online (and most critics) forget.

If someone tells you that the screenplay behind The Hurt Locker is horrible, that's their subjective observation. They are neither right nor wrong. And if you happen to think The Hurt Locker is a brilliant screenplay, the same end deduction applies.

And sometimes it's about the context.

If the screenplay behind the script The Tree of Life was written on spec by an unknown writer, it's very likely that it would have been tossed aside by most development executives as an incoherent screenplay that has no focus, is all over the place, and contains random scenes and moments that belong in other movies (creation of the universe, dinosaurs, etc.). But since it was written by a master auteur — Terrance Malick — it's considered by many as brilliant.

In publishing, Stephen King is thought to be one of the greatest writers of all time. But plenty of people will scoff at his work compared to the likes of Edgar Allen Poe to Cormac McCarthy, and many others.

It's all subjective.

However, some criteria bases can be applied to screenplays and novels from novice writers and established ones. While the result of these bases is subjective for each individual, a writer can use them to ensure that they are at least doing all that they can to pull on the heartstrings of some faction of the audience.

Here we present five ways to tell the difference between good writing and bad. And if you don't agree with any of them, well, that's your subjective perspective. No one is right or wrong. But this hopefully gets you, as a writer, thinking more deeply about how you are writing that wonderful story with those great characters.

1. It's Good Writing If I Care About What the Characters Are Going Through

We've seen plenty of movies and have read enough novels that contain characters we really don't care about. If we don't care about your protagonist, we're not going to be invested in the story.

But how do can you accomplish that? How can you make the audience or the reader care about the characters?

Empathy. We need to relate to them on some level. If a character is indestructible with no emotions and focused solely on an objective that is entirely selfish and self-centered (killing a villain that tried to kill him), there is nothing there — even if the conflict is ever-present with the hero going up against hurdle after hurdle in their pursuit of the bad guy.

Now, if your protagonist is vulnerable (see below) and they are focused on saving not only the lives of hostages but also his wife, we care.

2. It's Good Writing If It Surprises Me

There's nothing worse than a predictable story.

When you get to the end of a film, and you've been surprised by nothing, it's frustrating. When you reach the end of a book, and you've predicted every plot point through to the end, it's agonizing.

You surprise an audience or reader by taking the cliches, tropes, and predictable plot points and turning them on their heads. Lead the viewer or reader down a path they feel is familiar, only to push them through a bush of thorns revealing an even more precarious way.

Look no further than the criminally underrated thrillers The Next Three Days . When you watch the below trailer, chances are you'll believe you know the twists and turns to expect. But the actual screenwriter behind the film knows that you are expecting these routine plot points — so the writer flips those cliches, tropes, and predictable plot points on their head and takes us where we didn't expect to go.

3. It's Good Writing If the Characters are Vulnerable

As mentioned above, vulnerability is a crucial factor in good writing. Your protagonists — and even your antagonists and villains — need to be vulnerable in some way, shape, or form.

They can be physically vulnerable, emotionally vulnerable, or, better yet, both.

Die Hard was so successful because the writers went away from the Sylvester Stallone and Arnold Schwarzenegger action blockbuster mold with characters that had superhero-like invulnerability — both emotional and physical — and presented a protagonist that was susceptible to physical and psychological harm.

Aliens presented a protagonist that was haunted by the past in which she experienced physical horrors, as well as the emotional scars of missing out on her daughter's life as she floated in space for 57 years.

Sarah Connor in Terminator 2: Judgement Day was haunted by what she physically experienced with the first Terminator assassin, as well as being haunted by the emotional turmoil of knowing that Judgement Day is coming. We empathize with her because of the struggle we saw her go through in the first film and because we relate to or empathize with the concept of nobody believing the truth that she knows.

Vulnerability helps us relate to and care about the characters even more. And that's good writing.

4. It's Good Writing If the Stories Show More Than They Tell

It's fascinating to watch characters when they are not speaking.

Most audience members and readers would rather see a character throw a glass against the wall in anger and rush out of the room than hear a character say, "I'm so angry!"

Bad writing usually involves endless exposition dumps within dialogue — characters that are either saying what they already know for the benefit of the audience or reader alone or telling us stories of actions that have happened off screen or away from the story being told.

Readers and the audience are smart. They know when exposition is being used. And they certainly know when it is being used poorly. It's boring. It's bad writing.

5. It's Good Writing If the Writer Has Honed Their Craft

In screenplays or novels written by novice writers, having some of it be great isn't enough. This is a key problem with so many writers trying to make that jump from bad to good.

Everything within the script or manuscript has to be fine-tuned. Every moment and line of dialogue and description has to be in there for a reason.

And it takes time to hone your craft. For screenwriters, it takes at least a couple of scripts — likely a few. For authors, it takes multiple short stories and a couple of attempts at a full novel.

You hone your craft by making mistakes and learning from them. Mistakes are inevitable. Even the greatest screenwriters and authors have made the same mistakes that you are making today. It's about being self-aware and learning from them. That is what leads to success.

And to truly hone your craft, you have to write, write, and write some more. You can't stop at that first screenplay, short story, or novel and focus on trying to sell, sell, sell. It's worth it to take the extra time — one to two years or more — to write multiple scripts and manuscripts and hone your craft in the process.

Every screenplay, short story, or novel that doesn't have these five elements can and should be considered bad writing.

Anyone can take a character from Point A to Point Z. You need to be able to make us care about the characters, surprise us throughout the story, present vulnerable characters that we can relate to, focus on physical actions and reactions over bad expositional dialogue, and present us with a screenplay or manuscript that showcases how much you've honed your writing.

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries  Blackout , starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner. Follow Ken on Twitter  @KenMovies

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What’S The Difference Between Good Writing And Bad Writing?

Nate Douglas

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Good writing and bad writing are two sides of the same coin, yet the differences between them are vast and significant. One of the key distinctions lies in the clarity and coherence of the writing. Good writing is clear, concise, and easy to follow, whereas bad writing is often confusing, convoluted, and meandering.

Grammar and Syntax

Another crucial aspect is grammar and syntax. Good writing adheres to proper grammar rules and uses correct syntax, enhancing the readability and effectiveness of the text. It ensures that sentences flow smoothly and ideas are presented logically. In contrast, bad writing is littered with grammatical errors, awkward phrasing, and inconsistent sentence structure, making it difficult for readers to understand the intended message.

Engagement and Impact

Good writing captivates and engages the reader, provoking thought and eliciting emotion. It is impactful, persuasive, and leaves a lasting impression on the audience. Through the skillful use of descriptive language and storytelling techniques, good writing creates a connection with the reader, compelling them to think, feel, and act. On the other hand, bad writing fails to connect with the audience, lacks depth and substance, and often comes across as dull and uninspired, failing to leave a memorable impact.

Tone and Style

The tone and style of writing also play a significant role in distinguishing between good and bad writing. Good writing strikes the right balance between formality and informality, adapting the tone to suit the intended audience and purpose of the text. It maintains a consistent voice throughout the piece, fostering a sense of cohesion and credibility. In contrast, bad writing is characterized by inconsistencies in tone, inappropriate language choices, and a lack of coherence in style, which can confuse and alienate readers.

Research and Credibility

Additionally, good writing is well-researched, grounded in facts and evidence, and demonstrates credibility and authority on the subject matter. It incorporates reliable sources, references, and data to support arguments and claims, strengthening the writer’s position and convincing the audience of the validity of their ideas. In contrast, bad writing lacks thorough research, relies on unsubstantiated claims, and lacks credibility, undermining the overall quality and persuasiveness of the text.

Ultimately, the line between good writing and bad writing is nuanced and multifaceted, encompassing various elements such as clarity, grammar, engagement, tone, and research. By honing these skills and mastering the art of effective communication, writers can elevate their writing to new heights and leave a lasting impact on their audience.

Nate has worked as a nutritionist for over 14 years. He holds a Master's Degree in dietetics from the University of Texas. His passions include working out, traveling and podcasting.

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The Difference Between Good Writers & Bad Writers

• April 5, 2021

Table of Contents:

What is good writing, what is bad writing, who is a good writer, good writers habit no.1: readers friendly, good writer habit no.2: strong voice, good writers habit no.3: embrace flaws and mistakes , good writers habit no.4: they eliminate distractions, who is a bad writer , bad writers habit no.1: illogical content , bad writers habit no.2: ineffective communication, bad writers habit no.3: miscommunications , bad writers habit no.4: never accept their mistakes , difference between good writers & bad writers, writing difficulty:, main attributes and elaborate information, perspective.

Writing is a task that keeps your senses involved and your eyes sharp. It keeps your hand engaged and your mind active. Through writing, you can express your ideas and communicate about everything. It’s more than observation and recording of facts. It’s about saving the lives of others and oneself via writing. The page on which you write represents the truths about you and the world you see and hear. 

But what if your writing isn’t effective. You are ideas aren’t interesting, and your thoughts aren’t clear. What if your sentence construction is illogical, and your word choice is awkward? Then you have a perfect recipe for bad writing.

So how do we distinguish between good writing and bad writings? Likewise, what is the difference between good writers and bad writers ?

In this post, I’ll talk about the major differences between good writers and bad writers and share some strategies to become an effective writer for the readers.

Let’s discuss first,

 Good writing incites emotions. It engages the readers through effective writing strategies. It connects the readers to a new imaginative world. It involves elements like organization, evidence, expressions, grammar, spelling, and punctuation. If your writing is coherent and gets successful in gaining the readers’ attention, it is called good writing. Likewise, good writing does not mean that you start imitating Shakespeare; you write complex and complicated words that are even hard to pronounce to their syllable length. Good writing is simple writing. It is not forced on the readers. Rather it keeps the language smooth and flowing. Good writing is all about good communication.

Bad writing is beyond writing bad. It involves mistakes in syntax, grammar, plot, concept, and data accuracy. No matter how good your story is, it makes for a bad writer if there is a mistake in it. Likewise, it is lethargic and downright boring for the readers. Irrespective of the storyline, if one’s writing is not effective, then your readers will have a problem in understanding your content. 

A good writer is a person who writes effectively in an engaging manner. A couple of good writers’ habits need to be followed and practiced every day to enhance writing.

Good writers create readers with friendly content. Here friendly refers to the type of content that can be understood by all. According to Reader’s Analysis, writer should write a grade 5 level writing. If your target audience cannot connect to your writings, then you’re writing goals will not be fulfilled. Your readers will become uninterested in your content.

Good writer write in their own voice. They have a confident tone that builds their authority and credibility among their readers. Good writer believe that having your voice makes you memorable and recognizable. Likewise, people start to trust the content whenever they see it.

One of the best habits of good writers is that they are open to challenges. They wholeheartedly accept their mistakes and embrace their errors. They know that there are things that are beyond their control. Therefore, they do not care if they make mistakes. They don’t wallow in the dark. All they do is accept their mistakes, make amends, edit their content, and move on. This makes them fantastic learners as well. This is the biggest stark difference between a good writer and a bad writer.

Good writers know that focus helps in creating effective content. Therefore, they eliminate all the distractions from their surroundings and perform deep focus on their work. Sometimes they even avoid contact with other people so that they can write effectively. They concentrate all their energies on creating their content so that their readers can learn from them, their experiences, and their failures. They are transparent and do not hoard anything within themselves. Rather they believe in sharing knowledge for the sake of other’s betterment.

A bad writer will always find it easy to fill the pages. Even if ideas matter to them, they are unable to execute them properly for a number of reasons: proper language, style guide, organization, and the communicative structure.

Bad writers are unable to create logical and connected text. Their work is always chaos for the readers. The readers get troubled in going through the text. Likewise, the readers feel that there are many knowledge gaps in the text as the author appears to be shallow and talk only on the surface level. Their content seems to be disconnected and indirect. 

Bad writers often miss their target of communication. They drag the same object to the point of creating redundancy in the text. They are unable to formulate effective communicative structures. Their voice is shaky and confusing. It seems like what they are writing about is not true. They don’t believe it themselves. They appear to be close-minded people who lack enthusiasm, clarity, and conciseness in their writings.

Bad writers make miscommunications. What they say they do not implement on it. Likewise, they do not perform the way they establish their authority. They have collaboration skills, and once a conflict arises during work, they would blame the other person. In the case of a bad freelance writer, they will stop responding after taking the money. Similarly, their miscommunication often leads them to deliver the work late. Once the problem arises, they can be the first ones to break the trust of others.

Bad writers never accept their mistakes. Unlike the good writer who is open to embracing the shortcomings, these folks get angry and harmful to themselves and others. Their inability to accept their mistakes make them a stagnant and close-minded person. Their growth is somehow stopped in the middle of their writing journey, making them produce inefficient content for their audience.

Aubrey Kalitera, the author of “Why Father Why,” describes the difference between a good writer and a bad writer as: “A good writer will always find it very hard to fill a single page. A bad writer will always find it easy.”

Good writers are always the people who find it difficult to write more than anyone else. Many people will claim that writing is easy, but when it comes to writing, it never is!

• The thinking pattern:

Good writers have a growth mindset that makes them open to challenges and failure. At the same time, bad writers have limited knowledge and a short-tempered mindset that halts their learning journey. Similarly, they are not open to embracing their mistakes. Making them understand their faults and errors is difficult. Walter Benjamin says that:” A bad writer is a writer who always says more than he thinks. A good writer is a writer who does not say more than he thinks.”

Good writers can overcome their fear through consistent writing behavior. If writing makes them terrified, they still pursue their passion until and unless they are no longer afraid of writing. At the same time, the bad writers give up in times of adversary. Due to their limited growth mindset, they are afraid of falling into an unknown writing abyss. The adverse effects of fear not only reflect on their writing, but their health also deteriorates, impacting their physical and mental health.

Bad writers cannot form a clear perspective. Their words are forced and somewhat imposed on the readers. They lack empathy in their writings that halts the natural flow of writing, disturbing their clarity. Likewise, their perspective during writing keeps changing. Hence, their content becomes futile and powerless. In contrast, good writers know that their writing creates an impact on their readers. They seek to create engaging content that is helpful and informative for their readers.

Editing is a crucial part of effective writing. If someone misses this opportunity to edit and proofread their work, then it creates confusion and ambiguity. For the sake of precision and clarity in the text, editing is necessary. Good writers understand this by heart. Therefore, they write with fully focused minds that help them formulate their ideas in a coherent and connected manner. They keep editing their text through several ways like conceptual editing, line editing, copy-editing, and proofreading. On the other hand, the ineffective writer does not realize the importance of editing . After creating their first draft, they believe work to be done. This attitude produces inaccurate and faulty communicative piece. They are not precise when it comes to editing. This makes their writing bad and unproductive.

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What’s the Difference Between Good Writing and Great Writing?

by Melissa Donovan | Sep 1, 2020 | Better Writing | 34 comments

Do you aim for great writing?

A good piece of writing holds your attention. It flows smoothly and everything makes sense. It’s interesting and a pleasure to read.

Great writing, on the other hand, doesn’t just hold your attention; it commands your attention. You become lost in it. You can’t put it down, and when you do, you want to read it all over again.

The question is, how do we define great writing?

Some would say that great writing shows true mastery of the craft: every word is carefully chosen, every sentence is thoughtfully constructed, and every paragraph is brimming with meaning and purpose. If you’ve ever marveled over a superbly written sentence, you’ve experienced this kind of writing.

Others would say that what matters most isn’t the writing but what’s being said. As long as the story or ideas are communicated clearly and as long as they are captivating, who cares how sublime the sentences are? A great story doesn’t need to use word wizardry; it just needs to carry us off to another world.

So, do we identify great writing by the way words are strung together? Does story matter more than beautiful writing? Or do we want it all?

Style vs. Substance

Here’s how I see it: beautiful writing has style and practical writing has substance. It’s rare to find writing that has both. Don’t get me wrong — it’s out there. Just peruse the 20th century classics, and you’ll find tons of tomes that are brimming with wonderful words that relay mesmerizing stories.

But for the most part, we look to the literary camp for style and we look to genre (or dare I say — bestseller lists) for substance. Which makes me wonder, should we set the bar a little higher? Could we feasibly demand more from our literature and from our own writing?

Personally, I appreciate both types of writing, but I tend to look for beautiful turns of phrase, interesting images, and brilliant word choices when I’m reading poetry. When I read a poem, I want to be carried away by the poet’s style. I want to stop and read the same line again and again. I want to be in awe of how writers can take creative liberties with language. I don’t necessarily care what the poem is about. In fact, it may not be about anything. It could be abstract, stream of consciousness. If it’s exquisitely written, I will appreciate it.

When I’m reading a story, all that stuff is nice, but I’m more interested in the ride. I want to care about the characters, be swept away by the plot, and be inspired by the themes. I want to read as fast as I can because I can’t wait to see what happens next. I want my thoughts and emotions to be provoked. I don’t necessarily want to stop every few sentences to marvel at the language. I want to keep turning those pages, and I don’t want to put it down.

I’m always thrilled when I find a book that has it all. But books like those aren’t good or great. They’re damned near perfect.

What Do You Look for in Great Writing?

How high are your standards? Do you want to get lost in poetic language? Do you want to be pulled into a story? Do you want style or substance, or do you want both? What do you think is the difference between good and great writing? And more importantly, in your own work, what do you strive for?

34 Comments

I’m willing to forgive poor style for a cracking story. On the other hand, great style can never make up for a poor story. Is it too much to ask for both though?

Ah, that bears repeating: “I’m willing to forgive poor style for a cracking story. On the other hand, great style can never make up for a poor story.” I couldn’t agree more. No, I don’t think it’s too much to ask for both.

Good writing is style or substance. Grest writg has both.

That sums it up!

When reading a story, I speed to the end. Consequences for characters that catch my attention will trigger a fast-paced read of a story. No frequent braking allowed for appreciating scenic descriptions of places and things whizzing by the windows of my imagination. Some authors have the skill to slow the race to the climax with lines that demand attention. Then I idle while marveling at their creative phrase or idea.

Once I discover a writer who can interject substance with style, I will buy all of their work. Dean Koontz’s “Odd Thomas” series contains many lines that slowed my sprint to the last page of each book. Although I read four novels of the series in one week, certain passages entice me to visit again.

Yes, I’m the same way. If I come across an author with excellent style and substance, I will read all their books. It’s like finding a treasure!

I think for me, story is more important, but that doesn’t mean I don’t appreciate great prose when I read it. I think Teri is right about Dean Koontz. Great writing can ocassionally do both style and substance.

It seems like most people, if forced to choose, would take story over style but would rather have both.

I don’t mean to seem hoggish, but I want both. I appreciate a well-turned phrase and an exciting and captivating plot. But I don’t want the sentences to be so flowery and syrupy that I have to wade through them to get to the meat of the matter. I also don’t care for weak structure and vocabulary, which says the author is lacking in these areas and only cares about action. So a balance is what I like the most, and I think it’s entirely obtainable, espe- cially since I’ve read books which have both.

I agree. One of the reasons I wrote this post is because over the past year, I’ve read a few books that were all style and no substance and a few that were great stories but not written in a very elegant style. I found that if there’s no substance, I put the book down and move on, and I was surprised at myself because I do love a good turn of phrase. If the stories were riveting (if not wonderfully written), I couldn’t put them down, even if I was occasionally grimacing at the language. I find it all rather fascinating.

Maggie Stiefvater is author that blends beautiful words and images into character driven plots that keep me loving the story long after I’ve shut the book. I recently took a class on poetry and discovered two things: poets are incredibly talented wordsmithies and I’m drawn to the poems that make sense. It must be the practical side of me, which is weird because I write fantasy. In my writing I’ve decided the most important element is Emotional truth. If I can write that into each scene, I’ll count it as a success.

I have to agree that emotional truth is critical in a story. No amount of style or storytelling can make up for a story that lacks it.

I lean towards story. As a writer myself I can and do appreciate a great line, or a poetic passage. But there are two things I’d like to add to that.

1) It is all about the line or the passage. If everything in a novel is trying to be beautiful, I think you run the risk of alienating readers. Not all of course, as many people care only for the prose and not the plot or the characters. But a lot.

2) Even I can appreciate a story of literary quality, if the literary quality is up front and center. That is to say if I can tell what is happening by reading the highly poetic and symbolic language, I am fine with it. But if the attempt at being literary makes the prose so thick with meaning and double meaning that I have to literally stop and study each page for an hour or more just to decipher what the author’s supposed brilliance is trying to convey, I won’t be reading long.

I have friends who love to slog through literature like that. They feel they have accomplished more if after reading an re-reading a single passage from a novel 40 times they finally “get it”. I myself think that once language and symbolism become so clever that reading a novel is more like trying to solve a puzzle or crack a safe than it is experiencing characters and a story, it has lost it’s way, drowned in its own pretensions.

Personally, I don’t want to read a passage forty times in order to “get it.” My philosophy is that it’s the writer’s job to communicate what’s happening clearly, whether they write beautifully or not. If I have to reread every sentence several times, I think the writer has failed in the most basic part of their job, which is clear communication. Having said that, there are lots of old pieces of literature (written in Old English, for example) where I would have to slog through the text, but when it was written, it was (perhaps) quite clear. Of course, I wouldn’t count those as failures to communicate effectively.

This is a great point. I’ll make the assumption that we all have lives to live and that reading is a massive investment for all of us. It’s not like sitting down and watching a 21 minute sitcom where we can get a story over and done with. Unless we’re studying literature, reading should be fun, stimulating and rewarding – not a chore! (Although some may argue studying should also be fun).

This is a timely post as I’m trying to find my style and voice as a writer. I’m now learning that I shouldn’t “try” so hard in the style side of things. Most mental efforts are now applied in planning the story and fixing plot holes, ensuring motivations of characters are realistic and good endings reward the investment the reader has undertaken. My style then comes by simply being myself and not “trying”. Easier said than done though!

I’m using the same approach. Right now, I just want to figure out the story. Style can come later (that’s what rewriting is for!).

I agree with this article to an extent. I think too many people equate style with elaborate, flowery language that strives for poetics over everything else. I’ve never agreed with this line of thinking. I prefer reading and writing language that is clear and concise. I do put stock into the camp that emphasizes word choice, but don’t forget that the right word doesn’t have to challenge a reader’s vocabulary. The right word is often a common word the reader knows by heart and doesn’t think much of, until you use it in a way that alters it slightly. I love books that change its language and its form according to what is happening in the story and the emotion coursing through it. For those sweeping emotions, use a little flair. For those tense moments, short, declarative sentences that don’t impede a reader are best. In my eyes, you can’t separate style and substance. Substance should influence style and style should properly reflect substance.

Well said, Rachel! I agree 100%.

Great question, style v. substance. I used to prefer style, but as my taste in genres has changed, you just helped me realize that I now prefer substance. Maybe it’s because I’ve gotten older and have less patience, but I’m with Ty. I don’t want to have to keep rereading a passage to “get it.” I really appreciate a writer who doesn’t try so hard and lets the story tell itself.

That certainly seems to be the reigning opinion! I’m starting to think that story is not an ideal place for playing with language.

Melissa, you make an interesting distinction between stories that offer a fast ride and those that demand considered thought. Perhaps it”s the difference between fast and slow food, the readerly and the writerly approach. Do we consume a story then leave it on the deck chair – or take it home with us to re-read at our leisure?

Personally, I think that the former defines a ‘good’ and the latter a ‘great’ story. But where we draw the line is a matter of taste. For example, I’ve found some of Lawrence Sanders’ Ten Commandments thrillers to be ‘great’. I’ve re-read them several times – the true test of great fiction. James Patterson? A similar genre but formulaic and disposable. I wouldn’t dream of re-reading him.

Perhaps that’s because Sanders is not afraid to play with words. On a second or third reading, we find yet further hidden meanings. Joy! But, as I’ve suggested, it’s all a question of taste.

I agree! I like a book that I can’t put down. The only kind of book I like better is one I can’t put down the first time and enjoy slowly the second time while discovering hidden gems that I originally missed. A book (or a film or TV show) like that is a true treasure.

Hi Melissa: In order for a novel to capture me the language doesn’t have to be poetic, in fact that can be distracting, but it has to be above average in quality or I will loose interest. Yes, I also need to have a good plot, nice rich characters, and plenty of action as well; but if the writing has no style, or the descriptions are not well done, then I will not finish the book. Even non-fiction books need to be creatively done or I find them hard to read, too much like an old text book. I think one of the most important skills a writer needs is the ability to create a nice rhythm and make the passages flow so smoothly that I am barely aware I’m reading, as if it takes no effort at all. That is how I would like to write.

Rhythm in writing is essential. I don’t think the mind can stay focused on a piece of writing if all the sentences and paragraphs are the same length and have no rhythm!

I think both are required for the betterment of our goals to be achieved, liguistically and emotionally. Just like bread needs flour to be called that.

I really appreciate this great site and goodness of it.

Thank you, Numanu!

I believe we can have both beautiful writing AND a great story that follows the story arc, but a lot depends on how much time you want to spend on the ms. Story always trumps beautiful writing for me! Sherrie

I agree! Thanks, Sherrie.

In general, I consider content more important than style. But below a certain level there’s no content that can keep me going. A nice thing about (great) books is that we can reread them as many times as we want. That can be an incredibly rewarding experience. In fact, while books don’t change over the years, we certainly do. So every time we reread them we discover new bits of ourselves too. At least, this is so for me.

So true, Peter. Thanks!

I think we all aspire to be great writers who can invoke an emotional response in our readers, or completely immerse them in our story so they feel like they are inside the story with our characters.

It takes great skill, and creativity to pull that off. Keep writing everyone. R.G. Ramsey

I agree, that kind of writing takes great skill, and I would say, a little courage. I’m not sure that’s the goal of all writers. I think some people just want to express themselves or entertain. But it’s a goal of many writers, and a noble one.

I seem to be willing in practice, though not in theory, to accept mediocre writing if the story and characters grab me. But when you started talking about getting both, and your reaction to literary fiction, I had to laugh, because I feel mostly the same.

BTW, for a writer who I think nails both amazing language and stories that (for me, anyway) are completely compelling, try Ivan Doig. I think The Whistling Season is my favorite.

Thanks for the recommendation. Yes, it’s truly a treat when we find a great piece writing, and I think it’s rare. I recently listened to the audio book Where the Crawdads Sing , and it totally carried me away — the story, the characters, the language. So wonderful! It’s been years since I lucked into a novel like that. Definitely a book I will revisit (I rarely reread books). Highly recommend!

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Bad writing and good writing.

Any one who wishes to become a good writer should endeavor, before he allows himself to be tempted by more showy qualities, to be direct, simple, brief, vigorous, and lucid. H. W. Fowler, Dictionary of Modern English Usage

We all like good writing and dislike bad writing; we all want to write well, not badly. Yet the words "good" and "bad," when applied to any work of art are so much matters of taste that they often seem empty as definitions and arbitrary as categories. Inaccuracy will not necessarily make writing bad. "All Americans live in igloos" is a perfectly fine, even funny, sentence despite its incorrect facts. "I love Jane, and she has brown hair" would earn an "awk" from any editor, but love often ties lovers' tongues. "Bob ain't got no sense" redeems its double negative with its colorful colloquialism.

In a recent New York Times Book Review I read two pieces printed on following pages, the first, in my opinion, such bad writing, and the second such good writing, that I thought the contrast between them might demonstrate how to distinguish good writing from bad whenever and wherever found.

Exhibit A: a review by Jonathan Lethem of a coffee table book, Rock 'n' Roll Billboards of the Sunset Strip. Lethem gets the bad writing going in his first sentence:

On Sunset Boulevard, no traffic flow is gradual enough for the sensory occasion.

"Wait a sec," I said to myself on first reading, "I drove on the Strip in the 60s, and the traffic often crawled slowly enough to take in the billboards." "Sensory occasion": sounds fancy but what does Lethem mean by it? I don't know. Going on:

The driver or his passenger, craning to take in a billboard's extent through the insufficient frame of a windshield, is seduced into variant environs…

"Craning" — I like that — to see the billboards "through the insufficient frame of a windshield" — huh? — viewers are seduced into "variant environs" — huh? again. Does Lethem mean the backdrops against which the rock stars (Doors, the Eagles, Neil Young) are posed? The huge images entice drivers:

…onto some other street altogether: say, Abbey Road, once the 20-foot-high Beatles have crossed it — but wait, someone stole Paul's head!

What does this mean? Lethem seems to find it amusing, but his arch tone collapses in the cloying coyness of the exclamation mark.

Exhibit B: a review by Peter Bogdanovich of Stella Adler on America's Master Playwrights . His first sentence gives Adler the first word, a lively, challenging quotation:

"Life is boring. The weather is boring," Stella Adler used to say. "Actors must not be boring. Life beats down and crushes the soul, and art reminds you that you have one."

Bogdanovich goes on to say he studied with Adler, lying about his age to get into her courses, which he found "daunting," "electrifying," "theatrical but real":

As a teenager, even an avidly attentive one, I could not possibly follow everything she was saying. But it was all so wonderfully expounded that I was never less than riveted.

That quickly Bogdanovich has set up a plainspoken positive tone, begun a portrait of a dynamic, capable woman, and introduced himself as an eager kid bitten by the theater bug.

Lethem maunders on, bouncing from oh-so-daring images — "Jim Morrison's nostrils, Chaka Khan's cleavage or James Taylor's crotch" — to fancy  long-word phrases — "triumphalist tribal ritual," "heedless monetization" — until he sinks himself and the baffled reader in murky sentences of undiscoverable meaning:

…the mercantile impulse trips into a paranoia-inducing mode in which our products, rather than facing us frontally, transform us into their own commercials by the subliminal-viral methodology of social networks. [The book documents] an unlikely moment…of countercultural dreams by a recording industry briefly high on a myth of its own transformational influence.

Bogdanovich uses his review to paint a clear-eyed but affectionate portrait of Adler, and by the end he's told us much about her. She had an "explosive, sometimes stream-of-consciousness manner of speaking, all of it extemporaneous," that mixed "erudition with down-to-earth realities, show business know-how with a few Yiddishisms." Clifford Odets was her favorite playwright, Laurence Olivier her favorite actor — "[He] can hold the curtain up. He knows how the play is built. He's thought about it." — and Marlon Brando her most famous student:

When she asked her class to behave like chickens who know a bomb is about to drop on them, all ran around wildly clucking, except Brando, who sat quiet and calm. Stella asked him what he was doing and he replied, "I'm laying an egg."

Bogdanovich gives Barry Paris, the editor of the Adler book, credit for work well done: "Paris has done a magnificent job of condensing and editing a number of different talks into coherent and resonant chapters." Lethem barely mentions Robert Landau, the author of the billboard book, and despite a few words of praise — "well researched and full of respectful awe" — finds the text "redundant, and swamped by the pictures" and the whole book a "lavish" but "superfluous" failure:

…another dream of catching with binding and glue and gloss the ephemeral and ­ineffable, another chance to pay for the unpurchasable.

Throughout his review Bogdanovich projects a tone of generous tribute — "I feel privileged to have known this wonderful woman for 37 years." Lethem's la-di-da pomposity and obscurantist vocabulary — "a cargo-cult or allegorical phase in the relationship between advertising's vast sway over our lives and the notion of commodity" — projects a tone of stingy dismissal.

Lethem cannot claim originality for his self-centered tics. H. W. Fowler skewered many of them decades ago in his magnificent Dictionary of Modern English Usage . Fowler's short, razor-sharp essays on "Genteelism," "Irrelevant Allusion," "Love of the Long Word," and "Pedantic Humor," termed highfalutin' prose like Lethem's the work of "second-rate writers…intent rather on expressing themselves prettily than on conveying their meaning clearly."

Nor can Bogdanovich claim brilliance for his merits. His review is no more than, and no less than, a readable, interesting, informative, and personal piece by a skilled writer who knows and cares about his subject. Turning over the Sunday paper, I find that eminently satisfactory, and so too, I think, would Mr. Fowler.

The skill with which a writer sets up word sounds and rhythms, contrasts and consonances, allusions and quotations, puns and other playful devices gives readers much to enjoy. Yet writing is a medium, not an end in itself. Unless we can see and hear, touch, taste and smell a person, place, or idea through the words, the writer writes and the reader reads in vain. Bogdanovich writes well because he tells us much about an interesting artist and a well-made book. Lethem writes badly because he tells us next to nothing about the billboards or the book about them. He doesn't write to help us understand his subject; he preens so we will notice him. Instead of holding a mirror up to nature as Shakespeare advises, he holds a mirror up to himself and, apparently, he quite enjoys the view.

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What Bad Writing Looks Like … and How to Fix It [With Detailed Examples]

6 Jun 2024 | Craft

This post was first published in March 2021 and most recently updated in June 2024.

A  lot of writers worry that they may not be good enough to be successful .

The truth is that however “good” or “bad” your writing is, you can improve with practice and with careful self-editing .

But how do you know if a particular piece of writing is any good? Once you get beyond the really obvious things, like spelling mistakes and grammatical errors, what exactly does “bad” writing look like? More importantly, how do you fix it?

That’s what we’re going to tackle here.

Is There Even Such a Thing As “Good” Writing?

Over many years of reading and writing, I’ve heard two different schools of thought about “good” writing.

“Lots of Popular Books Are Really Badly Written”

Some people, particularly journalists and literary critics, can be very judgemental about popular books. The Twilight series, Dan Brown’s books, and Fifty Shades of Grey are ones that have come in for particular criticism.

These books might not be “good” in a literary sense – they’re unlikely to go down in history as great works of art – but they certainly do well commercially. Plenty of people enjoy them as entertainment or escapism.

There is nothing wrong with this.

Personally, I enjoy a lot of books that are considered literary fiction or classics – I studied English Literature as an undergraduate. But I also enjoy plenty of genre and commercial fiction, and I’ve read my share of fanfiction too. I’ve enjoyed all of it, in different ways.

Please don’t think that your writing is bad because it’s not literary, even if the people around you (in your family, your friendship group, or at school or university) only prize literary fiction.

“There’s No Such Thing as Good or Bad Writing”

At the opposite end of the spectrum, some people think there’s really no such thing as good or bad writing, only writing that’s inappropriate for its context.

For instance, a very clear, straightforward style might be right for a software tutorial but not for a literary novel. Rhyming verse might be perfect for a children’s book but not a romance novella.

However, some writing simply is bad, because it wouldn’t work well in any context.

Of course, this doesn’t mean it’s irredeemably bad. A poorly written first draft could, after some editing, become a really strong finished piece. My own rough drafts are stuffed full of clunky sentences, inconsistent characterisation, unintentional repetition, and plenty of other kinds of poor writing. And that’s okay! What matters when you’re at this stage is simply finishing that first draft , not perfecting every word.

This type of “bad writing” is what we’re going to be looking at today: first or early draft writing that still needs quite a bit of work before a reader can enjoy it.

Here’s What Bad Writing Looks Like

Here’s a passage of bad writing that I’ve created, based on a lot of common drafting mistakes. I’ll split it into three parts, and go through the mistakes (and how to fix them) after each.

Important: If you find yourself recognising some of these mistakes from your own work, please don’t think that you’re a bad writer! There’ll be plenty of things that you’re doing really well too.

Bad Writing Example #1

“Hi James,” announced Jason, spotting him in the street.  “It’s a while since I’ve seen you.” “Hi Jason,” exclaimed James with surprise. “You’re right. I haven’t seen you since Dave’s party. How are you?” “I’m fine, thank you,” smiled Jason. “How about you?” “I’m great, thanks,” James laughed. “In fact, I was just about to go and get a coffee. Do you want to come with me?” “That sounds good, thanks James. I’d love to catch up.” Jason looked around the street where lots of people were walking back and forth. He wasn’t sure where the nearest coffee shop was but perhaps his friend knew. His old confidence had lived here for years. Jason was just visiting the town because he had been picking up his new glasses from the opticians. “Where should we go for coffee?” Jason queried, waving his hand around to indicate that he was uncertain of the direction in which to go. “I know a great place,” James explained. “Just follow me.”

Let’s look at some of the positives of this short piece first. There’s always something good in any piece of writing.

For instance, the dialogue is correctly punctuated. Getting dialogue punctuation right can trip up newer writers, so if you need to brush up your skills in this area, check out this guide .

Theres’s also a fairly good mix of dialogue and action. There are rather a lot of dialogue tags though there is an action beat used in one instance (“Jason looked around the street”) as a good alternative to a dialogue tag.

Unfortunately, there are quite a few things that aren’t working well here. Let’s go through them one by one.

Overly Similar Names

Are you getting confused between Jason, the newcomer to town, and James, the friend who lives in the town? It’s a good idea to avoid having two characters with names starting with the same letter, especially if those names are (a) roughly the same length and/or (b) the same gender. A Jason and a Jennifer wouldn’t be nearly so confusing. I’m going to rename James as Dave in the next extract, because I’m getting so muddled myself!

Poor Dialogue Tags

Words like announced, exclaimed, smiled, laughed, queried, and explained draw attention to themselves – rather than to the actual dialogue. They sound like the author is trying too hard. The words “said” and “asked” would work fine instead. In particular, I’d avoid tags that are particularly unusual (like “queried”) and ones that are an action rather than a way of saying something (like “smiled” and “laughed”).

Using the Wrong Word

The word “confidence” (in “his old confidence”) should be confidant (someone trusted and confided in) . This sort of mistake is really easy to make, especially as sometimes auto-correct may change a correct but unusual word into an incorrect but more familiar one. It’s an easy thing to fix, but definitely something to watch out for when editing.

Potentially Confusing Phrasing

We’re told that “lots of people were walking back and forth” in the street. This seems to imply that the same people are walking one way then back the other, which is unlikely to be the case.

Irrelevant Details

The information about people walking in the street is hardly worth mentioning: we’d expect it (unless the scene is set very early or late in the day, when a crowded street would be more unusual and worth mentioning).

Over-Explaining by the Author

Jason asks where the coffee shop is, waves his hand around, then the author explains why he waves his hand around (“to indicate that he was uncertain of the direction in which to go”). The reader likely doesn’t need the gesture explained. Even if they didn’t understand it, they’d get it from the dialogue.

Bad Writing Example #2

(I’ve now renamed James, who lives in the town, as Dave. That way, the character names aren’t so easy to muddle up.)

Dave and Jason quickly walked down the street. Dave was wearing a black coat and a blue hat that he thought looked warm. It was a windy day and Jason was feeling a little bit cold. The tall man led him down the road and past some shops and then they crossed over the street at some traffic lights where the cars stopped obediently for them to cross at their leisure though Dave quickly strode across with long steps. Jason remembered how his former comrade had always won the 100 meter sprint at school, over 30 years ago. He wondered whether he too had happy memories of their days at school. For Jason, they had truly been some of the best days of his life. He could have gone to the reunion a few months ago but he had decided not to in the end because he was going on holiday with his sister and her kids, his niece and nephew, who were aged three and five years.

Again, there are some positive things here. There’s a growing sense of the relationship between the characters, with a sense that Jason admires Dave (with his recollection about the school days). We also get a bit more of Jason’s backstory, with a mention of holidaying with his sister and her kids – though this does seem like it’s been forced in a bit.

Here’s what’s not working:

Confusing Use of Pronouns

If you have two (or more) characters of the same gender in the same scene, you need to pay careful attention to pronouns. Here, the sentence “Dave was wearing a black coat and a blue hat that he thought looked warm” is confusing because the “he” seems like it would refer to Dave – but it’s actually referring to Jason, who’s looking at Dave.

Using Phrases Instead of Character Names

Like coming up with lots of alternatives for the perfectly good word “said”, using phrases instead of character names is a common mistake. Again, it’s a problem because it draws attention to the wrong thing: the strange phrase, rather than the action or dialogue taking place. Here, Dave is referred to as the tall man and [Jason’s] former comrade . It would be better to simply use his name.

Unintentional Repetition

Within a single sentence here, we have the words “crossed”, “cross” and “across”. While they’re not all the  exact same word, they’re so similar that they start to jar a bit on the reader.  Repetition is a powerful tool in writing, but  unintended  repetition will catch the reader’s attention and break them out of the world of your story. They’ll start wondering why you’re so very fond of a particular word (or its close variations).

Overly Long Paragraph

The second paragraph in this section is quite long. Its length might be normal and unexceptional in some types of fiction (e.g. literary or historical fiction). But compared with the other paragraphs in this passage, it seems a bit on the long side.

Too Much Irrelevant Information

As well as being rather long, that paragraph seems to contain a lot of information that isn’t particularly relevant. Some of this is stating the obvious (the cars “stopped obediently” at the traffic lights – which is exactly what you’d expect them to do) and some seems like a tangent from the scene (Jason’s memories about school and the fact that he didn’t go to the reunion). It’s possible that this information is important to the plot, but if so, it could be woven into the story more naturally.

Redundant Phrasing

We’re told that “Jason quickly strode across with long steps.” Just “Jason strode across” would convey the same meaning, without bogging down the action with unnecessary words.

Bad Writing Example #3

At long last Dave shouted “Here we are!” and they went into the coffee shop. There was a display of cakes and biscuits behind a glass panel at the counter. Jason thought about getting one of these rich tempting delights. But he was trying to cut back on sugar so he decided to give it a miss. “Shall I buy the coffees, Jason?” enquired his friend. “Thank you, Dave. That’s very kind of you. But I insist that I buy them,” Jason insisted. “Definitely not,” exclaimed Dave, wanting to pay as Jason was visiting his town. “It’s my treat.” After a short period of deliberation, they decided to each have a latte. They stood and waited patiently for the barista making the coffees and to bring them over. Dave paid with a ten pound note, as he wanted some change, and put his change in his right trouser pocket. Once the coffees were ready, Jason and his former schoolmate went to find an unoccupied table at the back of the cafe.

Again, the dialogue is well punctuated and laid out, albeit with some rather attention-seeking dialogue tags.

But once again, there’s quite a bit of editing needed.

Here are some of the most obvious problems:

Blow by Blow Description of Mundane Event

Dave and Jason go into what we can only assume is a fairly conventional coffee shop, order lattes, and sit down. This is, quite frankly, boring writing. The scene doesn’t need to be described in minute detail (with a fairly pointless back-and-forth conversation, the details about Dave paying and where he puts the change, and so on).

Detailed Description of What a Character DOESN’T Do

Jason looks at the cakes and biscuits but decides not to get one. Unless him cutting back on sugar is particularly important to the plot or his character arc, we could skip this entirely. Otherwise, something like “Jason resisted the temptation of the cake display” would tell us all we need to know. One of the great things about the novel form is the ability to dig into a character’s thoughts … but only when those thoughts are actually interesting.

Chit-Chat Dialogue

This has been a problem throughout the whole passage. Dave and Jason chat but without saying anything of meaning. This happens a lot in life – but it shouldn’t happen in your story! Unless the characters are about to have a row over who pays for the coffees, we don’t need the back-and-forth that happens here.

Stilted Dialogue

As well as being a bit chit-chatty, the dialogue is oddly stilted. The characters use one another’s names (which people don’t tend to do when there’s only two of them, as it’s obvious who they’re addressing) and the language like “that’s very kind of you” seems strangely formal.

Wavering Point of View

We’re told that Dave wanted to pay because Jason is visiting his town, and that he paid with a £10 note because he “wanted some change”. The rest of the passage has been from Jason’s point of view. Dipping into what Dave wants comes across as head-hopping.

In the whole passage, almost nothing has happened. Two old friends meet unexpectedly and decide to go for a coffee. There’s no conflict or tension. It needs to be a lot shorter, better paced , and with an eye to intriguing the reader with things like unanswered questions .

Turning Bad Writing Into Good Writing

As I said earlier, no writing is irredeemably bad … and everything you write can be (and probably should be!) redrafted.

As part of the rewrite, I’m going to assume that there are some key details we need to keep because they’ll become relevant to the plot later:

• Dave is wearing a hat
• Dave regularly won the 100 meter sprint at school
• Jason is in an area where he doesn’t live
• Jason didn’t attend the school reunion

I’m also going to keep the key plot events: the characters meet and they go to a coffee shop to talk further.

“Hi Jason!” It was Dave – Jason hadn’t seen him in years, and had forgotten he even lived around here. “Dave! It’s been a while.” Dave smiled. “Got time for a coffee? I know a place just up the road.” They strode down the street, Jason regretting that he hadn’t dressed more warmly, and feeling a little envious of Dave’s woolly hat. He had to half-run to keep up with Dave – but then, Dave had always been fast, winning the 100 meter sprint every year at school. “Did you go to the reunion?” Jason asked. “Nah, mate, did you?” “Nope,” Jason said. “I was on holiday with my sister and her kids.” They walked into the shop, Linda’s Coffee . Dave said, “What do you want? My treat.” “Oh, thanks. A latte, please.” It was a small cafe, without the glossy sheen of the chain coffee shops. It was deserted, too. The only other person there – presumably, Linda – handed them two generous lattes. Dave and Jason settled in battered leather armchairs. “So what brings you to this part of town?” Dave asked.

I wouldn’t claim this is the best piece of fiction I’ve ever written … but hopefully you can see it’s a huge improvement on the original. It gets through the required information fairly quickly, and perhaps starts to raise a few questions, like why Jason is in this part of town, why Dave didn’t go to the reunion, and what the relevance of Dave’s speed might be.

How to Improve Your Own Writing

If you’ve written a whole draft, whether that’s of a short story or a novel, then that’s a great achievement!

Please don’t worry about your writing being “good enough” at that stage. You’ve got plenty of time to rewrite, to keep what’s working, and to cut out writing that was essentially you warming up to get into a scene.

In your own work, look out for any issues like the ones we’ve gone through here. You might also want to check out these lists of common mistakes (plus examples) for some more help:

• Ten Book-Level Mistakes to Watch Out for When Redrafting Your Fiction
• Ten Sentence-Level Mistakes to Watch Out for When Editing Your Fiction

Another great way to improve is to ask a writer friend (or a beta reader ) to give you feedback on your own writing. I know this can be really daunting, but good feedback will help you pin-point what you’re already doing well (and can build on) as well as highlighting areas where you may need to spend time editing.

As a general rule, I’d aim to have a solid draft before seeking feedback. That way, you can make the most of your friend or beta reader’s time, as they won’t just be pointing out problems that you already knew about.

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I guess this article is meant for me…

im absolutely RATTLED over reading this and realizing why i dont like so much of my writing is because i do the whole ‘blow-by-blow of a mundane event’ section. this…this is gonna change me

It’s a really easy trap to fall into as a writer! I’m really glad this was helpful. Keep writing (and don’t forget to pay attention to the bits you DO like in your own writing … see what they have in common and how you can do more of that stuff). 🙂

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Discussions about the writing craft.

How to recognize GOOD/GREAT writing vs BAD/MEDIOCRE writing?

Just wanting everybody's opinions on the topic.

Choose Your Test

Sat / act prep online guides and tips, should you take the act with or without writing.

ACT , ACT Writing

Because ACT Writing is optional, many students are unsure whether they need to add the extra 40 minutes to the test. However, there's a simple answer to whether you should take the ACT with writing or without writing: it depends on whether the colleges you want to apply to require a writing score.

This guide will walk you through how the ACT writing section got started, how to determine whether you should take the ACT with or without Writing, and some other considerations you may want to keep in mind.

What Is ACT Writing?

Since 2005, students have had the choice between two different versions of the ACT: the ACT and the ACT with Writing. The writing test is an optional 40-minute essay task that students can elect to take at the end of the multiple choice test.

ACT, Inc. added the Writing section in response to the 2005 SAT overhaul, which added a Writing section that included both grammar multiple-choice questions and an essay. The addition of the writing task to the ACT was meant to keep the two tests equivalent and easily comparable. Nonetheless, the SAT's essay was required and the ACT's was optional .

This discrepancy between how the two tests incorporated their essay portions caused a fair amount of confusion for students and colleges. Ultimately, each college set its own policy about the two tests' Writing sections : some simply ignored SAT Writing scores and didn't require the ACT Writing, others considered SAT Writing but didn't require Writing with the ACT, and a third group considered SAT Writing and required the Writing with the ACT.

To complicate the situation further, the SAT's essay has now been discontinued . This caused many schools to change their policy about ACT Writing as well. Very few schools now require ACT Writing. Nonetheless, the basic facts remain the same: whether you take the ACT with or without Writing depends on whether the schools you're applying to require it.

The Key Consideration: Which Colleges Require ACT Writing?

With the trend of more schools becoming test optional (especially as a result of the coronavirus pandemic), more and more schools were already not requiring SAT or ACT Writing. When the SAT ended its essay, nearly all schools that required or recommended ACT Writing changed their policies.

Currently, most schools either don't look at your ACT Writing scores at all, or they'll consider them, but they won't have a large impact on your application (and not doing ACT Writing won't hurt your application). Check out our updated list of the schools that require or recommend ACT Writing for the most up-to-date information.

You can also look up schools' most up-to-date standardized testing policies on their individual websites: just search for "[school name] ACT writing requirement" online.

A Few Other Things to Keep in Mind

Although whether the schools you're interested in require you to submit the ACT with Writing should be the primary factor in your decision about which version of the test to take, there are a couple of other pros and cons worth taking into account.

A Good ACT Writing Score Can Boost Your Chances of Admission—Slightly

Even if a school doesn't require the test, a high score on the ACT Writing may give your application a slight boost , since it serves as an indication of strong writing and analysis abilities. This is basically just a way of providing some extra information and will generally have only a minor benefit (similar to submitting both ACT and SAT scores ).

The main circumstances in which it would be worth submitting the ACT with Writing even if it isn't required would be if you're applying to especially competitive schools or schools that recommend the Writing section .

Also be aware that some schools simply won't look at your Writing score, even if you send it. Make sure to read each school's policy carefully so you know what's worth spending time on.

Costs of Taking the ACT With Writing

So far I've focused on reasons you would want to take the Writing section, but there are also some costs associated with doing so.

Registration Fee

There is an extra fee ($25) to take the writing portion of the test.

Extra Study Time

If you take the Writing section you will need to study for the Writing section, which means investing extra hours into ACT prep .

However, ACT Writing is relatively straightforward once you know how it works, so even just a few hours of prep (say, reading through the rubric and some examples and trying a practice essay ) can be very helpful.

Both of these costs are relatively minor and neither should prevent you from applying to schools that do require ACT Writing . If the added fee is a serious issue, you may qualify for a fee waiver , which covers the writing section as well as the general registration.

Final Verdict

Let's go through each possible situation you might be in and whether you should take the ACT Writing.

If even one of the schools you want to apply to requires the ACT with Writing...

...take the ACT with Writing. You won't be able to get in without it, so it's worth the slightly higher fee and extra time commitment.

If you're applying only to schools that won't consider ACT Writing scores...

...skip taking the ACT with Writing. If schools won't even consider it, it's just a waste of time and money.

If you're looking at schools that don't require ACT Writing and aren't very competitive...

...only take the ACT with Writing if your application shows major weaknesses in English language skills.

If you're applying to more competitive schools or schools that recommend ACT Writing...

...take the ACT with Writing, unless the cost and stress profoundly outweigh the potential benefit of more information for colleges.

If you're not sure where you want to apply...

...take the ACT with Writing. It will save you from having to retake the test if you realize you need to submit ACT Writing scores later.

No matter what your situation, make sure to double check whether the schools you're applying to require you to submit ACT Writing scores . There's nothing worse than thinking you're completely finished with standardized testing, only to realize that you have to take the test all over again.

What's Next?

Just realized you need to take ACT Writing ? Check out our complete guide to the new Enhanced Writing test and tips on how to get a 12 on the essay .

If you're more focused on other sections of the test , check out our ultimate prep guides for ACT Reading , English , Math , and Science .

Alex is an experienced tutor and writer. Over the past five years, she has worked with almost a hundred students and written about pop culture for a wide range of publications. She graduated with honors from University of Chicago, receiving a BA in English and Anthropology, and then went on to earn an MA at NYU in Cultural Reporting and Criticism. In high school, she was a National Merit Scholar, took 12 AP tests and scored 99 percentile scores on the SAT and ACT.

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Good Writing vs. Great Teaching

• Resource: Article

by Andrew Pudewa

Good writing. What is it? Everyone has an opinion, but opinions differ widely. While one language arts curriculum judges that simply adding in more adjectives will “improve” sentences, other experts—quoting Mark Twain—suggest that adjectives and adverbs should be hunted down and killed. Although most people would agree that clear and to-the-point writing is best, few are able to balance the problem of how to teach conciseness while helping children develop more complete ideas and sophisticated expression. Over the past year, a few well known journalists and teachers have weighed in on the subject(1), even going so far as to quote some popular teaching materials (ours among them), stressing the need for parents and teachers to help children write clearly and not be sucked into the dreadful habit of “overwriting.”

While journalists, English teachers, historians, technical writers, children’s book authors, poets, parents, and college students all have a right to their idea of what makes “good” writing, they must avoid making assumptions about the best way to develop linguistic ability in children based on the skills required for their own vocation. It is erroneous to assume that elementary age children should receive the same sort of writing instruction as high school essayists or university journalism students. Children differ not only in what they need to learn, but in how they best learn it. Therefore, how writing is taught must be adjusted to the developmental level of the child and the appropriate goals for each stage.

According to one interpretation of the “classical” model, children pass through three preparatory stages (the “trivium”) before embarking upon more advanced study (the “quadrivium”). These stages are often referred to as Grammar, Logic, and Rhetoric. Whole books have been written to define these words, but for now a brief description is appropriate.

Grammar: A time when the child is primarily concerned with collecting facts—the grammar of life—about a wide range of subjects. Theory and reasons are not as necessary as the facts themselves. This is a corollary to Montessori’s “absorbent mind” period—a time when memorization, repetition, and recitation are of huge educational importance. Although all children are different, this is the primary stage of children six to ten years old.

Logic: A time when children feel compelled to test the facts they have learned. They love to argue, debate, challenge, validate, or repudiate the reality they’ve been given. Reasons, causes, theories, and relationships are of greater interest during this stage, which is typical of pre-teens and adolescents.

Rhetoric: After facts have been learned and tested, they can be used. This is a time when creativity, artistry, and ingenuity can be stressed in all areas. Original thinking is the result of the combination and permutation of previously learned facts and relationships. Analytical thinking is possible because of its foundation of grammar and logic. For a detailed discussion of these stages and how to teach to them more effectively, study Recovering the Lost Tools of Learning by Doug Wilson(2). Glen Doman(3), as a result of his work with brain-injured children (many of whom are stuck in the first stage for a long time), concisely stated the essence of Grammar-ness: If you teach a child the Facts, he will intuit the Laws, but if you teach a child the Laws, he cannot intuit the Facts. This explains in great part the failure of newer elementary math curricula with their emphasis on understanding operations rather than mastery of the facts themselves. Dr. Arthur Robinson recently noted that even the GRE exam primarily tests speed and accuracy in arithmetic and mastery of vocabulary—the two foundations upon which all learning rests(4).

What we must do, applying these truths to teaching writing, is to focus on building linguistic aptitude during the grammar stage and refining it during the logic stage so it can be useful during the rhetoric stage. What the writing experts have suggested, it seems, is that we should give rhetoric-level instruction to grammar-level students, but what master teachers know is that this would be folly.

The work of a child is to play—not “play” in the frivolous sense—but to collect, manipulate, practice, and experiment with the stuff of life. Most often, their play is based on imitation. The Montessori approach capitalizes on this innate need magnificently. First, the lesson is modeled, usually silently and very precisely, for the child, who is then invited to try it—as often as he wishes. If the lesson is not understood, the teacher simply presents it again, usually silently, as often as needed. Direct correction is minimal or nonexistent. The child “plays” (experiments, practices) with the lesson until mastered. Play is the natural inclination of a healthy child and a highly effective learning and teaching tool.

Dorothy Sayers notes in her landmark essay, The Lost Tools of Learning, that even a carpenter will “play” with a new tool to get a sense of it before putting it to serious use(5). Therefore, if older students are lacking factual information and logical connections in any given area, they must first acquire that knowledge and practice using it before being expected to put it to creative use. One cannot successfully bypass the Grammar and Logic stage.

How does this relate to teaching English composition? Well, first we must set the linguistic foundation of the young child by saturating him with language through constant high-quality auditory input and large amounts of language memorization(6).  Additionally, we must provide for the presentation of the facts, along with the opportunity to practice using them. In writing, the “grammar” or facts include vocabulary, usage, sentence patterns, organizational tools (paragraph, story, report, essay), decorations and special devices. These can be presented gradually or rapidly, according to the maturity of the student, but immediate mastery should be expected of no one.

The student must then “play with” these facts. In using adjectives, adverbs, strong verbs, clauses, prepositions, participles, very short sentences, and the like, the student gains a sense of confidence and gradually a sense of appropriateness in his usage. As in a Montessori classroom, re-presentation should be maximized; direct correction should be minimized. Certainly, we must gently lead the student toward better usage, but not at the expense of developing confidence and enthusiasm for trying new words. If teachers and coaches—in the name of following someone’s idea of what “good” writing is—begin to try to cut and prune the students' language too early during the Grammar stage, they will find that their students' linguistic ability becomes far less than it might have been had they postponed such advanced criticism. Later, during the Logic stage, and certainly during the Rhetoric stage, technique and artistry can be taught more successfully when built on a solid Grammar stage foundation.

Additionally we must consider the reluctant writer who has struggled all along. If he tries to stretch his vocabulary and usage but is then made to feel that his word experiments have failed to produce “good” writing, future attempts to use adjectives and adverbs or anything at all “risky” will now be much less likely to occur. His interest in words will dwindle; he will play it safe in order to avoid being “wrong.” Aptitude will shrivel.

Let us encourage children to experiment and play with words, remembering that what they do and how they learn is vastly more important than what they produce. Children who are free to play with words will fall in love with words; time, maturity, and life will help them balance creativity, eloquence, and conciseness. It is okay, in fact good, for children to be bold with words—even to an extreme. We don’t know what they will be called to do in life. One may become a technical writer or a playwright while another may become a novelist or journalist. Our job is not to decide what is “good” or “right” and chisel too early, but to feed, nurture, encourage and build up the child with the “stuff” of language and the joy of using it. Our work is to help form the linguistic marble from which they will create their profession or vocation, and others will help carve it away. For a sculptor, more marble is better than less.

It is okay—even beneficial—for children to exaggerate with words. This is how they build their linguistic foundations. Children’s book authors know this well. Take, for example, Alexander and the Terrible, Horrible, No Good, Very Bad Day by Judith Viorst. This book has a five-star rating everywhere it is sold and ranks in sales as number 439 on Amazon.com(7)! Few journalists could stomach even the title, but for children it’s a classic. Why? It builds their linguistic marble. They need the repetition, the categorization, the play of the words in that book. And besides, if everyone believed and followed the writing advice of journalism professors and writing experts, Dr. Seuss wouldn’t exist, and Judith Viorst could never have written about Alexander’s day in such an engaging way.

During the Grammar stage, what goes into the child’s brain is much more significant than what comes out. Children’s experience while learning is infinitely more important than what they can produce. Certainly output is part of experience, and much is learned by producing a product. However, we must remember to place the value on the process—not the product. This is hard, as we live in a very product-based, materialistic society which always looks for results, proof, evidence, and profit—often at the wrong time and in the wrong place.

But keep all of this in perspective. Certainly we do agree with Twain, Barzun, Zinsser, and Olasky; good writing is simple, free of clutter, clear and specific. We must agree with Lewis, Hemingway, and Marks; it is important to avoid overwriting and to concentrate on ideas and information. However, to practice the discipline of writing as an adult at the post-Rhetoric level and to teach writing to children at the Grammar and Logic levels are very different activities. Let us understand who we are teaching, and not become confused.

1. Marvin Olasky. “The Write Stuff.” World Magazine May 10, 2003: page 60 Dave Marks. “Creative Writing.” Practical Homeschooling May/June 2003: page 28 2. Good News Publications April 1991 3. Institutes for Achievement of Human Potential, Philadelphia, PA (www.iahp.org) 4. “How to Raise a Thinker.” Practical Homeschooling Sept/Oct 2003: page 19 5. Currently available at www.gbt.org/text/sayers.html 6. Andrew Pudewa, “One Myth and Two Truths.” http://iew.com/help-support/resources/articles/one-myth-and-two-truths 7. As of January 26, 2004

© 2008, Institute for Excellence in Writing, L.L.C. The above article is available for your personal use or for distribution. Permission given to duplicate complete and unaltered.

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Plot Type Mastery

What's really happing in your story.

Do you know which of the 9 types of story you're writing? Do you know how plot type works with form to create stories that just work?

Learn everything you need to understand what's  really  going on at the heart of your story.

By the end of this class taught by bestselling author of The Write Structure , Joe Bunting, you will be ready to write a story that works.

Here are the topics we’ll cover in each lesson:

• Get the Premium Plot Type Assessment. Take our proven, detailed plot type assessment which can accurately predict which of the 9 types of story is your main plot. You'll also receive scores to help you determind your subplot and internal plot.
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Joe Bunting is a Wall Street Journal bestselling writer, book coach, and the founder of The Write Practice, with fourteen years experience transforming aspiring authors into published authors.

Joe’s believes everyone deserves the chance to share their story, and since 2010, he has been demystifying the writing, editing, and publishing processes and guiding thousands of people to become authors.

The Write Practice, the writing community Joe founded in 2011, is one of the world’s leading resources for creative writers. It has reached over 25 million readers since 2011 and is cited by educational institutions globally for its practical take on the creative writing process.

More than anything, Joe is driven by a passion to help people who dream of sharing their stories and ideas with the world. He is committed to guiding aspiring writers through the hurdles of writing and publishing, from tackling writer’s block and structuring their stories, to obtaining professional feedback and mastering the intricacies of the publishing industry.

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Book Writing Tools Instructor : Bestselling author Joe Bunting

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Book Sales Tactics Instructor: Jamie L. Biggs

Book Study: Deadly Education by Naomi Novik (fantasy) Instructor : Bestselling author Joe Bunting

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How to Write Like Louise Penny: A Still Life Book Study for Writers

Louise Penny is one of the world's most successful living mystery writers, selling more than 10 million copies of her bestselling Inspector Gamache series.  How do her books work though? And in general, how do you write a mystery novel? In this...

Better Characters, Faster

Better Characters, Faster is a 2-part class designed to help you create your best characters. Whether you're tackling your first novel or diving into revisions, this workshop will help you create characters that readers fall in love with and want to follow till the...

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There are certain tools that pro writers won't even start writing a book without, tools that make write, publishing, and even marketing their books so much easier. Now, in this new class from The Write Practice and bestselling author Joe Bunting, you'll learn how to...

Boys in the Boat: Book Study for Writers

The Boys in the Boat is one of the most successful historical nonfiction books of all time and was recently adapted into a blockbuster film by George Clooney. How does the book work though? And what can writers learn by studying this bestselling book?

Write from the Start: Novel Prep Essentials

Have an idea? Ready to write? Learn everything you need to get started the write way so you can actually finish your book.  By the end of this 3-part class taught by bestselling author and founder of The Write Practice, Joe Bunting, you will be ready to...

How to Get a Literary Agent

Want to get a literary agent for your novel or nonfiction book? Learn how from bestselling author and founder of The Write Practice, Joe Bunting. It can be intimidating to begin the search for a literary agent, but in this class, you'll learn the simple system for...

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This course is open to all authors and aspiring authors, whether in the United States, Europe, Australia, India, or elsewhere. If you want to write a book, this course is for you. Keep in mind that you’ll gather live on Zoom several times a month with your mastermind cohort, and let us know in your application which of our available time slots works best for you.

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Is mastery-based grading better for students than traditional grades.

Mastery-based learning allows every student a chance to master major concepts before a teacher moves on to the next topic. The transformation of the grading system from traditional to mastery-based grading welcomes innovation in ensuring deeper learning. Mastery-based grading focuses on learners mastering concepts rather than achieving set grades.

Mastery-Based Grading System 

In the mastery-based grading system, viewing educational elements is done separately , allowing parents and teachers to identify areas where learners lag and need assistance. The traditional grading system combines all components to determine an overall grade. However, the master-based grading system ensures teachers only combine several elements to derive the classroom participation, grades, scores, and homework.

How Mastery-Based Grading Works

Let's explore the core of mastery-based grading and how it works.

Connected to Learning Objectives

The mastery-based grading system identifies what learners should know and accomplish at the end of a course or program. The grading system clearly defines the earning expectations so that the teachers and parents understand what the student is responsible for learning.

Dividing Theoretical Achievement from Behaviors

The mastery-based grading system makes it easier for teachers and parents to identify learners' problems since it separates academics from work habits, character traits, and behaviors. The traditional grading system combines academics with school behaviors such as class participation, deadlines, and school attendance, making it hard to determine what the learner is excelling at and what they are struggling to grasp.

Mastery-grading goes beyond such an analysis and delves deeper into what the student knows.

Focus on the Learning Progress

Tracking the learning process allows learners to see where they fall short in the curriculum. Educators who use the mastery-based grading system enable students to recognize the importance of doing well academically. The mastery-based grading system identifies and rewards learners, pushing them to work hard and achieve more. This is accomplished by tracking progress throughout the term. 

The mastery-based grading system also assesses learners' achievement at the end of the term or semester. The system allows learners to put more effort into their grades without being demoralized between the course periods.

Implementing Mastery-Based Grading

Switching from traditional to mastery-based grading is possible with a few tweaks to your teaching style and mindset.

Breaking Down the Learning Goals

Educators are responsible for helping learners understand what they expect from them.  In mastery-based learning, teachers outline learning targets and make them more attainable.  In some cases, when learners are in the classroom, they only grasp the broad concepts from the subject without knowing how they can fully demonstrate them.

When learners don't know how to demonstrate their mastery of a unit, they lag in their learning journey. It's essential to avoid this setback. So, to remedy this, learners can make concepts stick if they are tested. For example, they can put standards into their own words by working in groups or showcase their mastery with the whole class through related activities. 

Single-Point Rubrics

Teachers willing to support learners in mastery-based learning will create a single-point rubric for each unit they teach. This rubric will push students to meet the unit's expectations because it explains what concepts they need to understand to prove their mastery. A mastery-grading scale benefits the learner and the teacher by saving time analyzing specific parts of a unit.

The Outcomes of the Mastery-Based Grading system

When implemented successfully, mastery-based grading can significantly affect a student's education.

Student Agency

The mastery-based grading system becomes effective only when students take ownership of their learning process. In a classroom that exercises the mastery-based system, teachers guide their pupils to track their learning progress and manage their digital learning environment.

Most learners aren't born with the ability to manage their education successfully; instead, they need proper guidance to achieve success. Students work with their freedom and flexibility, using project-based understanding and playlists that allow them to flourish in a mastery-based environment.

Mastery Not Minimum

The mastery-based grading system will successfully transition the mindset of the pupil to grow and develop a deeper understanding of the elements. The mastery-based grading system eliminates letters and numbers from the students' report cards, allowing students to master rubrics they obtain for each standard. The system enables students to have feedback on their assignments, encouraging them to reflect and improve their work.

Final Thoughts

Mastery-based grading encourages students to be aware and more in control of their learning. Instead of traditional grading, mastery-based grading gives a better insight into a student's success or identifies where more support is needed.

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Sign up for our free weekly newsletter and receive top education news, lesson ideas, teaching tips and more! No thanks, I don't need to stay current on what works in education! COPYRIGHT 1996-2016 BY EDUCATION WORLD, INC. ALL RIGHTS RESERVED. COPYRIGHT 1996 - 2024 BY EDUCATION WORLD, INC. ALL RIGHTS RESERVED. SchoolNotes.com The Educator's Network Avoiding Plagiarism: Mastery Test Students also viewed Visit the University of Nebraska–Lincoln Apply to the University of Nebraska–Lincoln Give to the University of Nebraska–Lincoln Search Form What is Mastery Grading? The key underlying principle of mastery grading is that all students can learn, but different students will learn at different rates and need different strategies and supports to assist them in their learning (Bonner 2016, Towsley and Schmid 2020). Three defining traits of mastery grading are providing students with learning objectives for course content, allowing students opportunities to show mastery on assessments that are aligned to the learning objectives, and giving students multiple ways to demonstrate mastery of each learning objective (Campbell et al. 2020, Cilli-Turner et al. 2020, Towsley and Schmid 2020). Mastery grading begins by assessing students’ currently level of understanding on a topic with a pre-test or similar task (Bonner 2016). With the information from this assessment, different teaching strategies and activities are used to address areas that are below standard (Bonner 2016). During these activities and formative assessments, instructors provide students with descriptive feedback (not grades) and help students determine the areas they need to invest more time in learning (Bonner 2016). Students then complete assessments that are aligned to the learning objectives to demonstrate their level of understanding of the content. If students are proficient, they move on to the next topic. If students do not meet the standards, then remediation is given in the form of additional activities that are directly related to the area that needs improvement. The student then retakes the assessment or a similar assessment covering the same learning objectives until mastery is shown for the content (Bonner 2016). Benefits of Mastery Grading Mastery grading has many benefits for both students and instructors. Students are allowed to work at their own pace to learn the material and are less anxious about assessments because they know they can retake exams or other assessments if they do not understand a concept (Towsley and Schmid 2020). Students also show shift from focusing solely on grades to being more involved with learning and over time develop a growth mindset (Cilli-Turner et al. 2020, Towsley and Schmid 2020). Instructors find that mastery grading reduces instructor-student conflicts over grades and some instructors report a reduction in time required for grading (Towsley and Schmid 2020). Possible Challenges with Mastery Grading Mastery grading may pose some challenges due to the self-paced nature of the learning process and the need for remediation. Since students are learning at their own pace, some students may need more time to complete work within the weeks of a traditional semester (Towsley and Schmid 2020). Whether due to time management issues or needing more time to show mastery, these students will require structured methods to ensure they complete the course requirements before the end of the semester or a policy for completing the course using an “incomplete” grade. Additionally, students that have difficulty with a specific learning objective will need activities, formative assessments, and feedback to improve their understanding of the topic (Towsley and Schmid 2020). Creating these remediations requires time and a deep understanding of the issues students are having with understanding the concept. Thus, instructors may feel rushed to develop enough and the correct type of interventions to help students learn the material and meet the learning objectives. Additionally, because the course is self-paced, the instructor will need to have most, if not all, of the materials for the course available to students at the beginning of the semester. How to Implement Mastery Grading Mastery grading relies on four main steps: determining the learning objectives, defining mastery, establishing grading protocols, and incorporating flexibility (Cilli-Turner et al. 2020). Although these four steps will help with developing a course using mastery grading, the following resources may also be helpful when first designing and implementing mastery grading. “ How to set up Mastery-based Grading in your Classroom ” podcast and text by Kareem Farah on Cult of Pedagogy “ An Introduction to Mastery Based Grading ” PowerPoint slides by Sharona Krinsky at Cal State “ Mastery Based Grading ” by Michael Weingart at Rutgers “ What is Mastery Grading and Why it’s a Good Idea ?” presentation by Jeff Ford at Minnesota State University, Mankato. Bonner, M. W. (2016). Grading rigor in counselor education: A specifications grading framework. Educational Research Quarterly 39.4: 21-42. Campbell, R., D. Clark, and J. O’Saughnessy (2020). Introduction to the special issue on implementing mastery grading in the undergraduate mathematics classroom. PRIMUS 30:837-848. Cilli-Turner, E., J. Dunmyre, T. Mahoney, and C. Wiley (2020). Mastery grading: Build-a-syllabus workshop. PRIMUS 30: 952-978. Sadler, D. R. (2005). Interpretations of criteria-based assessment and grading in higher education. Assessment & Evaluation in Higher Education 30: 175-194. Townsley, M. and D. Schmid (2020). Alternative grading practices: An entry point for faculty in competency-based education. Competency-based Education DOI: https://doi.org/10.1002/cbe2.1219. "What is Mastery Grading" was written by Michelle Larson. Published to the website January 30, 2023. Grading and Feedback Alternative Grading for College Courses What is Competency-based Grading? What is Contract Grading? What is Specification Grading? 453 IMAGES Good vs Bad Writing Techniques What Separates Good Writing From Bad Writing? PPT Good vs Bad writing Good Writing Vs Bad Writing Good versus Poor Scientific Writing VIDEO Letter writing Vs Digital Typing...#shorts #status IELTS Writing Task Common Mistake Writing vs Speaking in 5 Languages Imperative sentences(H) # English Language # English Grammar # English # English Basics # Sentence How to tell whether your writing is good . . . or not COMMENTS Good Writing Versus Bad Writing Flashcards Study with Quizlet and memorize flashcards containing terms like Good Writing Versus Bad Writing, Good Writing Versus Bad Writing, and more. ... Common Mistakes in Writing: Mastery Test. 8 terms. greyes658. Preview. Vocab 5. 44 terms. Matt_Botto. Preview. AC Spiders . Teacher 20 terms. ... Engel test unit 1. 14 terms. srstarr24. Preview. Act 1 ... Strengthening Writing: Mastery Test Flashcards work. Study with Quizlet and memorize flashcards containing terms like What is the function of the underlined words? Although he has an accounting degree, Joe is working as a florist., Glen is writing about the benefits of using digital textbooks. He must review his writing and check for sentence structure. His teacher noted some phrases and ... The Difference Between Good and Bad Writing Better-than-competent writers — good writers — examine their effects before they put them down: They think that way all the time. Bad writers never examine anything. Their inattentiveness to the detail of their prose is part and parcel of their inattentiveness to the detail of the outside world." -Clive James, "Georg Christoph Lichtenberg ... Creative Writing Mastery Test Flashcards Creative writing is about the expression of emotions, ideas, and experiences in an artistic way. You should write with a reader in mind. Your reader should be able to understand what you are trying to say, and the story you are telling. The creative writing process consists of what 5 basic stages? 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It ensures that sentences flow smoothly and ideas are presented logically. In contrast, bad writing is littered with grammatical errors, awkward phrasing, and inconsistent sentence structure, making it difficult for ... The Difference Between Good Writers & Bad Writers Good writing is simple writing. It is not forced on the readers. Rather it keeps the language smooth and flowing. Good writing is all about good communication. What is bad writing? Bad writing is beyond writing bad. It involves mistakes in syntax, grammar, plot, concept, and data accuracy. No matter how good your story is, it makes for a bad ... What's the Difference Between Good Writing and Great Writing? A good piece of writing holds your attention. It flows smoothly and everything makes sense. It's interesting and a pleasure to read. Great writing, on the other hand, doesn't just hold your attention; it commands your attention. You become lost in it. You can't put it down, and when you do, you want to read it all over again. Bad Writing and Good Writing : Word Count Bad Writing and Good Writing. Any one who wishes to become a good writer should endeavor, before he allows himself to be tempted by more showy qualities, to be direct, simple, brief, vigorous, and lucid. We all like good writing and dislike bad writing; we all want to write well, not badly. Yet the words "good" and "bad," when applied to any ... What Bad Writing Looks Like ... and How to Fix It [With Examples] Poor Dialogue Tags. Words like announced, exclaimed, smiled, laughed, queried, and explained draw attention to themselves - rather than to the actual dialogue. They sound like the author is trying too hard. The words "said" and "asked" would work fine instead. These 10 Bad Writing Habits Can Significantly Hamper Your ... Examining standard writing metrics lets you decide if a piece of writing is good or bad. I'll show you good writing vs bad writing examples and the metrics to look out for. 1. Spelling and Grammar How to recognize GOOD/GREAT writing vs BAD/MEDIOCRE writing? calxlea. •. "Good" writing, to me, is invisible. You don't have to feel like you're reading a description of something, you just "get it". "Great" writing does this in poetic language. "Bad" writing is where a sentence takes too long to get to the point, it's flowery and unnecessary. English 8: Writing a Persuasive Argument: Mastery Test A. to highlight the writer's knowledge. B. to provide multiple arguments. C. to add sufficient length to the paper. D. to make it structurally unified. to make it structurally unified. Writing a Persuasive Argument: Mastery Test Learn with flashcards, games, and more — for free. PDF Writing Benchmarks: The Complete Guide Writing benchmarks are a powerful tool that can help teachers and administrators better understand, track, and evaluate student writing performance and growth over the course of ... "Be good citizens" (76%), and "Stay safe from violence and physical harm" (75%). As Steve Graham and Dolores Perin point out in their report Writing Next ... Should You Take the ACT With or Without Writing? ACT General Info , ACT Writing. Because ACT Writing is optional, many students are unsure whether they need to add the extra 40 minutes to the test. However, there's a simple answer to whether you should take the ACT with writing or without writing: it depends on whether the colleges you want to apply to require a writing score. 7 features of bad writing It can be done. Tomorrow: How not to write a novel. despite the book's title, How not to write a novel contains relevant advice for the non-fiction writer too. Another article in the 'bad writing' series, 7 Features of Bad Writing suggests some common characteristics of poor prose. Any one of these 'sins' would serve as an indicator, especially ... Good Writing vs. Great Teaching Good Writing vs. Great Teaching. Resource: Article. by Andrew Pudewa. Good writing. What is it? Everyone has an opinion, but opinions differ widely. While one language arts curriculum judges that simply adding in more adjectives will "improve" sentences, other experts—quoting Mark Twain—suggest that adjectives and adverbs should be ... Plot Type Mastery : The Write Practice By the end of this class taught by bestselling author of The Write Structure, Joe Bunting, you will be ready to write a story that works. Here are the topics we'll cover in each lesson: Get the Premium Plot Type Assessment. Take our proven, detailed plot type assessment which can accurately predict which of the 9 types of story is your main plot. Is Mastery-Based Grading Better For Students Than Traditional Grades Final Thoughts. Mastery-based grading encourages students to be aware and more in control of their learning. Instead of traditional grading, mastery-based grading gives a better insight into a student's success or identifies where more support is needed. Mastery-based learning allows every student a chance to master major concepts before a ... Avoiding Plagiarism: Mastery Test Flashcards Writing a Literary Argument: Mastery Test (1-5) 5 terms. xoxvcm. Preview. Post Test: Governing Fairly. 20 terms. hell0flowers. Preview. Level F - Unit 1 - 3. 60 terms. randomsusan. ... - Ambition is a useful and good quality when applied to valuable goals, but if it is used for the wrong purposes, it can be very problematic (Dunigan). The Difference Between Good Writing and Bad Writing is Hard Work Photo by Doug Robichaud on Unsplash. Quit daydreaming about having a writing career and start writing. I've always wanted to be a writer. I would tell people, "I love getting to write," but ... What is Mastery Grading? Mastery grading begins by assessing students' currently level of understanding on a topic with a pre-test or similar task (Bonner 2016). With the information from this assessment, different teaching strategies and activities are used to address areas that are below standard (Bonner 2016). During these activities and formative assessments ... case study cover letter presentation problem solving rewiew prompts websites tips