Using Caution with Split Infinitives

Writing about verbs, as it turns out, is a massive chore.

So there I was, writing a blog post about verbs, when I went to discuss split infinitives, transforming my 500-word blog post into a 2,000-word monster.

Therefore, I’ve broken out the topic into its own post. Like, yeah, again. Let’s not waste any time!

First — Infinitives

Just to recap from my discussion on verbs, the infinitive form of a verb is its most basic, uninflected form, typically preceded by the word to. It represents the verb in its purest state, without indicating tense, mood, or subject. In English, infinitives often appear as to + verb, such as to run, to eat, to write.

Examples:

• to run (infinitive)

• to speak (infinitive)

• to see (infinitive)

Uses of Infinitives:

1. As the subject of a sentence:

   • To read is my favorite hobby.

2. As the object of a verb:

   • She wants to learn French.

3. To express purpose:

   • I went to the store to buy groceries.

Infinitives can also appear without to, especially after certain verbs like can, must, and let (e.g., She can dance), and are referred to as "bare infinitives."

Common Pitfall: The Split Infinitive

Okay, a split infinitive is when we insert an adverb or word between to and the verb (e.g., to boldly go). While it’s not a hard rule today, and you can split infinitives when it feels more natural, keeping infinitives intact often sounds cleaner.

• Traditional: To go boldly into the unknown.

• Modern: To boldly go into the unknown. (This works just fine too!)

• He promised to quickly finish the report. (See how quickly separates the infinitive to finish?)

• They want to completely redo the project. (The infinitive, to redo, is separated by completely.)

Why the Fuss Over Split Infinitives?

The controversy around split infinitives stems from a long-standing rule in traditional English grammar. This rule was borrowed from Latin, where infinitives are single, indivisible words (e.g., amare for to love), so they can’t be split. They’re like solid Lego. You can’t cut a Lego brick in half! That’s absurd!

However, since English is a much more flexible language, this rule is not as hard and fast. For a long time, dusty grammarians (yes, there’s an excellent word) insisted on avoiding split infinitives, encouraging people to rewrite sentences so that to and the verb stayed together. In modern usage, split infinitives are more accepted, and the "rule" is often considered outdated.

When Using a Split Infinitive is Peachy Keen …

• When Using Them for Emphasis: Splitting the infinitive can add emphasis or create a specific rhythm that improves the sentence. Example:

  • To really understand the problem, you must look deeper.

Moving really changes the tone: Really to understand the problem or To understand the problem really feels awkward or changes the focus of the sentence.

• Natural Flow: Sometimes, splitting the infinitive sounds better. For example, the famous Star Trek phrase "to boldly go" feels much more natural and impactful than the alternatives.

… And When Using a Split Infinitive is Problematic.

• Clarity: Sometimes, a split infinitive can confuse the reader or complicate the sentence.
  

  Confusing: She decided to quickly, without hesitation, eat the last slice.

  Better: She decided to eat the last slice quickly, without hesitation.
  

• Formal Writing: Some readers may frown upon split infinitives if you write for a formal or academic audience. To play it safe, you might avoid them in these contexts.

How to Correct Split Infinitives

To correct a split infinitive, move the adverb or other modifying word splitting the infinitive (to + verb) so that the "to" and the verb stay together.

Example of a Split Infinitive:

• She wants to quickly finish her homework.

Correction Option 1: Move the Adverb After the Infinitive

• She wants to finish her homework quickly.

Correction Option 2: Move the Adverb Before the Infinitive

• She wants quickly to finish her homework.

Both options are grammatically correct, though option 1 typically sounds more natural in modern writing. The goal is to keep the sentence flowing smooth while maintaining the emphasis you want to achieve.

However, remember that split infinitives are often acceptable in modern English, especially if they sound more natural or improve clarity. It’s more about balance and the overall effect on readability!

Here’s some advice. Before submitting your work to a contest judge or a publishing editor, throw it scene-by-scene into an AI engine and ask it to look for split infinitives. Review each one. Maybe there’s a better way (a more direct way) to say something? Find out!

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Watching Your Intensifiers

Wow. Okay, this feels familiar.

So there I was, writing a blog post about verbs, when I went to discuss intensifiers, transforming my 500-word blog post into a 2,000-word monster.

Therefore, I’ve broken out the topic into its own post. Hot dog! Let’s get started.

Intensifiers

Adverbs can function as intensifiers, meaning they modify and enhance the meaning of adjectives or other adverbs. When used as intensifiers, adverbs emphasize or strengthen the degree or intensity of something, adding more punch to the description.

How Adverbs Act as Intensifiers

Modifying Adjectives: When an adverb intensifies an adjective, it alters how we perceive the described quality. It can either amplify or diminish the adjective’s impact.

• The food was extremely spicy. (The adverb extremely intensifies the spiciness.)

• She’s quite talented. (The adverb quite lessens the intensity but still highlights the talent.)

Modifying Other Adverbs: Adverbs can also intensify other adverbs, making an action feel more or less powerful.

• He drove very fast. (The adverb very intensifies fast.)

• She sings incredibly well. (The adverb incredibly enhances well.)

Examples of Common Intensifying Adverbs

• Very: The weather is very cold. (Very adds intensity to cold.)

• Really: She’s really excited. (Really enhances the excitement.)

• Too: It’s too late to start. (Too emphasizes that it’s beyond the acceptable point.)

• So: I’m so happy! (So amplifies the feeling of happiness.)

• Absolutely: He’s absolutely sure. (Absolutely reinforces the certainty.)

• Quite: The movie was quite enjoyable. (Quite moderates the enjoyment.)

• Extremely: That test was extremely difficult. (Extremely makes the difficulty stand out.)

• Barely: She could barely hear him. (Barely reduces the action, showing it was almost not possible.)

Negative Intensifiers

• Hardly: I hardly know him. (Hardly reduces the degree of knowing.)

• Slightly: It’s slightly chilly outside. (Slightly lowers the impact of the cold.)

Why Use Intensifiers?

Well, intensifiers allow you to:

• Emphasize certain details.

• Enhance emotions or actions in your writing.

• Clarify the strength or weakness of a description.

For example, instead of saying, “She’s happy,” saying “She’s incredibly happy” changes the perception and energy of the sentence, making it more expressive.

Abusing Intensifiers

Using them too often or too heavily — can weaken your writing and make it feel repetitive, overly dramatic, or imprecise. Here are some key problems related to overusing intensifiers:

1. Weakening Your Message

Overusing intensifiers can dilute the impact of your words instead of strengthening your writing.

Ursula Le Guin called them ticks in the prose!

For example, if you describe everything as "really important" or "extremely difficult," readers may stop feeling the weight of those descriptions. When everything is intense, nothing truly stands out. Here’s an example of overuse.

• The movie was really amazing, and the acting was incredibly good. I totally loved it.
  
  vs
  

• The movie was stunning, and the acting was unforgettable. I loved every moment.

2. Vagueness and Lack of Precision

Relying too much on intensifiers can lead to vague descriptions. Instead of showing exactly why something is "very bad" or "so beautiful," you're telling the reader in a general, unspecific way.

• The weather was very bad.
  
  vs
  

• The weather was stormy, with heavy rain and strong winds that knocked over trees.

3. Repetitiveness

When you overuse intensifiers, your writing can become monotonous. If every sentence is filled with words like very, really, so, or extremely, it can make the reader feel like you’re relying on the same tricks to amplify your point.

• She was very tired, and the house was really messy. It had been an extremely long day.
  
  vs
  

• She was exhausted, and the house was in disarray after such a long, grueling day.

4. Inflation of Emotion

Overusing intensifiers can make your writing feel overly dramatic or exaggerated, especially in emotional scenes. Constantly using phrases like "so sad," "absolutely terrifying," or "extremely happy" can make your story feel less genuine.

• He was so scared that he literally jumped out of his skin.
  
  vs
  

• His heart raced, and his hands trembled as he backed away.

5. Impact Fatigue

When you constantly use intensifiers, their impact diminishes. Readers start to expect that everything is "really" or "extremely" something, and the words lose their power over time. Instead of emphasizing key moments, it creates a flat, continuous tone.

How to Avoid Abusing Intensifiers

• Be Specific: Use strong verbs and descriptive adjectives to convey your meaning without relying on intensifiers.
  

• Use Sparingly: Save intensifiers for moments that really need an extra punch, rather than using them in every sentence.
  

• Show, Don’t Tell: Instead of saying something is “really amazing,” describe what makes it amazing.
  

• Vary Your Language: Avoid using the same intensifiers repeatedly. Mix it up with more precise or unique descriptors.

How do you spot an amateur author? Count the number of intensifiers (usually -ly words) used in a paragraph. :)

So here’s my advice. Before submitting your story to a contest or publishing editor, throw your work — scene by scene — into an AI engine and have it look for intensifiers. The results might surprise you in that, unconsciously, you’re constantly using intensifiers when a better verb or adverb would do.

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The Gallant Gerund

So there I was, writing a blog post about verbs, when I went to discuss gerunds, transforming my 500-word blog post into a 2,000-word monster. Therefore, I’ve broken out the topic into its own post for your pleasure.

I believe it’s warranted. Gerunds are great, but new writers tend to abuse them, so let’s explore what they are all about.

Gerunds

I love gerunds. Maybe … too much. I have to take special care not to overuse them.

A gerund is a verb that ends in -ing and functions as a noun in a sentence.

Instead of showing action like a typical verb, a gerund acts more like a thing or an activity.

For example:

• Running is my favorite hobby.

• Writing helps me express my thoughts.

In these sentences, "running" and "writing" are gerunds because they are being used as the subjects of the sentences (activities) rather than showing action.

Gerunds can also function as objects:

• She loves cooking.

• He avoided talking to the stranger.

Even though these words look like verbs, they're playing the role of a noun, showing what the subject loves or avoids.

Abusing the Gerund

Gerunds can be "abused" when overused or used awkwardly in a sentence, leading to clunky or unclear writing. Here are a few ways this can happen:

1. Gerund Overload

When multiple gerunds are used in a single sentence, it can become hard to follow or sound unnatural.

Example of overload:

• Running, swimming, and hiking are what I enjoy doing after working.

A cleaner version:

• I enjoy running, swimming, and hiking after work.

The sentence feels smoother when there aren't too many gerunds competing for attention.

2. Unclear Subject or Ambiguity

Sometimes, overusing gerunds can cause confusion about who or what is performing the action.

Example of ambiguity:

• Walking the dog while eating dinner can be tricky.

Is walking or eating tricky? And who is walking the dog — someone or the dog itself? To avoid confusion, it's better to clarify:

• It's tricky to walk the dog and eat dinner at the same time.

3. Awkward Sentence Structure

Relying too much on gerunds can lead to awkward sentence constructions that sound stilted.

Example of awkwardness:

• The playing of video games all day is frowned upon.

A smoother alternative:

• Playing video games all day is frowned upon.

The Gallant Gerund

Gerunds are exceptional — even gallant — because they possess a unique versatility.

1. They Can Be Dynamic Nouns: Gerunds have the elegance of transforming actions into entities. They let you describe an activity like running or swimming as if it’s a tangible thing, adding depth and movement to a sentence. Instead of just doing something, the action itself becomes the focus, like "Running is my passion." This flexibility makes gerunds stand out among nouns.

2. They Offer Effortless Flow: Gerunds can smoothly link ideas in a natural and fluid way. Their ability to maintain the energy of a verb while acting as a noun gives sentences a graceful rhythm, allowing your thoughts to flow without awkwardness. For instance, "He enjoys cooking and painting" carries an effortless blend of activities without feeling forced or heavy.

Gerunds bring both dynamism and balance, making them a gallant tool for creating expressive and fluid writing!

But as for abuse, if you find that gerunds are weighing down your sentences, try rephrasing them or using more straightforward verb structures to keep the flow natural.

And here's some advice:

If you’re submitting your work to a publishing editor or contest judge, take your story to ChatGPT (or an AI of your choice — I’m commercially agnostic around here) and have it identify all of the gerunds, scene by scene. The results might surprise you. They may be an unconscious crutch in your writing. It’s something an experienced judge or editor will catch.

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Finding the Right Vibe with Verbs

Verbs … move.

They’re the vibe you’re looking for.

Verbs are the action heroes of the writing world, giving your sentences life, energy, and motion.

Without them, well, your story’s going nowhere! And I mean literally.

Jimmy ___ by the fountain to ___ the water ___ across the surface.

Blech. What exactly is Jimmy doing with the fountain? What’s happening here? Where’s this turkey author taking me anyway?

Verbs move the story.

So, today, we're diving deep into the world of verbs. Whether you’re a newbie or just brushing up on your skills, this is your ultimate guide to mastering those action-packed words.

What Exactly Is a Verb?

In the simplest terms, verbs are words that show action or state of being. If your character is running, jumping, laughing, thinking, or even existing, verbs make it happen.

• Verbs are the engine that drives your story forward.

• Almost every sentence requires a verb.

Without verbs, you'd have a bunch of nouns just sitting there, like “Jimmy,” “the fountain,” and “the water.” And while that might make for an interesting art exhibit, it’s not the best approach to storytelling.

There are three types of verbs: Action, Stative, and Linking.

Action Verbs

These are your classic verbs. They describe what the subject of your sentence is doing. Action verbs are physical (like run, jump, write) but can also describe mental actions (like think, believe, dream). Action verbs give movement and create visual images. Example:

• Marcus runs down the street.

• Liora believes in the impossible.

See how those verbs bring the sentence to life? They let you know exactly what's going on.

Stative Verbs

Stative verbs describe a state of being or a condition rather than an action.

Unlike action verbs, which show movement or dynamic activities (like run, jump, write), stative verbs refer to situations, feelings, thoughts, relationships, or qualities that are more static and unchanging over a period of time.

Examples of Stative Verbs:

Verbs of Thinking or Belief: know, believe, understand, doubt, imagine, suppose.

• She knows the answer.

• I believe in your potential.

Verbs of Emotion or Feeling: love, hate, like, prefer, desire, fear.

• He loves chocolate.

• I hate waiting in line.

Verbs of Possession: have, own, possess, belong.

• They own a beach house.

• The book belongs to me.

Verbs of the Senses: see, hear, smell, taste, feel.

• I see a bird in the tree.

• This soup tastes great.

Verbs of Relationship or Identity: be, seem, appear, consist, include.

• She is my friend.

• The book seems interesting.

Stative verbs are usually not used in continuous or progressive tenses (-ing form). This is because they represent states or conditions that are not seen as having a clear beginning or end, unlike actions that can happen now. Example:

• Incorrect: I am knowing the answer.

• Correct: I know the answer.

However, some stative verbs can be used in continuous tenses when they take on a different meaning. For instance:

• Normal use (stative): I think you're right. (think means "believe" here.)

• Continuous use (action): I am thinking about what to do. (think refers to the active process of considering something.)

Why Are Stative Verbs Important?

Understanding the difference between stative and action verbs is crucial for using the correct verb tenses in your writing. Using a stative verb in the wrong form, especially in continuous tense, can make your writing feel awkward or incorrect. Stative verbs allow you to describe states of mind, conditions, and abstract concepts that make your characters and settings feel more complex and grounded.

Linking Verbs

Linking verbs don’t show action. Instead, they connect the subject of your sentence to more information about the subject. The most common linking verb is to be in all its forms (am, is, are, was, were, etc.).

Example:

• Simone is terrified.

• David was a hero.

Linking verbs help describe a state of being. They don’t do anything per se, but they help your reader understand more about your character.

Infinitive Forms of Verbs

The infinitive form of a verb is its most basic, uninflected form, usually preceded by the word to. In other words, it's the "to + verb" version, like to run, to write, or to eat. The infinitive isn’t tied to a particular subject, tense, or number — it’s the raw, neutral form of the verb. Example.

• To jump over the fence was a challenge.

• She wants to learn French.

• He needs to call his mother.

There are two types of infinitives:

A Bare Infinitive: Verbs without the to (e.g., run, jump). They’re often used after certain verbs like can, should, make, and let.

• I can run fast.

• She made me stay late.

A Full Infinitive: This is the classic to + verb form.

• He hopes to travel soon.

• I want to read that book.

When Do We Use Infinitives?

Infinitives can be used in various ways:

1. As a subject. To travel is my dream.

2. As an object. He loves to dance.

3. To show purpose. She went to the store to buy groceries.

Verb Tense: Why It Matters

Tense tells the reader when something is happening: in the past, present, or future. Choosing the right tense keeps your story clear and helps your readers stay grounded in the timeline.

• Past tense: He walked to the store.

• Present tense: He walks to the store.

• Future tense: He will walk to the store.

Most fiction is written in the past tense, but some writers experiment with present or even future tense to create a unique vibe.

Helping Verbs: The Sidekicks of the Verb World

Sometimes, verbs need extra help to fully convey what’s going on. Enter helping verbs, also known as auxiliary verbs. These verbs assist the main verb in expressing tense, mood, or voice.

Example:

• Liora is running toward the ship. (Helping verb is helps express that the action is happening right now.)

• Marcus has eaten the last slice of pizza. (Helping verb has shows that the action was completed.)

Helping verbs often include be, have, and do.

The Role of Adverbs: Modifying Verbs

Adverbs are words that modify or describe verbs (er, and other adjectives, or even other adverbs, but I digress.) They give us more detail about how, when, where, or to what extent something happens. They help clarify or intensify the action or description in a sentence. Most adverbs end in -ly (but not always).

Example:

• Marcus runs quickly.

• Liora sings beautifully.

Adverbs are like the spices of your writing. But be careful—too many adverbs can clutter your sentences. Instead of saying, “He ran quickly,” it might be better to say, “He sprinted.”

Common Questions Adverbs Answer:

• How? – He ran quickly.

• When? – She left yesterday.

• Where? – They looked everywhere.

• To what extent? – I'm completely exhausted.

Examples of Adverbs:

• Modifying a verb: She quietly opened the door. (How did she open it? Quietly.)

• Modifying an adjective: The cake is extremely delicious. (How delicious? Extremely.)

• Modifying another adverb: He ran very quickly. (How quickly did he run? Very quickly.)

Types of Adverbs:

1. Adverbs of Manner – Describe how an action is performed.

   • Example: She sings beautifully.

2. Adverbs of Time – Indicate when something happens or for how long.

   • Example: We'll meet tomorrow.

3. Adverbs of Place – Show where the action occurs.

   • Example: He searched everywhere for his keys.

4. Adverbs of Frequency – Explain how often something happens.

   • Example: I always forget my umbrella.

5. Adverbs of Degree – Show the intensity or degree of something.

   • Example: The movie was really good.

The -ly Rule

A lot of adverbs are formed by adding -ly to adjectives. For example:

• Quick → Quickly

• Careful → Carefully

However, not all adverbs follow this rule. Some, like fast, hard, late, and well, are adverbs without the -ly ending.

Adverb Placement

Adverbs can be flexible regarding their position within a sentence, but their placement can affect meaning or emphasis.

• Beginning of the sentence: Quickly, he ran to the store.

• Middle of the sentence: He quickly ran to the store.

• End of the sentence: He ran to the store quickly.

Notice how the meaning stays the same in each case, but the emphasis shifts depending on where the adverb is placed.

Watching Out for Adverb Overuse

While adverbs can add important detail, overusing them (especially -ly adverbs) can make your writing feel cluttered or weak. For instance, instead of writing "She spoke softly," you might choose a stronger verb like "She whispered."

Weak vs. Strong Verbs: The Writer’s Power Move

Strong verbs are one of the easiest ways to level up your writing.

Weak verbs are the ones that don’t pack much of a punch — words like is, are, has, and does. Strong verbs, on the other hand, are more specific and help paint a more vivid picture.

Weak verb:

• She is walking to the door.

Strong verb:

• She strides to the door.

See how the second sentence feels more dynamic? Strong verbs help your writing pop.

Choosing a better verb is a component of editing and proofreading. Sure, we can say Sally walked to the door, and there’s nothing mechanically wrong with that. However, if we’re trying to paint pictures with words, we must choose the best verb to describe the situation.

• Sally sauntered to the door.

• Sally sprinted to the door.

• Sally dashed to the door.

• Sally rushed to the door.

Each of these paints a very different picture.

How can you quickly distinguish an amateur writer from a pro? Everyone walks. Everyone whispers. Everyone falls. Everyone looks. Instead of editing their work to include the most robust verb possible, they’ll repeatedly reuse the same weak verbs. Watch for it.

A Quick Tip: Watch for Passive Constructions

We’ve all been there. You’re cruising along in your writing when suddenly — bam — you hit passive voice. Passive voice happens when the subject of your sentence isn’t doing the action. Instead, the action is being done to the subject.

Example of passive voice:

• The book was read by Marcus.

Active voice:

• Marcus read the book.

The active voice is more direct, more engaging, and generally preferred in fiction. If you want your readers to feel immersed in your story, aim for an active voice.

Put It All Together: A Verb-Driven Sentence

Let’s put everything we’ve learned together into a sentence. Here’s how to use action verbs, strong verbs, and adverbs to create a sentence that pops.

Weak sentence:

• She is walking slowly toward the door.

Strong sentence:

• She drags her feet to the door, hesitating before pushing it open.

Now, that’s a sentence that moves!

Wrapping Up

Verbs are the engine of writing.

They move your characters, set the pace, and bring your world to life.

Whether choosing between action, stative, linking verbs, or deciding if you need that adverb, remember that verbs are your secret weapon for writing stories that readers won’t be able to put down.

So, what are you waiting for? Go find the vibe in your verbs.

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Understanding Nouns and Pronouns

Nouns.

The word comes from the Latin word nomen, which means "name."

It entered English through Old French as nom before evolving into the Middle English term noun. In its Latin root, nomen refers to any name or designation, which fits perfectly with what a noun does — name a person, place, thing, or idea.

Nouns are the cornerstone in the structure of a sentence; every sentence must have a noun. Every sentence needs a noun (or something that acts like one) because nouns provide the "who" or "what" the sentence is about. Without a noun, there's no subject or object to anchor the action or description — essentially, there’s nothing for the verb to "happen" to.

Types of Nouns

1. Common Nouns are your everyday, general nouns that refer to people, places, things, or ideas. They aren’t specific or capitalized. Examples: dog, city, book.

2. Proper Nouns are always capitalized and refer to specific names of people, places, or things. Examples: Fido, New York City, The Great Gatsby.

3. Concrete Nouns are things you can see, touch, smell, hear, or taste — anything physical. Examples: apple, ocean, music.

4. Abstract Nouns refer to intangible things — concepts, emotions, or ideas you can’t physically interact with. Examples: love, freedom, anger.

5. Collective Nouns are nouns representing a group of individuals or things. Even though they refer to multiple things, they’re treated as singular. Examples: team, herd, flock.

6. Countable Nouns are nouns you can count. They can be singular or plural. Examples: cat/cats, pen/pens.

7. Uncountable Nouns: These nouns refer to things that can’t be easily counted. You often treat them as singular. Examples: water, sand, information.

The Weight of a Noun

The more specific the noun, the more weight it carries. With more weight, the more convincing it is, adding credibility to the writer’s voice. What word is more attractive and interesting?

• Mountain | Cliff

• Fish | Trout

• Wind | Breeze

• Plant | Japanese Maple

• Woods | Evergreens

Frequent use of generic terms rarely inspire. They may suffice by simply conveying a broad idea but aren’t good at conveying strong, mental pictures.

Here’s a generic sentence:

The man drove the car to the place.

Now, let’s rewrite it with stronger, more specific nouns:

The firefighter raced the SUV to the fire station.

And finally, even more specific.

The firefighter raced down Broadway in a Ford Explorer to the fire station.

The more specific the noun adds clarity and weight and paints a more vivid image. The reader can now picture exactly what’s happening. The more precise the nouns, the more your writing feels grounded, authentic, and engaging. That’s its weight.

Excessive Use of Nouns

Naturally, we could go overboard.

The firefighter in the bright red Ford Explorer with the oversized tires sped past the brick fire station near the crowded intersection on Broadway to the three-story warehouse engulfed in flames.

Yeah, too much — too much! Here, I’ve created a sentence overloaded with nouns. An excessive amount makes the reader slog through a verbal bog. Instead of specifics adding clarity, the excessive use of nouns creates an overflow of information akin to stuffing my mouth with three donuts at a time.

Let’s dig deeper. Here’s that list of generic nouns drilling down into very specific nouns.

• Mountain | Cliff | Buttes

• Fish | Trout | Brook Trout

• Wind | Breeze | Gale

• Plant | Japanese Maple | Sango-Kaku (a Coral Black Japanese Maple)

• Woods | Evergreens | Norway Spruce

As a reader, I like specifics. Specifics lend more weight to the author’s voice.

Rex Thorne spurred his Mustang, urging her to race faster to the edge of the butte.

With specific words, I can paint a more vivid picture. But look at this:

Timmy cast his net into the Battle Ground Lake to catch some Brook Trout for dinner.

Hmm. A couple of issues here:

• Do Brook Trouts live in lakes?

• If Battle Ground Lake’s real (It is!), do Brook Trouts live there?

• Are nets commonly used to catch Brook Trout?

• If my story is either 1PL or 3PL from Timmy’s perspective, is he smart / wise enough to distinguish a Brook Trout from, say, a Rainbow Trout?

There’s a balance, isn’t there? To be credible, the author must select nouns appropriate for the setting and the character’s lens through which we experience the story.

Finding the Right Noun

Well, that’s our job as authors. We should look for the most specific nouns we can use in our sentences to add credibility and increase reader satisfaction. Unlike political figures, we can’t create facts willy-nilly. We must research! But we must also be faithful to the character and try to perceive the world through their lived experience.

Using Pronouns

Pronouns are words we use in place of a noun. Common pronouns include he, she, it, they, we, and you.

They’re shortcuts. Pronouns are more accessible, less formal references to the noun we’re talking about. They also serve as tools to reduce repitition. For example, instead of saying:

Sarah went to the store because Sarah needed milk.

You can say:

Sarah went to the store because she needed milk.

The pronoun she replaces Sarah in the second part of the sentence, making it flow better. It’s less … chunky … in the mouth, isn’t it?

There are different types of pronouns, like:

• Personal Pronouns: I, you, he, she, it, we, they (referring to people or things)

• Possessive Pronouns: mine, yours, his, hers, ours, theirs (showing ownership)

• Reflexive Pronouns: myself, yourself, himself, herself, itself, ourselves, themselves (used when the subject and object of the verb are the same)

• Demonstrative Pronouns: this, that, these, those (pointing to specific things)

Pronouns are great because they shorten sentences and make prose easier to read.

Abusing Pronouns

It happens all the time. The writer gets so caught up in their story that they constantly refer to their character as a pronoun rather than a name. It happens. The trick is to spot excessive degrees of pronouns and substitute an actual name to help balance out the read.

However, mechanical problems with pronouns occur frequently. Here’s an example:

Sarah told Emily that she needed to leave.

In this sentence, it's unclear who she refers to — does she mean Sarah or Emily? The reader has to guess, which can lead to confusion. This is an example of an unclear antecedent. An unclear antecedent happens when it's unclear which noun a pronoun refers to. The antecedent is the noun that a pronoun replaces, and when the connection between the two is ambiguous, it can confuse the reader.

Here’s a corrected, pretty version:

Sarah told Emily that Emily needed to leave.

And here’s a corrected, ugly version:

Sarah told Emily that she, Sarah, needed to leave.

Yuk! It’s technically correct, but it leaves a pasty sense on the tongue, right? The problem of unclear antecedent happens so frequently — so frequently — it is the number one mechanical issue I gripe about when editing or proofing someone’s draft.

Conclusion

So there you have it. Nouns. Simple things, yet kind of complicated.

Over time, writers will develop an artistic flair, using specific nouns to create a story's mood, tone, or atmosphere. Further, over time, writers will lean on specific nouns as a crutch, often (unconsciously) repeating the same detail in different works. And, over even more time, authors start to catch themselves in their repetitive noun choices, perform more research, and make adjustments. Watch for these subtle behaviors in your own writing.

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