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A professor of mine put it even more succinctly: "If you want to achieve true mastery of English prose, read Gibbon and Orwell, then shoot yourself".
"Charlie" is very much a writer's film: Mr. Schickel's elegant, occasionally knotty prose, read by Sydney Pollack, offers a clear, nuanced interpretation of the artist's work in relation to his life.
Others in the running for an guild award in March include BBC Radio 3's World and Music, a sequence of classical music interspersed with both popular and less familiar poems and prose read by leading actors.
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Miller's prose reads more smoothly than Blake's.
The prose reads as if it had been dictated rather than written, and was then sent straight to the printers.
She took time and trouble with her prose, reading it back to herself out loud, and her meticulousness shows.
The prose reads well in English, without losing a distinctly Chinese feel, but it is very far from the classical Chinese tradition.
Mr Stiglitz's prose reads like a draft dictated to a secretary whose mind was apt to wander: readers too will be drifting off a lot.
His nonfiction prose reads like the work of a high-functioning slacker, what you'd get if Janet Malcolm sent her genius-I.Q.
But compared to some other US-based Chinese authors, whose prose reads as though it was rewritten wholesale by American editors, she retains a distinctive voice.
While her Panamanian characters are utterly convincing, her prose reads as if it grew up drinking water that had been fluoridated with traces of John Updike and Ann Beattie.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com