Verbs constitute one of the most powerful aspects of written English. The most fundamental rule of English grammar states that all sentences can be distilled down to the formula subject + verb + object. As its central position in that formula implies, the verb functions as the fulcrum of every sentence in English. Unsurprisingly then, for authors looking to elevate their prose, attending to the choice of verbs remains one of the most effective methods of achieving this goal.
In particular, for writers who specialize in technical fields of research, introductions, conclusions, and literature reviews present the best opportunities for improving verb choices. These sections force writers to condense and summarize large quantities of material. As such, they give the author more freedom to experiment with synonyms and less formulaic expressions. By actively selecting more forceful verbs (especially in summary chapters), a writer signals greater polish and confidence to their readers. As a side bonus, these choices also render dense prose more enjoyable to read, as stronger verbs reduce the need for auxiliary words and phrases.
Avoid “to be”
Variations of “to be” comprise one of the most common classes of verbs (“am,” “are,” “is,” “was,” “were,” for example). From a functional perspective, “to be” verbs act as the linguistic equivalent of an equal sign in mathematics. They frequently offer the most direct bridge between two different pieces of a sentence, phrase, or concept. As such, they commonly appear in formal, written usage. Because of their versatility, authors should generally not try to avoid “to be” verbs completely, but try to restrict using more than 2-5 of these verbs per paragraph.
Tip: If you want to kick your writing up a notch, try to restrict your usage of “to be” verbs to 2-5 per paragraph.
These verbs often seem almost invisible due to their commonness, until readers engage with a text that uses fewer forms of “to be.” Readers do notice, and they do respond more readily to writing that exercises more sophisticated language. By restricting the usage of “to be,” authors free up space to select alternative (and frequently more interesting) vocabulary.
Use the thesaurus
If authors want to take their writing to the next level by choosing better verbs, where to start? First, and most importantly, consider the action conveyed and the relationship between the subject and object in the sentence. For instance, “[object] is caused by [subject]” frequently appears in technical writing as a standard expression of causal relationships. By flipping the order of the subject and the verb, however, this “to be” formulation can usually be adjusted to “causes.” For authors perennially concerned about their word count, this saves two words. It also transforms the “voice” of the verb from passive to active, which reads as much more muscular and confident.
Tip: Consider what action you wish to convey and the relationship between your subject and object.
A good thesaurus also provides a powerful tool for identifying more forceful verbs. When editing, thesaurus usage becomes very apparent in relation to nouns and adjectives, but seems rarely to apply to verbs. In terms of bang for buck, however, the thesaurus may provide the most return when looking for verb synonyms. This likely has to do with the sheer commonness of “to be” verbs. Keep in mind, however, that it may still be necessary to consult the dictionary to ensure the accuracy of a selection.
Tip: Use a thesaurus judiciously.
Final thoughts
Strunk and White assert that nouns and verbs “give to good writing its toughness and color.” While the passive voice and “to be” verbs have a certain utility for formal writing, the strategic use of active, forceful verbs lends persuasive power to even the most dense technical prose. While many writers frequently look for alternatives to highly specific jargon, verbs often seem neglected. For authors seeking to add more “toughness and color” to their work, look to the verbs.
