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Have you ever wanted to write a DRC rule deck to check for space or width constraints on polygons? Or have you wondered how the multiple lines of an LVS rule deck extract and conduct a comparison between the schematic and layout? Maybe you've been curious about the role of rule deck writers in creating high-quality designs ready for tape-out.

If any of these questions interest you, there is good news: the latest version (v23.1) of the Physical Verification Rules Writer (PVLRW) course is designed to teach you rule deck writing. This free 16-hour online course includes audio and labs designed to make your learning experience comfortable and flexible. Whether you are new to the concept or an experienced CAD/PDK engineer, the course is structured to enhance your rule deck writing skills.

The PVLRW course covers six core modules: Layer Processing, DRC Rules, Layout Extraction, ERC and LVS Rules, Schematic Netlisting, and Coloring Rules. There are also three optional appendix sections. Each module explains relevant rules with syntax, concepts, graphics, examples, and case studies.

This course is based on tool versions PEGASUS231 and Virtuoso Studio IC231.

Pegasus Input and Output

Pegasus is a cloud-ready physical verification signoff solution that enables engineers to support faster delivery of advanced-node integrated circuits (ICs) to market.

Pegasus requires input data in the form of layout geometry, schematic netlists, and rules that direct the tool operation. The rules fall into two categories: those that describe the fabrication process and those that control the job-specific operation.

Pegasus provides log and report files, netlists, databases, and error databases as output.

Overview of Pegasus Rule File

The rule decks written in Physical Verification Language (PVL) work for the Cadence PV signoff tools Pegasus and PVS (Physical Verification System).   

The PVL rules are placed in a file that gets selected in a run from the GUI or the command line, as the user directs. PVL rules may be on separate lines within the file and can also be contained in named rule blocks.

Each line of code starts with a PVL rule that uses prefix type notation. It consists of a keyword followed by options, input layer or variable names, and output layer or variable names.

A rule block has the format of the keyword rule, followed by a rule name you wish to give it, followed by an opening curly brace. You enter the rules you wish to perform, followed by a closing curly brace on the last separate line.

  Sample Rule deck with individual lines of code and rule blocks.

DRC Rules

The first step in a typical Pegasus flow is a Design Rule Check (DRC), which verifies that layout geometries conform to the minimum width, spacing, and other fabrication process rules required by an IC foundry. Each foundry specifies its own process-dependent rules that must be met by the layout design.

There are three types of DRC rules: layer definition rules, layer derivation rules, and DRC design check rules. Layer definition rules identify the layers contained in the input layout database, and layer derivation rules derive additional layers from the original input layers, allowing the tool to test the design against specific foundry requirements using the design check rules.

A sample DRC Rule deck

A layout view displaying the DRC violations

LVS Rules

The Pegasus Layout Versus Schematic (LVS) tool compares the layout netlist with the schematic netlist to check for discrepancies.

There are two essential LVS rule sets: LVS extraction rules and comparison rules. LVS extraction rules help extract drawn devices and connectivity information from the input layout geometry data and outputs into a layout netlist. The LVS extraction rule set also includes the layer definition, derivation, extraction, connectivity, and net listing rules.

LVS comparison rules are associated with comparing the extracted layout netlist to a schematic netlist.

A sample LVS Rule deck. 

TCL, Macros, and Conditional commands

Tcl is supported and used in various Pegasus functionalities, such as Pegasus rule files and Pegasus configurator. Macros are functional templates that are defined once and can be used multiple times in a rule file. Conditional Commands are used to process or skip specific commands in the rule file.

Do You Have Access to the Cadence Support Portal?

If not, follow the steps below to create your account.

• On the Cadence Support portal, select Register Now and provide the requested information on the Registration page.
• You will need an email address and host ID to sign up.
• If you need help with registration, contact support@cadence.com.

To stay up to date with the latest news and information about Cadence training and webinars, subscribe to the Cadence Training emails.

If you have questions about courses, schedules, online, public, or live onsite training, reach out to us at Cadence Training.

For any questions, general feedback, or future blog topic suggestions, please leave a comment.

Related Resources

Product Manuals	Cadence Pegasus Developers Guide
Rapid Adoption Kits	Running Pegasus DRC/LVS/FILL in Batch Mode
Training Byte Videos	What Is the Run Command File? How to Run PVS-Pegasus Jobs in GUI and Batch modes? PVS DRC Run From - Setup Rules What Is PVS/Pegasus Layer Viewer? PVL Coloring Ruledecks with Docolor and Stitchcolor  PLV Commands: dfm_property with Primary & Secondary Layer PVS Quantus QRC Overview
Online Courses	Pegasus Verification System PVS (Physical Verification System) Virtuoso Layout Design Basics

About Knowledge Booster Training Bytes

Knowledge Booster Training Bytes is an online journal that relays information about Cadence Training videos, online courses, and upcoming webinars in the Learning section of the Cadence Learning and Support portal. This blog category brings you direct links to these videos, courses, and other related material on a regular basis. Subscribe to receive email notifications about our latest Custom IC Design blog posts.

reyesm1 Tue, 04/09/2024 - 12:24

venkatp Mon, 05/24/2021 - 10:29

2025 Melvin M.S. Goo Writing Fellowship

grandyd Mon, 08/14/2023 - 14:21

Musing on John Lewis-Stempel's latest book, England: A natural history, James McConnachie marks the flowering of other, more diverse voices in nature writing

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Wooden tablets containing a language of glyphs called Rongorongo may be evidence that the people of Rapa Nui, also known as Easter Island, created their own writing system without the influence of European language

Remote sensing, including lidar, reveals that the Amazon was once home to millions of people. The emerging picture of how they lived challenges ideas of human cultural evolution

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AI models have safeguards in place to prevent them creating dangerous or illegal output, but a range of jailbreaks have been found to evade them. Now researchers show that writing backwards can trick AI models into revealing bomb-making instructions.

Google DeepMind has been using its AI watermarking method on Gemini chatbot responses for months – and now it’s making the tool available to any AI developer

The spy writing star, whose series has become a huge television hit starring Gary Oldman, is to chair the Theakston Old Peculier Crime Writing Festival 2025

Administrative innovations in south-west Asia during the 4th millennium BCE, including the cylinder seals that were rolled on the earliest clay tablets, laid the foundations for proto-cuneiform script.

The post Study: Cylinder Seals and Sealing Practices Stimulated Invention of Writing in Ancient South-West Asia appeared first on Sci.News: Breaking Science News.

Jun 1, 2024

How can scholars write effective policy recommendations? Despite the potential importance of academic work to the policy debate, many scholars receive little training on why and how to make policy recommendations. To remedy this problem, here are steps to guide scholars as they begin developing policy recommendations for their articles. 

Today in my craft post, I'm going to talk about a straightforward skill… while referencing a book that's wonderfully un-straightforward.

H Is for Hawk is a memoir by Helen Macdonald that weaves together several threads, the three biggest of which are: her experience of training a northern goshawk; her analysis of T. H. White's memoir about training a northern goshawk; and her grief following the death of her father. In terms of balance and weaving, it's beautifully done. In terms of psychological insight, it feels searingly true. And in terms of the expression of emotion, it's stunning.

It's also an uncomfortable book at times, in ways that recommend it. And it's a fascinating memoir for a fiction writer to read while thinking about how to write character. H Is for Hawk left me with a lot of questions, for the book and for myself.

If you just want the straightforward writing lesson, which is on the topic of writing emotion, jump ahead to the *** below. If you're interested in a fiction writer's thoughts about memoir, read on.

I sat down to read H is for Hawk because a friend had described its structure and I was intrigued. I'm not a memoir writer; it's far too personal a style of writing for me. But I like to read books that differ greatly from my own writing, and I especially like to learn to write from them. After all, the more a book diverges from your own writing, the more it can stretch you into a broader perspective of what's possible. I was curious about what a memoir that weaves separate but related threads could teach me about writing a work of fiction that weaves separate but related threads; but I was also curious about what it could teach me that I didn't know about yet.

Here are some of the unexpected questions that arose for me while reading this book:

In terms of writing character (if one can use that word with a memoir, and I believe one can; more on that later), what are the differences between memoir and fiction?

For example, what advantages does the memoir writer have? Does a reader come to a memoir with a greater willingness to believe in a character than they bring to the reading of fiction? A fiction writer often has to go through a lot of contortions to keep a character believable while also fulfilling the necessities of the plot. Push the character's behavior too far outside the characterization you've so carefully established, and the behavior becomes unbelievable. The reader is left thinking, "I don't believe they would actually do that."

In contrast, in a memoir, a character is an actual person. They did what they did. The memoir writer reports what they did and we believe it, because it's a memoir. Any "unbelievable" behavior consequently brings power with it: amusement, surprise, shock value. (This is not to minimize the work it requires to make any character in any kind of book engaging. I don't mean to suggest that a memoir writer has an easy job creating character, only that they may have a believability advantage.)

Okay then, what advantages does the fiction writer have when writing character? Well, the fiction writer can make shit up; that's a pretty huge advantage. The fiction writer also generally doesn't have to worry about getting sued for defamation of character :o).

Another huge advantage: Though it's true that as a fiction writer I sometimes encounter readers who mistakenly assume I'm like my characters, for the most part, fiction readers remember that fiction is made up. This means that the fiction writer is unlikely to be accused of having done the things their characters did, or judged for that behavior. In contrast, a memoir writer writing about her own actions is opening herself to all kinds of very personal judgment. All writing requires courage and involves exposure… But this takes things to a whole other level! Fiction writers have some built-in emotional protections that I tend to take for granted, until I read a memoir and remember.

This leads me to another question that arose while reading this book: What is the place of the memoir reader when it comes to judging the people inside the memoir? For example, Helen Macdonald writes a compassionate but blistering exposé of T. H. White in this book. It's an exposé that T. H. White wrote first; anyone can learn from White's own memoir that he was heartbreakingly, sometimes sadistically abusive to the goshawk he trained. But Macdonald presents it anew, and she presents it with an analysis of White's psychology that shows us more about White than he ever meant us to know. She shows us the abuse, familial and societal, that brought White to this place. She shows us his heartbreak, failures, and shame. White feels like an integrated, complete person in this book.

But also, she shows us what she wants to show us — she shows us the parts of White that fit into her own book, about her own experiences. She's the writer, and this is her memoir. To be clear, I don't mean this as a condemnation — I'm not accusing her of leaving things out or misrepresenting White! This is a part of all book-writing. You include what matters to the rest of your book. Everything else ends up on the cutting room floor. As far as I know, Macdonald did a respectful and responsible job of incorporating T. H. White into her book, and I expect she worked very hard to do so. I believe in the T. H. White she showed us. But I think it's important to remember this part of the process when reading any memoir. Even when a writer is writing about themselves, their book has plot and themes, it has content requirements. There'll always be something specific the writer is trying to convey, about themselves or anyone else, and there'll always be stuff they leave out. No book can contain a whole person.

Personally, when I read memoir (and biography and autobiography), I consciously consider the people inside it to function as characters. It's hard to read H Is for Hawk and not come away with some pretty strong opinions about T. H. White. But I keep a permanent asterisk next to my opinions, because White was a real, living person, but I only know him as a character in this book. No matter how many books I read about him (or by him), I'll always be conscious of not knowing the whole person.

As a fiction writer, I find all of this fascinating. I think it's because I see connections between how hard it is to present a compelling character study of a real person and how hard it is to create a believable character in fiction. What are the differences between a memoir writer who's figuring out which part of the truth matters, and a fiction writer who's creating a fiction that's supposed to invoke truth? Also, I'm fascinated by how much all of this lines up with how hard it is to understand anyone in real life. How well can we ever know anyone? How much can we ever separate our own baggage from our judgments of other people? There's a third person getting in the way of my perfect understanding of T. H. White: me.

Next question: How does a writer (of memoir or fiction) make a character ring true to the reader? How does the writer make the character compelling and real?

A writer as skilled as Macdonald knows how to bring her characters, human or hawk, alive for the reader. One way she does this is by keeping her characterizations always in motion. White is many, many things — kind and cruel, sensitive and sadistic, abused and despotic. Macdonald's hawk, Mabel, is also constantly growing and changing. Mabel is a point of personal connection for Macdonald, but she's also always just out of reach. And of course, Macdonald herself is a character in the book. Macdonald lays bare her own successes, failures, oddities, cruelties, kindnesses, insights, ambivalences, and delights, and lets us decide. Personally, as I read, I felt that I was meeting a human of sensitivity and compassion; an anxious person whose need for both solitude and connection was starkly familiar to me; someone consciously composed of contradictions; a person of deep feeling who cares about what matters; a grieving daughter; a person I can relate to. Or should I say, a character I can relate to? Having read this book, I don't presume I know Helen Macdonald.

Here's something I do know about Helen Macdonald though: She's a damn good writer. In particular, as I read, I kept noticing one specific thing she does so well that it needs to be called out and shown to other writers.





All page references are to the 2014 paperback published by Grove Press.

Okay, writers. When it comes to writing a character's emotion, there's a certain skill at which Helen Macdonald excels. Namely, she conveys emotion via action.

Put differently: rather than describing an emotion in words, Macdonald shows us a behavior, one so meaningful that we readers feel the associated emotion immediately.

Here's an example. For context, Helen Macdonald's father died suddenly one March, throwing her into a deep and unexpected grief. Listen to this description of one of the things that happened next:

"In June I fell in love, predictably and devastatingly, with a man who ran a mile when he worked out how broken I was. His disappearance rendered me practically insensible. Though I can't even bring his face to mind now, and though I know not only why he ran, but know that in principle he could have been anyone, I still have a red dress that I will never wear again. That's how it goes." (17)

While there is some effective emotional description here — like when she's rendered practically insensible — the real punch in this passage is the red dress. Macdonald tells us that there's a red dress she'll never wear again, and immediately I get it. I get that the identity of the man is irrelevant; what's relevant is the passion she had for another person and how it connected to her grief, and I feel that passion and grief because there's a red dress she'll never wear again. I can see the dress, hidden away in the back of her closet. I don't have a dress like that, but I could. I get it.

Here's another moment. This one takes place at a much later point, when Macdonald has been grieving for a long time and is finally noticing that she's capable of happiness again:

"But watching television from the sofa later that evening I noticed tears running from my eyes and dropping into my mug of tea. Odd, I think. I put it down to tiredness. Perhaps I am getting a cold. Perhaps I am allergic to something. I wipe the tears away and go to make more tea in the kitchen" (125).

It's hard to write about tears in a way that doesn't feel like a cliché shorthand for sadness, grief, catharsis, whatever you're trying to get across in that moment. Macdonald succeeds here. This dispassionate report of tears conveys what Macdonald needs to convey: that grief is layered; that a person can have many feelings at once; that sometimes your body knows what's going on before the rest of you does; that when you're grieving, sometimes happiness brings with it a tidal wave of sadness. But imagine if Macdonald had listed all those things I just listed, instead of telling us about her tears dropping into her tea. Her way is so much better, and it conveys the same information!

Let me be clear, it's not bad to describe emotion. In fact, it's necessary in places. You need to give your reader an emotional baseline so that they'll know how to contextualize how plot points feel for the character. But if you can find a balance between emotional description and the thing Macdonald is doing here — using action to convey emotion — it will gives the emotion in your writing a freshness, an impact, a punch that you can't get from description alone. It will also give the reader more opportunities to engage their own feelings — to feel things all by themselves, rather than merely understanding what's being felt by the character.

It's hard to write emotion. It's especially hard to figure out non-cliché ways to explain how a character feels. Sometimes it's fine to use a known shorthand or a cliché. Sometimes it's fine to use emotional description. You want a mix of things. But Macdonald's book reminds me that whenever I can, I want to look for ways to use plot to convey feeling. Show what my character does in response to a stimulus. Let the reader glean the emotions from behavior. Your character is happy? Show us what they do with their body. How do they stand, how do they walk? Does it make them generous? Does it make them self-centered and oblivious? Remember that an "action" doesn't have to be something physically, boisterously active. If you're writing a non-demonstrative character, it's not going to ring true if they start flinging their arms around or singing while they walk down the street. But maybe instead of "feeling ecstatic," they sit still for a moment, reveling in what just happened. Maybe instead of "feeling jubilant," they listen to a song playing inside their own head. Internally or externally, show us what they do.

Here's Macdonald describing her childhood obsession with birds:

"When I was six I tried to sleep every night with my arms folded behind my back like wings. This didn't last long, because it is very hard to sleep with your arms folded behind your back like wings." (27)

I can feel the devotion to birds. She doesn't just love birds; she wants to be a bird.

Macdonald goes on to report that as a child, she learned everything she possibly could about falconry, then shared every word of it, no matter how boring, with anyone who would listen. Macdonald's mother was a writer for the local paper. Here's a description of her mother during the delivery of one of Macdonald's lectures:

"Lining up another yellow piece of copy paper, fiddling with the carbons so they didn't slip, she'd nod and agree, drag on her cigarette, and tell me how interesting it all was in tones that avoided dismissiveness with extraordinary facility." (29)

What an endearing depiction of a mother's love for her tedious child :o).

And here's a scene that takes place at a country fair, where Macdonald has agreed to display her goshawk, Mabel, to the public. Macdonald is sitting on a chair under a marquee roof. Mabel is positioned on a perch ten feet behind her. There are so many people at the fair, too many people for the likes of both Macdonald and Mabel:

"After twenty minutes Mabel raises one foot. It looks ridiculous. She is not relaxed enough to fluff out her feathers; she still resembles a wet and particoloured seal. But she makes this small concession to calmness, and she stands there like a man driving with one hand resting on the gear stick." (206)

Oh, Mabel. I get the sense that when it comes to the writer's need to convey emotion, Mabel is a challenging character. Macdonald does such a wonderful job creating a sense of the gulf between a human's reality and a hawk's reality, the differences in perception and priority. But she also gives us moments of connection with Mabel. Since Mabel is a bird, these moments of connection are almost always described through Mabel's behavior.

I wonder if Macdonald's intense connection with the non-human world, and with hawks in particular, is partly what makes her so good at noticing behaviors and gleaning their emotional significance? And then sharing it with us, the lucky readers.

That's it. That's my lesson: When you're trying to convey feelings, find places where an action or behavior will do the job.

And read H Is for Hawk if you want an admirable example of writing emotion! Also, Helen Macdonald has a new book, just released: Vesper Flights. I'm in.

Reading like a writer.

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National Handwriting Day is observed on 23rd January every year. Here are some amazing benefits of handwriting. Time and time again, we have hopped

medlinkHandwriting/medlink enhances brain connectivity more than typing, emphasizing the importance of reintroducing handwriting activities for students

What is Grammarly?

Grammarly is a tool that checks for grammatical errors, spelling, and punctuation.it gives you comprehensive feedback on your writing. You can use this tool to proofread and edit articles, blog posts, emails, etc.

Grammarly also detects all types of mistakes, including sentence structure issues and misused words. It also gives you suggestions on style changes, punctuation, spelling, and grammar all are in real-time. The free version covers the basics like identifying grammar and spelling mistakes

whereas the Premium version offers a lot more functionality, it detects plagiarism in your content, suggests word choice, or adds fluency to it.

Features of Grammarly

• Spelling and Word Suggestion: Grammarly detects basic to advance grammatical errors and also help you why this is an error and suggest to you how you can improve it
• Create a Personal Dictionary: The Grammarly app allows you to add words to your personal dictionary so that the same mistake isn't highlighted every time you run Grammarly.
• Different English Style: Check to spell for American, British, Canadian, and Australian English.
• Plagiarism: This feature helps you detect if a text has been plagiarized by comparing it with over eight billion web pages.
• Wordiness: This tool will help you check your writing for long and hard-to-read sentences. It also shows you how to shorten sentences so that they are more concise.
• Passive Voice: The program also notifies users when passive voice is used too frequently in a document.
• Punctuations: This feature flags all incorrect and missing punctuation.
• Repetition: The tool provides recommendations for replacing the repeated word.
• Proposition: Grammarly identifies misplaced and confused prepositions.
  
• Plugins: It offers Microsoft Word, Microsoft Outlook, and Google Chrome plugins.

What is ProWritingAid?

ProWritingAid is a style and grammar checker for content creators and writers. It helps to optimize word choice, punctuation errors, and common grammar mistakes, providing detailed reports to help you improve your writing. 

ProWritingAid can be used as an add-on to WordPress, Gmail, and Google Docs. The software also offers helpful articles, videos, quizzes, and explanations to help improve your writing.

Features of ProWriting Aid

Here are some key features of ProWriting Aid:

• Grammar checker and spell checker: This tool helps you to find all grammatical and spelling errors.
• Find repeated words:  The tool also allows you to search for repeated words and phrases in your content.
• Context-sensitive style suggestions:  You can find the exact style of writing you intend and suggest if it flows well in your writing.
• Check the readability of your content: Pro Writing Aid helps you identify the strengths and weaknesses of your article by pointing out difficult sentences and paragraphs.
• Sentence Length: It also indicates the length of your sentences.
• Check Grammatical error: It also checks your work for any grammatical errors or typos, as well.
• Overused words: As a writer, you might find yourself using the same word repeatedly. ProWritingAid's overused words checker helps you avoid this lazy writing mistake.
• Consistency: Check your work for inconsistent usage of open and closed quotation marks.
• Echoes: Check your writing for uniformly repetitive words and phrases.

Difference between Grammarly and Pro-Writing Aid

Grammarly and ProWritingAid are well-known grammar-checking software. However, if you're like most people who can't decide which to use, here are some different points that may be helpful in your decision.

Grammarly vs ProWritingAid

• Grammarly is a writing enhancement tool that offers suggestions for grammar, vocabulary, and syntax whereas ProWritingAid offers world-class grammar and style checking, as well as advanced reports to help you strengthen your writing.
• Grammarly provides Android and IOS apps whereas ProWritingAid doesn't have a mobile or IOS app.
• Grammarly offers important suggestions about mistakes you've made whereas ProWritingAid  shows more suggestions than Grammarly but all recommendations are not accurate
• Grammarly has a more friendly UI/UX whereas the ProWritingAid interface is not friendly as Grammarly.
• Grammarly is an accurate grammar checker for non-fiction writing whereas ProWritingAid is an accurate grammar checker for fiction writers.
• Grammarly finds grammar and punctuation mistakes, whereas ProWritingAid identifies run-on sentences and fragments.
• Grammarly provides 24/7 support via submitting a ticket and sending emails. ProWritingAid’s support team is available via email, though the response time is approximately 48 hours.
• Grammarly offers many features in its free plan, whereas ProWritingAid offers some basic features in the free plan.
• Grammarly does not offer much feedback on big picture writing; ProWritingAid offers complete feedback on big picture writing.
• Grammarly is a better option for accuracy, whereas ProWritingAid is better for handling fragmented sentences and dialogue. It can be quite useful for fiction writers.

ProWritingAid VS Grammarly: Pricing Difference

• ProWritingAid comes with three pricing structures. The full-year cost of ProWritingAid is $79, while its lifetime plans cost $339. You also can opt for a monthly plan of $20.
• Grammarly offers a Premium subscription for $30/month for a monthly plan  $20/month for quarterly and $12/month for an annual subscription.
• The Business plan costs $12.50 per month for each member of your company.

ProWritingAid vs Grammarly – Pros and Cons

Grammarly Pros

• It allows you to fix common mistakes like grammar and spelling.
• Offers most features in the free plan
• Allows you to edit a document without affecting the formatting.
• Active and passive voice checker
• Personal dictionary 
• Plagiarism checker (paid version)
• Proofread your writing and correct all punctuation, grammar, and spelling errors.
• Allows you to make changes to a document without altering its formatting.
• Helps users improve vocabulary
• User-friendly interface
• Browser extensions and MS word add-ons
• Available on all major devices and platforms
• Grammarly will also offer suggestions to improve your style.
• Enhance the readability of your sentence
• Free mobile apps 
• Offers  free version

Grammarly Cons

• Supports only English 
• Customer support only via email
• Limits to 150,000 words
• Subscription plans can be a bit pricey 
• Plagiarism checker is only available in a premium plan
• Doesn’t offer a free trial
• No refund policy
• The free version is ideal for basic spelling and grammatical mistakes, but it does not correct advanced writing issues.
• Some features are not available for Mac.

ProwritingAid Pros

• It offers more than 20 different reports to help you improve your writing.
• Less expensive than other grammar checkers.
• This tool helps you strengthen your writing style as it offers big-picture feedback.
• ProWritingAid has a life plan with no further payments required.
• Compatible with Google Docs!
• Prowritingaid works on both Windows and Mac.
• They offer more integrations than most tools.

ProWritingAid Cons

• Editing can be a little more time-consuming when you add larger passages of text.
• ProWritingAid currently offers no mobile app for Android or iOS devices.
• Plagiarism checker is only available in premium plans.
• All recommendations are not accurate

Summarizing the Ginger VS Grammarly: My Recommendation

As both writing assistants are great in their own way, you need to choose the one that suits you best.

• For example, go for Grammarly  if you are a non-fiction writer
• Go for ProWritingAid if you are a fiction writer.
• ProWritingAid is better at catching errors found in long-form content. However, Grammarly is more suited to short blog posts and other similar tasks.
• ProWritingAid helps you clean up your writing by checking for style, structure, and content while Grammarly focuses on grammar and punctuation.
• Grammarly has a more friendly UI/UX whereas; ProWritingAid offers complete feedback on big picture writing.

Both ProWritingAid and Grammarly are awesome writing tools, without a doubt. but as per my experience, Grammarly is a winner here because Grammarly helps you to review and edit your content. Grammarly highlights all the mistakes in your writing within seconds of copying and pasting the content into Grammarly’s editor or using the software’s native feature in other text editors.

Not only does it identify tiny grammatical and spelling errors, it tells you when you overlook punctuations where they are needed. And, beyond its plagiarism-checking capabilities, Grammarly helps you proofread your content. Even better, the software offers a free plan that gives you access to some of its features.

Durham : Duke University Press, 2021.

Buffalo : University of Toronto Press, [2017]

Durham : Duke University Press, [2023]

[S.l.] : ARC HUMANITIES PR, 2023.

New York; Oxford : Berghahn Books, [2023]

New York : Modern Library, [2021]

Hungary : Central European University Press, 2023.

New York : Central European University Press, 2023.

Berlin ; Boston : De Gruyter, [2023]

Baltimore : Johns Hopkins University Press, [2009]

On his 100th death anniversary on September 11, a new book and a podcast throw light on unknown facets of the literary icon

Google is expanding its generative AI-powered email drafting tools to more users with new and enhanced shortcuts on web and mobile

Lynnfield, Massachusetts CAST [2024]

TheWriter of two of the best period dramas in the recent history of Malayalam cinema, Gopan Chidambaram talks speaks about how Thuramukham, a play written by his father in 1968, was adapted to the screen and why he often gravitates towards historical tales

Director Vivek Athreya opens up on his writing techniques, the art of listening and how films of K Vishwanath, Mani Ratnam, Krishna Vamsi and Mysskin influenced him in his formative years

Madison, NJ : Fairleigh Dickinson University Press, 2011.

Hong Kong : Chinese University Press, [1984]

New York : Orbis Books, [2002]

Academy Award-winning screenwriter Aaron Sorkin uses the power of Twitter to answer the internet's burning questions about screenwriting. How do writers' rooms work? How do you approach second drafts? If Aaron could write for any show, which show would he write for? The Trial of Chicago 7 premieres on Netflix October 16