Why Weak Verbs Weaken Your Writing
Your verb choices matter more than almost anything else in your manuscript. A weak verb is one that doesn't carry its weight—it tells rather than shows, it's vague instead of precise, and it forces you to rely on adverbs or adjectives to do the heavy lifting.
Consider these two sentences:
- "She walked quickly across the room."
- "She strode across the room."
The second version is tighter, more vivid, and requires no adverb. That's the power of a strong verb. Weak verbs—especially to be, to have, to go, and to make—are the culprits behind sluggish prose that agents and readers notice immediately.
When you edit a book for weak verbs, you're not just trimming words; you're amplifying the energy and clarity of every sentence. This is one of the highest-impact edits you can make during revision.
The Most Common Weak Verbs in Manuscripts
Before you hunt for weak verbs, you need to know what they look like. Here are the usual suspects:
- Forms of "to be": is, was, are, were, be, being, been
- Forms of "to have": has, have, had
- Forms of "to get": get, gets, got, getting
- Forms of "to go": go, goes, went, going
- Forms of "to make": make, makes, made, making
- Forms of "to seem/appear": seems, seemed, appears, appeared
- Forms of "to start": start, starts, started, starting
- Forms of "to begin": begin, begins, began, beginning
These verbs aren't inherently bad—sometimes they're necessary. But when they appear frequently, especially in action scenes or emotionally charged moments, they dilute impact.
The "To Be" Trap
Forms of "to be" are the biggest offender. They're often paired with adjectives or past participles, creating passive or static constructions:
- "The door was locked." → "The lock held firm." (or "She couldn't open the door.")
- "He was angry." → "Rage burned through him."
- "The night was dark." → "Darkness swallowed the street."
Notice how the revised versions show action or create a more immediate sense of the scene. That's what strong verbs do.
The Adverb Dependency Problem
Weak verbs often travel with adverbs. If you find yourself writing "walked slowly," "ran quickly," or "said angrily," that's a signal to replace the verb entirely:
- "walked slowly" → "shuffled," "trudged," "crept"
- "ran quickly" → "sprinted," "bolted," "dashed"
- "said angrily" → "snapped," "snarled," "growled"
One strong verb beats a weak verb plus an adverb every time—and it saves you words.
How to Identify Weak Verbs in Your Manuscript
The best way to edit a book for weak verbs is to search systematically. You don't need to reread your entire manuscript hoping to spot them—use your word processor's find function.
Step 1: Search for Specific Weak Verbs
Open your manuscript in Word or Google Docs and use Find & Replace (Ctrl+H or Cmd+H). Search for one weak verb at a time:
- Search for " was " (with spaces to avoid "was" within other words)
- Search for " were "
- Search for " is "
- Search for " has "
- Search for " had "
Go through each result. Not every instance needs replacing, but each one deserves consideration.
Step 2: Read Each Sentence Aloud
When you find a weak verb, read the sentence aloud. Ask yourself: Does this verb do the work, or is the adjective/adverb doing it? If you hear yourself relying on a modifier, replace the verb.
Example:
Original: "The room was very quiet."
Aloud test: "Very quiet" is carrying the weight. The verb "was" is just a placeholder.
Revision: "Silence pressed against her ears." (or simply "The room fell silent.")
Step 3: Check for Passive Voice
Weak verbs often hide in passive constructions. Passive voice uses a form of "to be" plus a past participle:
- "The letter was written by her mother." (passive)
- "Her mother wrote the letter." (active)
Passive voice isn't always wrong—sometimes it's the right choice for pacing or emphasis—but it's often a symptom of weak verbs. When you edit a book for weak verbs, pay special attention to passive constructions.
Practical Editing Checklist
Here's a step-by-step approach to systematically strengthen your verbs:
- Print or open a single chapter. Don't try to edit your whole manuscript at once.
- Read it through once for weak verbs only. Highlight or underline every instance of "was," "is," "has," "got," etc.
- For each weak verb, ask: Is there a stronger verb that conveys the same meaning more directly?
- Consider the context. In dialogue, a weak verb might be fine. In action or description, replace it.
- Check for adverbs. If a weak verb is paired with an adverb, the adverb is usually a clue to a stronger verb.
- Replace and read aloud. Make sure your new verb fits the tone and doesn't sound forced.
- Move to the next chapter. Repeat until you've worked through the entire manuscript.
Examples: Before and After
Here are real-world examples of weak verbs replaced with stronger alternatives:
Example 1: Weak "to be"
Before: "The detective was suspicious of the witness's story."
After: "The detective distrusted the witness's story." (or "Suspicion flickered across the detective's face.")
Example 2: Weak "to have"
Before: "She had doubts about his intentions."
After: "She doubted his intentions." (or "His intentions troubled her.")
Example 3: Weak "to get"
Before: "He got angry when she left."
After: "Rage consumed him when she left." (or "He erupted when she left.")
Example 4: Weak "to go"
Before: "The protagonist went toward the door slowly."
After: "The protagonist crept toward the door." (or "The protagonist inched toward the door.")
When to Keep Weak Verbs
Not every weak verb should be replaced. Some contexts call for them:
- In dialogue: Characters speak naturally, and that includes weak verbs. "I was thinking..." sounds like speech.
- For deliberate flatness: Sometimes a weak verb creates the right emotional distance or detachment.
- In summary or exposition: Background information doesn't always need high-energy verbs.
- For variety: If you've replaced too many weak verbs, a few remaining ones provide rhythm and breathing room.
The goal isn't zero weak verbs—it's strategic use of strong verbs where they matter most: in scenes with tension, action, emotion, or vivid description.
Tools to Help You Edit for Weak Verbs
While your word processor's Find function is the most direct approach, a few tools can help:
- Hemingway Editor: Highlights passive voice and suggests stronger alternatives.
- Grammarly: Flags passive voice and weak verb constructions (premium version).
- ProWritingAid: Includes a "weak words" report and passive voice detection.
For a more thorough editorial pass, platforms like BookEditor.io offer professional-level editing that catches weak verbs as part of a comprehensive review. Their Pro and Complete Edit packages include detailed feedback on verb strength and prose clarity, which is especially useful if you want expert guidance on where your verbs need work.
The Cumulative Effect of Strong Verbs
Replacing weak verbs doesn't just improve individual sentences—it transforms your entire manuscript. Here's what happens:
- Tighter prose: You eliminate unnecessary words (adverbs, adjectives propping up weak verbs).
- Faster pacing: Strong verbs create momentum; weak verbs slow readers down.
- Clearer voice: Your unique style emerges when you stop relying on generic constructions.
- Higher engagement: Readers feel more immersed when verbs are precise and active.
Agents and editors notice this immediately. A manuscript full of strong verbs reads like a professional work, even if it's your first draft revision.
Final Thoughts: Edit a Book for Weak Verbs Systematically
Editing a book for weak verbs is one of the highest-ROI revisions you can do. It requires patience and a willingness to question every verb, but the payoff is prose that grabs readers and doesn't let go.
Start with one chapter. Use Find & Replace to locate weak verbs, then read each sentence aloud and consider whether a stronger alternative exists. Over time, this becomes intuitive, and you'll naturally reach for vivid verbs in your first draft.
Your manuscript will be tighter, faster, and more alive. That's the power of strong verbs.
Further reading: How to edit a book for repetitive phrases and word choices.