Practice and improve writing style. Write like Ernest Hemingway
Improve your writing style by practicing using this free tool
Practice makes perfect, sure, we all know that. But practice what?
If you do not have a good writing style, and you keep writing in that same style, then, it does not matter how much you write. At the end, you will still have that not so good writing style.
Here's how you improve
You practice writing in the style of popular authors. Slowly, but surely, your brain will start picking up that same wonderful writing style which readers are loving so much, and your own writing style will improve. Makes sense?
Its all about training your brain to form sentences in a different way than what you are normally used to.
The difference is the same as a trained boxer, verses a regular guy. Who do you think will win a fight if the two go at it?
Practice writing like professionals!
Practice writing what is already there in popular books, and soon, you yourself would be writing in a similar style, in a similar flow.
Train your brain to write like professionals!
Spend at least half an hour with this tool, practicing writing like professionals.
Practice and improve your writing style below
Below, I have some random texts from popular authors. All you have to do is, spend some time daily, and type these lines in the box below. And, eventually, your brain picks the writing style, and your own writing style improves!
Practice writing like:
- Abraham Bram Stoker
- Agatha Christie
- Arthur Conan Doyle
- Charles Dickens
- Ernest Hemingway
- Hg Wells
- Jane Austen
- Mark Twain
- Rudyard Kipling
Type these lines in the boxes below to practice and improve your writing style.
'I do not know, my Colonel. I do not know whom you are fighting, nor what forces are at your disposal.'
'Well, if he painted any really good pictures of that country I'd sure as hell like to trade him out of some of them.'
'We haven't asked for the little negro that will look after me.'
And she gave me her love, some hard stones, which I returned, and the picture. Well, I can always give her back the picture. I could give her my ring from V.M.I., he thought, but where the hell did I lose that?
'Yes. I know,' the Barone said. He looked at nothing. Then he said, 'We must wake your driver.'
"We're different," the old man said. "I let you carry things when you were five years old."
"But you have not slept yet, old man," he said aloud. "It is half a day and a night and now another day and you have not slept. You must devise a way so that you sleep a little if he is quiet and steady. If you do not sleep you might become unclear in the head."
He leaned over the side and pulled loose a piece of the meat of the fish where the shark had cut him. He chewed it and noted its quality and its good taste. It was firm and juicy, like meat, but it was not red. There was no stringiness in it and he knew that it would bring the highest price in the market. But there was no way to keep its scent out of the water and the old man knew that a very bad time was coming.
"I would like to take the great DiMaggio fishing," the old man said. "They say his father was a fisherman. Maybe he was as poor as we are and would understand."
I must hold his pain where it is, he thought. Mine does not matter. I can control mine. But his pain could drive him mad.
The bull did not insist under the iron. He did not really want to get at the horse. He turned and the group broke apart and Romero was taking him out with his cape. He took him out softly and smoothly, and then stopped and, standing squarely in front of the bull, offered him the cape. The bull’s tail went up and he charged, and Romero moved his arms ahead of the bull, wheeling, his feet firmed. The dampened, mud-weighted cape swung open and full as a sail fills, and Romero pivoted with it just ahead of the bull. At the end of the pass they were facing each other again. Romero smiled. The bull wanted it again, and Romero’s cape filled again, this time on the other side. Each time he let the bull pass so close that the man and the bull and the cape that filled and pivoted ahead of the bull were all one sharply etched mass. It was all so slow and so controlled. It was as though he were rocking the bull to sleep. He made four veronicas like that, and finished with a half-veronica that turned his back on the bull and came away toward the applause, his hand on his hip, his cape on his arm, and the bull watching his back going away.
It was part of his system of authority. It made him seem older. I noticed his skin. It was clear and smooth and very brown. There was a triangular scar on his cheek-bone. I saw he was watching Brett. He felt there was something between them. He must have felt it when Brett gave him her hand. He was being very careful. I think he was sure, but he did not want to make any mistake.
During the morning I usually sat in the café and read the Madrid papers and then walked in the town or out into the country. Sometimes Bill went along. Sometimes he wrote in his room. Robert Cohn spent the mornings studying Spanish or trying to get a shave at the barber-shop. Brett and Mike never got up until noon. We all had a vermouth at the café. It was a quiet life and no one was drunk. I went to church a couple of times, once with Brett. She said she wanted to hear me go to confession, but I told her that not only was it impossible but it was not as interesting as it sounded, and, besides, it would be in a language she did not know. We met Cohn as we came out of church, and although it was obvious he had followed us, yet he was very pleasant and nice, and we all three went for a walk out to the gypsy camp, and Brett had her fortune told.
“Oh, yes. I’ve got some darbs. But not alongside of this Robert Cohn. The funny thing is he’s nice, too. I like him. But he’s just so awful.”
The Project Gutenberg eBook of The Sun Also Rises by Ernest Hemingway “How’s your jaw, Jake?” Mike asked.
