When writers want to strengthen their prose, they often focus on adjectives and adverbs. They search for more vivid descriptions or more expressive ways to tell readers what's happening. But the biggest opportunity to improve a sentence is usually sitting in the middle of it. It's the verb.

Verbs carry the action. They create movement, establish pacing, and help readers visualize what's happening. When the verb is weak, the entire sentence loses energy. Strong verbs make writing feel alive, while weak verbs make it feel like it's standing still.

What Is a Weak Verb?

A weak verb is one that relies on additional words to do the heavy lifting instead of expressing the action directly. In the example below, nothing is grammatically wrong with the sentence, but the action feels indirect.

Snow White went over to the window to look outside.

Now compare it to this version:

Snow White peered through the window.

The revision is shorter, but that's not the real improvement. The verb peered paints a picture. Readers can better imagine Snow White leaning toward the glass and looking carefully through the window. Notice how just one strong verb replaces an entire phrase.

Weak Verbs Often Hide Behind Extra Words

Many weak verbs are paired with unnecessary helper words such as the following sentence:

The Queen began to walk across the room.

Here's a stronger version:

The Queen crossed the room.

Or consider this sentence with a weak verb:

The huntsman went into the forest.

Instead of telling readers that he went, use a verb that describes how he moved as in these examples:

The huntsman hurried into the forest.

The huntsman crept into the forest.

The huntsman marched into the forest.

Each verb creates a different image and reveals something about the character.

Strong Verbs Reduce the Need for Adverbs

Weak verbs often invite adverbs to compensate as is shown in the example below:

The Queen walked quickly toward the mirror.

There's nothing technically wrong with the sentence, but the verb is doing very little because there are many variations of walked. Here are some stronger versions that better describe how the queen moved.

The Queen hurried toward the mirror.

The Queen stormed toward the mirror.

The stronger verb eliminates the need for the adverb while creating a more vivid image.

Strong Verbs Create Better Pictures

Readers don't simply process words. They create mental images. Compare these examples:

Snow White looked at the apple.

Snow White studied the apple.

The second sentence encourages readers to imagine her examining the fruit carefully.

Now compare these sentences:

The dwarfs went into the mine.

The dwarfs descended into the mine.

One verb simply reports movement, while the other creates a visual scene. That's the difference a strong verb can make.

Don't Settle for "Was"

Another common weak verb is was. Consider this sentence:

The cottage was old and covered with vines.

The sentence provides information, but it feels static. A stronger version might read:

Vines covered the weathered cottage.

The emphasis shifts from describing the cottage to creating an image the reader can see.

Every Verb Should Earn Its Place

When you're editing, pay close attention to common verbs such as:

• Went
• Got
• Had
• Did
• Made
• Looked
• Walked
• Came
• Took
• Was

These verbs aren't wrong. In fact, they're some of the most common verbs in the English language for a reason. They communicate basic actions clearly, and there are plenty of situations where they're exactly the right choice. The problem arises when they become your default choice.

Imagine describing every movement in a story with went or every observation with looked. Readers still understand what's happening, but the writing begins to feel generic. Instead of creating vivid mental images, the verbs simply report events.

A Quick Editing Exercise

Open one chapter of your manuscript and search for words like the ones in the bullets above. Review each occurrence individually, and ask yourself these questions:

• Can I replace this verb with one that's more specific?
• Can one stronger verb replace both the verb and an adverb?
• Can I create a clearer mental image?

You don't need to replace every common verb. You simply want to replace the ones that are making the sentence work harder than it should. One carefully chosen verb can reveal emotion, pacing, setting, and character all at once. Characters don't simply walk, they stroll, limp, shuffle, charge, wander, march... Each choice tells readers something different. That's why strong verbs are one of the simplest ways to improve your writing.

Let the Verb Carry the Sentence

Many writing problems can be traced back to verbs that don't quite do enough. When the verb is weak, writers often compensate by adding adjectives, adverbs, or extra explanation. When the verb is strong, much of that extra wording disappears naturally.

The next time you revise, don't start with the adjectives. Start with the verb. You may discover that changing one word gives your entire sentence more clarity, energy, and impact.

• began walking
• started running
• was trying to explain
• continued talking
• seemed to be thinking

are some of the most common culprits in weak, flabby writing. They don’t add meaning. They delay action. And they quietly drain energy from your sentences. Let’s talk about why this happens—and how to fix it.

The Real Problem Isn’t -ING. It’s Hesitation.

The issue isn’t that all -ing verbs are evil. The issue is that many writers stack them behind helper verbs that soften or delay action. Look at this sentence:

“I began walking toward the door.”

What actually happens here? Nothing—at least not right away. The sentence spends time announcing that walking is about to occur instead of just letting it occur. Now compare it to this:

“I walked toward the door.”

Same meaning. More momentum. Less clutter. The second sentence moves. The first one stalls.

“Began” and “Started” Are Usually Redundant

In most cases, readers already understand that an action has a beginning. You don’t need to point it out. When you write:

“She started to cry.”

You’re narrating the concept of crying instead of showing the action. Try this instead:

“She cried.”

Or, if you want more texture:

“Her face crumpled, and tears spilled down her cheeks.”

Notice how the second option gives us emotion, imagery, and motion—all without announcing that crying has commenced.

-ING Constructions Create Distance

Another problem with these constructions is that they create narrative distance. Compare:

“He was running down the street.”

Versus:

“He ran down the street.”

The first version feels like the narrator is hovering above the action, reporting it from a distance. The second drops us directly into motion. That immediacy matters—especially in fiction, memoir, and any writing where engagement is the goal.

Weak Verbs Love to Travel in Packs

These phrases rarely show up alone. They tend to stack:

“She was beginning to feel like she was losing control.”

That sentence is doing Olympic-level gymnastics to avoid committing to a strong verb. A cleaner version:

“She felt herself losing control.”

Or even stronger:

“Control slipped through her fingers.”

Stronger verbs reduce word count, sharpen meaning, and make your writing feel confident instead of tentative.

When Writers Use These Phrases (and Why)

Most writers fall into this habit for one of three reasons:

1. They’re trying to sound more literary
2. They’re afraid of being too direct
3. They’re writing the way they speak

Unfortunately, conversational padding doesn’t translate well to the page. What sounds natural out loud often reads sluggish in print. Direct writing isn’t rude. It’s respectful—to your reader’s time and attention.

How to Fix It: A Simple Editing Pass

Here’s an easy rule of thumb for revisions. Search your manuscript for:

• began
• started
• was
• were
• continued
• seemed
• tried

Then ask one question: Can I delete this phrase and keep the meaning—or improve it? Nine times out of ten, the answer is yes. Here's another example:

“She began to open the letter.”

Here's the fix:

“She opened the letter.”

If deleting the phrase makes the sentence stronger, cleaner, and clearer, it didn’t belong there in the first place.

When -ING Is Actually Fine

Let’s be clear: not all -ing verbs are bad. They work when:

• Two actions are happening simultaneously
• You need to show duration or overlap
• Rhythm genuinely benefits from it

Here are an examples that works:

“She stood at the window, watching the storm roll in.”

That’s doing real work. It’s visual. It’s active. It earns its place. The problem isn’t the -ing form—it’s using it as a crutch instead of choosing a precise verb.

Strong Writing Commits

Weak constructions hedge. Strong writing commits. Instead of easing into action, strong sentences step forward and claim it. So stop beginning to do things. Stop starting to act. Stop announcing movement before it happens. Just let your characters—and your sentences—move.

If your writing feels slow, this is one of the first places to look. Trim the hesitation, sharpen the verbs, and trust your reader to keep up. They will.

The Problem: Emotional Translation Instead of Action

Here’s a familiar example:

“Climbing the stairs, carrying groceries, and holding a conversation all felt like they required an unreasonable amount of effort.”

Nothing is technically wrong here. But the sentence is doing too much work explaining what the reader already understands.

Now compare it to this:

“Climbing the stairs, carrying groceries, and holding a conversation required an unreasonable amount of effort.”

Same meaning. Stronger impact. No emotional coaching needed. The verb required tells us everything we need to know.

Why “Felt Like” Weakens Your Writing

Phrases like “felt like” act as a buffer between the reader and the experience. Instead of letting the reader feel the exhaustion, frustration, or dread, the sentence pauses to explain that the narrator experienced it.

Common offenders include:

• felt like
• seemed
• appeared to be
• I realized
• I noticed
• I became aware that
• it was as if

These phrases rarely add insight. They simply translate the emotion after the sentence has already demonstrated it.

Strong Verbs Carry Emotion Automatically

Emotion doesn’t need to be labeled when it’s embedded in the action. Look at the difference:

“She felt overwhelmed by the workload.”
“The workload crushed her.”

“He felt anxious about the meeting.”
“The meeting tightened his chest.”

“I felt like I was losing control.”
“Control slipped through my fingers.”

In each case, the second sentence removes the emotional narrator and lets the verb do the heavy lifting. That’s what makes writing feel confident instead of tentative.

Why Writers Fall Into This Habit

This shows up so often because writers are trying to be careful. They want to:

• be precise
• avoid ambiguity
• make sure the reader understands the emotion

Ironically, doing this often creates distance instead of clarity. Readers don’t need to be told how to feel. They need enough evidence to feel it themselves.

How to Fix It: A Targeted Editing Pass

This is an easy issue to spot once you know what to look for. Follow these steps to fix this issue in your writing.

Step 1: Search for These Phrases

Do a find search in your manuscript for:

• felt
• felt like
• seemed
• appeared
• realized
• noticed
• became aware

Step 2: Ask One Question

Is the sentence already proving this feeling through action, pressure, or consequence? If yes, delete the emotional explanation.

Step 3: Replace With a Stronger Verb

Instead of explaining the emotion, choose a verb that implies it.

• “felt exhausted” → drained, sagged, faltered
• “felt overwhelmed” → crushed, buried, swamped
• “felt frustrated” → snapped, clenched, bristled

You don’t need more words. You need better ones.

When It’s Okay to Name the Feeling

There are times when emotional labeling works—usually when:

• the emotion is unexpected or contradictory
• the narrator is reflecting rather than experiencing
• clarity is more important than immediacy

But these should be intentional choices, not default habits. If every emotional beat is explained, the writing starts to feel instructional instead of immersive.

The Rule to Remember

If the sentence already shows the emotion, don’t explain it. Trust your verbs. Trust your reader. And let the writing stand on its own without emotional hand-holding. This one change alone can dramatically tighten prose, sharpen pacing, and make your writing feel more confident and professional—without adding a single extra word.