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Weâve seen an influx of questions about how to write stories based around characters of color, disability, non-binary, etc. when the author does not fall into these categories. Rather than have these posts take over the site, weâve decided to compile a list of resources to help our fellow writers become more educated about writing what they do not immediately know. However, this list is not the end-all-be-all of knowledge; one should always try to learn from someone with first hand experience in any topic. The world is constantly growing and changing, and because of that, there will always be more to learn. The admins at Plotline Hotline want to help writers form respectful, informed, and realistic characters that broaden the narrow range we see in literature today.Â
*Be wary that some of the topics listed below contain sensitive material. Reader discretion is advised.*Â
As always, the links I found to be especially apt will be in bold. Topics are listed alphabetically, excepting the âotherâ section.
I hope that this list will provide topics a writer may not initially think to research when writing. If there are any resources that you think would be fitting for this list, please let us know! We want to have as many helpful sources as possible to maximize learning opportunities.Â
After putting my writing on hold for several weeks, I decided to jump back in. I expected to find all sorts of problems with my storyâinconsistencies in the plot, lack of transitions, poor characterizationâthe works. But what began to stick out to me was something to which Iâd given little thought in writing.
Filter words.
What are Filter Words?
Actually, I didnât even know these insidious creatures had a name until I started combing the internet for info.
Filter words are those that unnecessarily filter the readerâs experience through a characterâs point of view. Dark Angelâs Blog says:
âFilteringâ is when you place a character between the detail you want to present and the reader. The term was started by Janet Burroway in her book On Writing.
In terms of example, you should watch out for:
To see
To hear
To think
To touch
To wonder
To realize
To watch
To look
To seem
To feel (or feel like)
Can
To decide
To sound (or sound like)
To know
Iâm being honest when I say my manuscript is filled with these words, and the majority of them need to be edited out.
What do Filter Words Look Like?
Letâs imagine a character in your novel is walking down a street during peak hour.
You might, for example, write:
Sarah felt a sinking feeling as she realized sheâd forgotten her purse back at the cafe across the street. She saw cars filing past, their bumpers end-to-end. She heard the impatient honk of horns and wondered how she could quickly cross the busy road before someone took off with her bag. But the traffic seemed impenetrable, and she decided to run to the intersection at the end of the block.
Eliminating the bolded words removes the filters that distances us, the readers, from this characterâs experience:
Sarahâs stomach sank. Her purseâsheâd forgotten it back at the cafe across the street. Cars filed past, their bumpers end-to-end. Horns honked impatiently. Could she make it across the road before someone took off with her bag? She ran past the impenetrable stream of traffic, toward the intersection at the end of the block.
Are Filter Words Ever Acceptable?
Of course, there are usually exceptions to every rule.
Just because filter words tend to be weak doesnât mean they never have a place in our writing. Sometimes they are helpful and even necessary.
Susan Dennard of Let The Words Flow writes that we should use filter words when they are critical to the meaning of the sentence.
If thereâs no better way to phrase something than to use a filter word, then itâs probably okay to do so.
Want to know more?
Read these other helpful articles on filter words and more great writing tips:
So, so many works Iâve read could be vastly improved with tightening and shaving of superfluous words. Wordiness is an easy stumbling block, as weâre used to how we talk. Weâre used to how others (long ago) wrote. But times change, my friend, and so do expectations of the writer. We donât get paid by the word in fiction. So show your smarts and say as much as you can with as much power as you can in as few words as possible.
Here are a few things you can cut without reserve to help shorten your story right now. And as you catch yourself using these words in your next draft, hit that backspace before you finish the sentence! Itâs okay if you already have. You can go delete them now. No one will ever know.
Moment/Second/Minute
Itâs so tempting. I am guilty of using this word like fertilizer in my first drafts. But most of the time, these words arenât needed at all. They add nothing.
He sat down for a moment, sipping his coffee. vs. He sat down and sipped at his coffee.
But he only did it for a moment, you say!
He sat down for a moment, sipping his coffee. When the door opened a second later, he shot to his feet. vs. He sat down and sipped his coffee. The door opened, and before he could swallow his first sip, he shot to his feet.
I know, this is about making your writing more concise and my ârightâ example has more words than the first example. But whatâs the difference? The words used in the second sentence are more tangible. They give a visual that âa second laterâ and âfor a momentâ donât. And you could leave that part out, of course, if youâre really going for trimming word count. It doesnât paint quite the same image, but âThe door opened and he shot to his feet.â is a perfectly good sentence.
Suddenly/All of a sudden
Youâve heard this one, before, surely. These words are usedâŚwhen? When youâre trying to portray suddenness. Surprise, perhaps. So why are you adding in extra words to slow down the pace?
She flipped on the TV and reclined in her chair. All of sudden, the TV flashed a bright light and the power went out. vs. She flipped on the TV and reclined in her chair. The TV flashed once before the lights went dark. The power was out.
That sense of immediacy is felt when stuff just happens. So let it happen. If itâs rhythm youâre worried about, then find more useful words to create the rhythm. Notice that I didnât just cut âAll of a suddenâ out of the sentence and leave it. I reworded it a bit to make it stronger.
Finally
It can be a useful word, but more often than not, itâs just taking up space.
âSubstitute â[fucking]â every time youâre inclined to write âvery;â your editor will delete it and the writing will be just as it should be.â
But seriously, if youâre saying, âShe was breathing very hard.â You could just cut the âveryâ and say, âShe was breathing hard.â Or, even better, âShe was panting.â Or, EVEN BETTER: âShe panted.â
Himself/herself/myself/themselves
Reflexive nouns have a specific purpose, though they can still often be avoided. They fall into the category of âuse only when itâs confusing otherwise.â
Correct: He looked at himself in the mirror. Better: He looked in the mirror.
Incorrect: She gave them to Andrew and myself before leaving. Correct: She gave them to Andrew and me before leaving.
Technically correct I guess: I havenât eaten lunch myself. (Intensive pronoun; aka waste of words) Better: I havenât eaten lunch.
Intensive pronouns add emphasis, but that emphasis is negligible and often negated by the power of tightening your narrative.
That
You can likely cut 60% of your âthat"s and your story will be unaffected. Sometimes, you do need to add a âthatâ here and there for clarification, but not always. And sometimes itâs just plain incorrect.
The jacket was the coolest one that heâd ever owned. vs. The jacket was the coolest one heâd ever owned.
In other cases, you might do well to substitute âthatâ with âwhich.â Though, if youâre doing this, make sure you do it properly. That change can often alter the meaning of your sentence. That can be for the better, though.
The vandalism that read âBad Wolfâ made Rose nervous. vs. The vandalism, which read âBad Wolf,â made Rose nervous.
Do you see the difference? In the first sentence, the words are what make Rose nervous. In the second, the vandalism itself makes Rose nervous, and it happens to say âBad Wolf.â In this case, if youâve watched Doctor Who, then you know the first example is the correct one.
So when youâre sharing details using âthatâ or âwhich,â contemplate how important they are to meaning of the sentence to determine which type of clause you need to use.
Then
Or worse, âAnd then.â
It makes your writing sound a bit juvenile. Either cut it entirely, or substitute âand.â
She jumped into the pool, then hit her head on the bottom. vs. She jumped into the pool and hit her head on the bottom.
And then, after all that time, she fell asleep. vs. After all that time, she fell asleep.
Even
Sometime âevenâ can help emphasize a situation or behavior, but when itâs used in narrative improperly, it sounds childish and silly.
He couldnât even breathe. vs. He couldnât breathe.
Even with the new hair gel, his hair was terrible. (This one is fine, though you could still cut that âevenâ if you really wanted toâŚ)
Just
JustâŚDelete it.
Breathe/breath/exhale/inhale/sigh/nod/shrug
Another one Iâm so guilty of. In my first drafts, I tend to talk about how a character is breathing, or when theyâre sighing like nobodyâs business. I know a lot of writers who are guilty of this, too. Itâs a great tool to use scarcely. In intense moments, you can let your character take a final deep breath to calm themselves. When a character almost drowns, those first few sweet breaths are important. But you readers know that people breath all the time. And just because you need a beat in your dialogue doesnât mean you need to remind your reader that the character is still breathing or moving.
Rather/quite/somewhat
She was rather tall. She was tall. He was quite idiotic. He was idiotic. They were somewhat snazzy. They were snazzy. Why do you need those words? Kill âem.
Start/begin
This is a great example of fluff.
She started to run toward the shop. vs. She ran toward the shop.
He began scolding them for their performance. vs. He scolded them for their performance.
There are obviously uses for this word, like anything. He started the car. Begin your tests! But when youâre using it to slow the action and the pace of your narrative, then consider heavily if you need it. You probably donât.
In order to/in an attempt to
Phrases that add unneeded complications, cumbersome wordingâŚkill âem!
She bit down in an attempt to stop herself from screaming. vs. She bit down to stop herself from screaming.
Was able to
He was able to call. vs. He could call. OR He called.
This is one that isnât inherently bad, but it can easily be overused and cutting it will help simplify your narrative.
Due to
Ugh. Are you trying to sound proper and stuffy? Because thatâs a reason, I guess, to use this phraseâŚand yet it sounds like doodoo. (Yes. Iâm an adult.) Rephrase. Use âBecause ofâ or just avoid the need altogether.
We stopped due to traffic. vs. We stopped because of traffic. OR (Strength of narrative!) We stopped mid-highway. The parked cars went on beyond the curve of the road, out of sight.
Visibly/obviously/apparently/audibly
These are a sign of telling in your narrative when you should probably be showing.
She was visibly shaking. â> She shivered, hugging her upper arms. He was obviously tired. â> He yawned and tripped on his own feet as he crossed the room. They were apparently angry. â> They stomped and shouted, demanding attention. She screamed audibly. (Really?) â> She screamed.
Donât tell your readers what emotion a character is feeling. Instead, give a few clues that they can see/hear/feel the emotion too.
While
This word has lots of legitimate uses. However, if youâre using it poorly, then your narrative reads like an Early Readerâs book, and you (unless thatâs what youâre writing) probably donât want that.
âGet it together,â he said while flipping them off. vs. âGet it together,â he said, flipping them off.
Turned
One of the classics. So overused, my friends. Itâs needed on occasion, but not nearly as often as we use it. Just cut it out.
They turned toward her as they spoke. vs. They gave her their full attention as they spoke. OR They looked into her eyes. OR (Nothing. Readers donât have to be updated on every little movement.)
Saw/looked/regarded
UGH. Regarded:Looked::Mentioned:Said
And, like âsaid,â many, many instances of these words can be nixed.
She saw them run for the hills. vs. They ran for the hills.
This can be tricky, I know, when youâre writing in limited-third or first POV. Itâs tempting to put every action directly through your POV characterâs filter. But resist that temptation! There are times when itâs appropriate, occasionally, but it can be overdone so easily.
I looked at her and said, âPlease.â vs. I said,â Please.â OR. I took her hand. âPlease.â
This example sides with the breathing and the turning. Itâs often an unneeded update on the tiny movements of the characters. And, again, sometimes you need that beat or that little detail in an intense moment, but not often.
Iâm not here to tell you to cut all your dialogue tags (please donât). Iâm also going to the last person who insists you get rid of âsaid.â In fact, Iâm in the âsaid is invisibleâ party of writing nerds and I think, if youâre going to use a standard tag, it should be âsaidâ 90% of the time.Â
But aside from that, using as few dialogue tags as possible is a good thing. Iâll do a full post on this soon, but for now, be aware of how often you rely on these words in your dialogue and do your best not to overuse them. Use surrounding action and context to take some of the reliance off of these words.Â
To-Be in all its conjugated forms
If youâre using any of this list:
am, is, are, was, were, be, being, had been
Then check yo’self. Some tenses call for an auxiliary verb. Some types of sentence do, too, not doubt about it. But many donât, and cutting to-be verbs when you can will help tighten your writing.
We were going to the store. vs. We went to the store.
Sounds were echoing through the chamber. vs. Sounds echoed through the chamber.
To-be verbs can also be an indicator of passive voice, though they arenât always.
He was hit by the ball. vs. The ball hit him.
Last but not least, check all of your adverbs.
Chances are, if youâre using an adverb, you could be using a single strong verb instead and giving each sentence more punch.
He ran quickly. â> He sprinted. I hit him hard. â> I socked him. She spoke quietly. â> She whispered. They ran into each other fast. â> They crashed.
So what am I supposed to do about this?
Take it to heart. Try not to let these words take over your brain as you write. Once your manuscript is finished, try this method:
Use Find and Replace. Replace any and all of the aforementioned words in ALL-CAPS. Now, if youâve paid attention to my advice in using emphasis, then those all-caps will really stick out as youâre reading over your work and you can decide at each instance whether your usage is appropriate, or if it needs to be rewritten. As I did to this very old draft of mine from my first NaNoWriMo (in which I used every single word on this list, Iâm sure).
When I used this method with my most recent WIP, I was able to cut my word count from 105k to 93k without cutting any content whatsoever. It takes a lot of work and itâs pretty tedious but the results are amazing!
It wouldnât be the English language without exceptions, would it?
Now, there is actually an important time for intentionally using any or all of the words on this list. You know when that is?
When it fits the characterâs voice. – More on this in my next post!
Authonomy Itâs been a while since I used this website in particular, but itâs useful for helpful critique and to get your original works out there. If your book get on the top five list at the end of the month Harper Collins will read it for possible publication.
How to write Funeral Directors Iâve read quite a few fanfics where they just have funeral directors slapping clothes on a body and calling it a day. As a former funeral services major I can tell you thatâs not the only thing they do.
Nothing but My Aching Soul 