By Jessica Berg
Oh, adjectives and adverbs! We love to use them, especially in zero drafts. They’re accessible, quick, and easy, and they help us get the story out of our minds and onto the screen/page.
But are they doing our writing any good?
Probably not – at least not in the final version of your narrative. Yes, these descriptive words can add a ton of color to your prose, but they’re like spices – a little goes a long way. Let’s unpack why less is truly more when it comes to these helper words.
First, some definitions.
An adjective describes a noun, while an adverb describes a verb. Both are called modifiers because they modify nouns and verbs, the cornerstones of grammar.
Consider this sentence:
“The incredibly tall, extremely thin person walked very methodically down the exceptionally dark and astoundingly narrow alleyway.”
So why is this sentence ‘bad’?
Well, it’s not. At least not on the surface and not in small doses. But if your writing is full of sentences like these, your prose might not be coming to life on the page the way it could (or should, even). Imagine the vibrant scenes you could create with just the right amount of these descriptive words.
The number of modifiers (that’s another word for adjectives and adverbs) consumes the image you’re trying to create.
Let’s try to revise.
“The lanky American walked with purpose down a narrow lane.”
See the difference?
The second sentence is cleaner and more direct. This allows the reader to see the scene more clearly.
When you overuse modifiers, your writing might also inadvertently suffer from redundancy. Say you’re describing a house as “very big” – we readers might get a vague sense of the size, but not much more. But if you said it’s a McMansion, a crumbling Victorian, or a row house, then we’re getting the size and the vibes, too.
All writing, but especially short-form fiction, relies on specificity and connotation. A very big house can be found anywhere in any country. But the minute you write McMansion, your readers might picture suburban America; a crumbling Victorian might be in Western Europe, or a row home might be in a city center. The power of specific language is immense, it can transport your readers to the exact setting you envision.
Minimizing adjectives and adverbs allows your characters a chance to shine. (In narrative parlance, this is called subtext, and it’s the art of conveying meaning without directly stating it.) This is what makes prose crackle with electricity, makes dialogue ripple with tension, and makes scenes resonate with readers long after they’ve turned the page. Subtext is vital in all forms of fiction but a foundational component of short-form fiction because it invites your readers to read between the lines. We want to infer and interpret, and we want to engage with the narrative on a visceral level because this active engagement helps make reading more immersive.
Top Tips to Avoid Overusing Adjectives and Adverbs
Focus on Strong Verbs
Verbs drive your prose, so focus on solid action words. Like all words, verbs have their own nuance and connotation, so choose wisely! Strong verbs also help show us instead of telling us emotion and intention. Instead of writing, “said angrily,” you might say “snapped.” Immediately, your mind’s eye forms two different settings with these dialogue tags. The latter is much more concise and also more effective. For instance, instead of “walked quickly,”: you could use ‘rushed’ or ‘darted ‘. These verbs not only convey the action but also the urgency and speed of the movement.
Use Precise Nouns
The same goes for nouns—aim for precision to avoid excessive description. It’s not a “big house;” it’s a McMansion. This helps the reader form immediate and clear images in their mind. When you say “kitten” instead of “small, young cat,” you immediately convey an image that carries emotional weight.
Show! Don’t Tell
When we say “show, don’t tell,” we ask you to allow readers to experience the story for ourselves instead of being told about it. We want the actions, the thoughts, the feelings, and especially the sensory details of what we’re reading so we can feel like we’re right there with the MC.
That’s really the heart of what we’re talking about here since this classic writing advice is critical to avoid unnecessary adjectives and adverbs. Don’t tell us, “She was very happy.” Instead, tell us, “She beamed.” Showing us this happiness allows readers to experience the work through action, senses, and feelings.
Practice, Practice, Practice
Zero drafts are when you tell yourself the story. These are the drafts where we get to know our characters, conflicts, and stakes. Don’t worry about using modifiers in the early drafts of your writing until you’re ready to edit.
Then, challenge yourself to rewrite a paragraph without any adjectives or adverbs and watch how it unfolds. Embrace the adventure of experimenting with your writing. You’ll probably find your prose blossoms, becomes more dynamic, and your characters leap off the page.
There’s no rush, though! Start with a single sentence if revising an entire paragraph feels like it’s too daunting. Try to write with strong verbs and precise nouns to create clear images that show instead of telling us what’s happening. Ask yourself if you’ve included all five senses on the page, and look for ways to elevate your verbs. And when your mind is blank, use resources! A favorite go-to is Word Hippo, which is a free resource that gives synonyms, antonyms, and anything else you might need to replace a word. Once you’re set on your language, you might use Hemingway to do a final count of adjectives, adverbs, and everything else in between. Both resources are free!
Another excellent way to practice this skill is to learn from writers you admire. Look at a passage that you love and analyze how the author uses strong verbs and nouns to convey meaning. Then, apply those same techniques to your writing.
All said adjectives and adverbs have a place in our prose! But we need to use them sparingly and with precision. The goal is to write a concise and evocative narrative that draws readers in and engages them until THE END.
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Jessica Berg is a literary agent with Rosecliff Literary and a contemporary fantasy novelist. She provides developmental editorial feedback for Writer’s Digest, Uncharted Magazine, and Fractured Lit. A multi-nominated writer, she holds an MFA from Spalding University and is represented by Amy Collins of Talcott Notch. Find out more about her here.