I'm writing fiction and confused about using contractions in narrative versus dialogue

[BObo]

I'm working on a novel and I'm stuck on a stylistic question about using contractions in narrative versus dialogue. In dialogue, it's obvious—characters should sound natural, so they use contractions the way people actually speak .

But what about the narrative passages that aren't dialogue? I've read conflicting advice. Some say narrative should have fewer contractions to maintain a more formal storytelling voice. Others say it depends on your point of view—if you're writing in close third person, the narrative should reflect how the character thinks, which might include contractions .

I've also heard that avoiding contractions altogether can make writing sound stilted and unnatural . I'm writing contemporary YA, so my instinct is to use contractions to keep the voice fresh and relatable. But I don't want to sound unprofessional. Any published authors or experienced writers want to weigh in?

 

[Isabella]

I'm going to be the contrarian here.

While I agree that YA benefits from a conversational tone, I think many contemporary writers overuse contractions to the point of sloppiness. There's a middle ground.

Consider rhythm. Sometimes a well-placed "cannot" instead of "can't" adds emphasis or slows the reader down at a crucial moment. Contractions speed up prose; full forms slow it down. Use both deliberately.

Also consider character voice in narration. If you're in deep third limited, the narration should mirror how that specific character thinks. A professor character might think in fewer contractions. A teenager might think in more.

It's not about rules. It's about intentionality. What effect do you want at each moment?