#AM WRITING

[xyywrites]

Overused Words in Writing & How to Avoid Them

We’ve all got our comfort words—those trusty adjectives, verbs, or phrases we lean on like a crutch. But when certain words show up too often, they lose their impact, leaving your writing feeling repetitive or uninspired.

1. “Very” and Its Cousins

Why It’s Overused: It’s easy to tack on “very” for emphasis, but it’s vague and doesn’t pull its weight.

Instead of: “She was very tired.” Try: “She was exhausted.” / “She dragged her feet like lead weights.”

💡 Tip: Use precise, vivid descriptions rather than vague intensifiers.

2. “Looked” and “Saw”

Why It’s Overused: It’s functional but flat, and it often tells instead of shows.

Instead of: “He looked at her in disbelief.” Try: “His eyebrows shot up, his lips parting as if words had failed him.”

💡 Tip: Focus on body language or sensory details instead of relying on generic verbs.

3. “Suddenly”

Why It’s Overused: It’s often used to create surprise, but it tells readers how to feel instead of letting the scene deliver the shock.

Instead of: “Suddenly, the door slammed shut.” Try: “The door slammed shut, the sound ricocheting through the empty room.”

💡 Tip: Let the action or pacing create urgency without needing to announce it.

4. “Said” (When Overdone or Misused)

Why It’s Overused: While “said” is often invisible and functional, using it in every dialogue tag can feel robotic.

Instead of: “I can’t believe it,” she said. “Me neither,” he said. Try: Replace with an action: “I can’t believe it.” She ran a hand through her hair, pacing. “Me neither.” He leaned against the counter, arms crossed.

💡 Tip: Don’t ditch “said” entirely; just mix it up with context clues or action beats.

5. “Felt”

Why It’s Overused: It’s a shortcut that tells instead of showing emotions.

Instead of: “She felt nervous.” Try: “Her palms slicked with sweat, and she couldn’t stop her leg from bouncing.”

💡 Tip: Let readers infer emotions through sensory details or behavior.

6. “Really” and “Actually”

Why It’s Overused: They add little to your sentences and can dilute the impact of stronger words.

Instead of: “I really don’t think that’s a good idea.” Try: “I don’t think that’s a good idea.”

💡 Tip: If a sentence works without these words, cut them.

7. “Walked” or “Ran”

Why It’s Overused: These are go-to movement words, but they can feel bland when used repeatedly.

Instead of: “He walked into the room.” Try: “He strolled in like he owned the place.” / “He shuffled in, avoiding everyone’s eyes.”

💡 Tip: Use verbs that convey mood, speed, or attitude.

8. “Just”

Why It’s Overused: It sneaks into sentences unnecessarily, weakening your prose.

Instead of: “I just wanted to say I’m sorry.” Try: “I wanted to say I’m sorry.”

💡 Tip: Delete “just” unless it adds essential nuance.

9. “Thought”

Why It’s Overused: It tells readers what a character is thinking instead of showing it through internal dialogue or action.

Instead of: “She thought he might be lying.” Try: “His story didn’t add up. The timelines didn’t match, and he wouldn’t meet her eyes.”

💡 Tip: Immerse readers in the character’s perspective without announcing their thoughts.

10. “Nice” and Other Vague Adjectives

Why It’s Overused: It’s generic and doesn’t give readers a clear picture.

Instead of: “He was a nice guy.” Try: “He always remembered her coffee order and held the door open, even when his arms were full.”

💡 Tip: Show qualities through actions instead of relying on vague descriptors.

Final Tips for Avoiding Overused Words:

1. Use a thesaurus wisely: Swap overused words for synonyms, but stay true to your character’s voice and the scene’s tone.

2. Read your work aloud: You’ll catch repetitive patterns and clunky phrases more easily.

3. Edit in layers: Focus on eliminating overused words during your second or third pass, not your first draft.

[nikasholistic]

Feel it. Feel as if your manifestation is already a part of your reality. Act as if your manifestation is already a part of your reality. Be it. Be this energy on an inner level. Creation always starts inside you. Creation starts with your thoughts, feelings, and identity. Make sure that those are in alignment with the reality you want to experience.

Assume the state of your wish fulfilled. This is the quickest way to manifest anything you want. This is the quickest way to transform your entire reality. Your inner world is the blueprint. The three-dimensional reality is just a reflection. So make sure that your inner blueprint is about the things you want to experience. You create your reality. Start creating it by design. Let go of the creation by default mode.

[rumeysawrites]

As a writer, my biggest need isn't "insparation" or "a storyline". No, it's someone who would let me yap and ramble about the characters and world I built that nobody else probably knows or cares about-

[sjstone-author]

the struggle is real...

signs a writer is working

they said so on social media to make it real

they made coffee

now they’re dusting the ceiling

bought a few books

thinking about baking BREAD FROM SCRATCH

is typing

is that 10,000 words!!!

no it’s 100 words

could go for a snack tbh

[fablesandfragments]

I'm so proud of what I wrote today. Short as it may be, it sounds really good to me right now. But I’m also very sure that by tomorrow, I might wake up thinking it’s absolute garbage.

So, if you see this, let me know what you think! It's the opening of a new fantasy novel I’m working on. And yes, it’s yet another project. And yes, I still haven’t finished the last two. But hey—I’m optimistic about this one.

For heaven is fleeting,

And mortals despise perfection.

Once perfect, now broken.

Filled with bells and tinkling,

Divinity in mortal form and shape.

They dance—

Aloof, untouchable, unsullied.

The ordinary look on,

Watching these spirits move like light,

Awed by beauty,

The world at peace.

Yet jealousy blooms like weeds,

Creeping, spreading, seeking.

Yet What breaks the balance?

Love.

Foolish, reckless, blind.

The immortal gazes down.

The mortal gazes up.

The dance continues.

Then, it stops.

Blood spills.

Madness born.

The immortal gazes down.

The mortal gazes up.

Tears fall.

The music stops.

And heaven disappears.

The mirror shatters.

Everything is lost.

Everything is lost.

For context it's a history known only to a few in my world.

I tried my best. I hope it isn't too.... Pretentious. I dunno...

It's basically a synopsis and summaries my idea.

Tagging @thebadphilosopher @drchenquill @peach-the-gospel @unlivresanstitre @keeping-writing-frosty want to hear your thoughts, if you have anything to say. No pressure tho.

[selenekallanwriter]

Whenever I read a post by a man saying he hates romantasy, that "romance novels are of inferior quality to the rest," that "there just can't be a fantasy romance that's well written," and that "romantasy is ruining the fantasy genre," The Muse goes like: You know what this WIP needs more of?

I'm going to out-smut myself, just you wait.

[charliejaneanders]

Random writing thought: the best stories are often the ones that only you could have written — but also the ones that you could only write at this one moment.

I couldn't write All the Birds in the Sky from scratch now if I tried. But the me of 2013 couldn't have written The Prodigal Mother either.

[fullyvisible]

January Totals:

Politics: 2,798 words

With an average of about 90 words per day, we've trucked through January, which is not typically a particularly enjoyable month under the best of circumstances (and, let's be real, we are not in the best of circumstances). There are WORDS and we're making progress and we're still going and that is a good thing :)

January Writing Goals

It's a new year, but we've got the same goal: write, at least a little bit, every day.

Let's begin!

[whatwedointhecraft]

When your characters just start revealing lore you didn't know about them, as you're writing them

[emeryleewho]

I used to work for a trade book reviewer where I got paid to review people's books, and one of the rules of that review company is one that I think is just super useful to media analysis as a whole, and that is, we were told never to critique media for what it didn't do but only for what it did.

So, for instance, I couldn't say "this book didn't give its characters strong agency or goals". I instead had to say, "the characters in this book acted in ways that often felt misaligned with their characterization as if they were being pulled by the plot."

I think this is really important because a lot of "critiques" people give, if subverted to address what the book does instead of what it doesn't do, actually read pretty nonsensical. For instance, "none of the characters were unique" becomes "all of the characters read like other characters that exist in other media", which like... okay? That's not really a critique. It's just how fiction works. Or "none of the characters were likeable" becomes "all of the characters, at some point or another, did things that I found disagreeable or annoying" which is literally how every book works?

It also keeps you from holding a book to a standard it never sought to meet. "The world building in this book simply wasn't complex enough" becomes "The world building in this book was very simple", which, yes, good, that can actually be a good thing. Many books aspire to this. It's not actually a negative critique. Or "The stakes weren't very high and the climax didn't really offer any major plot twists or turns" becomes "The stakes were low and and the ending was quite predictable", which, if this is a cute romcom is exactly what I'm looking for.

Not to mention, I think this really helps to deconstruct a lot of the biases we carry into fiction. Characters not having strong agency isn't inherently bad. Characters who react to their surroundings can make a good story, so saying "the characters didn't have enough agency" is kind of weak, but when you flip it to say "the characters acted misaligned from their characterization" we can now see that the *real* problem here isn't that they lacked agency but that this lack of agency is inconsistent with the type of character that they are. a character this strong-willed *should* have more agency even if a weak-willed character might not.

So it's just a really simple way of framing the way I critique books that I think has really helped to show the difference between "this book is bad" and "this book didn't meet my personal preferences", but also, as someone talking about books, I think it helps give other people a clearer idea of what the book actually looks like so they can decide for themselves if it's worth their time.

Update: This is literally just a thought exercise to help you be more intentional with how you critique media. I'm not enforcing this as some divine rule that must be followed any time you have an opinion on fiction, and I'm definitely not saying that you have to structure every single sentence in a review to contain zero negative phrases. I'm just saying that I repurposed a rule we had at that specific reviewer to be a helpful tool to check myself when writing critiques now. If you don't want to use the tool, literally no one (especially not me) can or wants to force you to use it. As with all advice, it is a totally reasonable and normal thing to not have use for every piece of it that exists from random strangers on the internet. Use it to whatever extent it helps you or not at all.

[ameliasmiscmonsters]

[rheas-chaos-anthology]

Questions to ask beta readers

General:

Were you confused at any point of the story?

What genre would you say this book is?

When did you put the story down?

Is the ending satisfying?

If you had to cut 3 scenes what would they be?

When did you feel like the story really began?

What was the last book you read before this story?

Characters:

Do you get any of the characters names confused?

Which character is your favorite?

If you had to remove a character who would you and why? (you don't have to remove the character, just make sure their role is meaningful)

Which character do you relate to the most?

Which character do you relate to the least?

Do the characters feel real?

Are character relationships believable?

Are the goals clear and influence the plot?

Are the characters distinct (voice, motivations, etc)

Setting:

Which setting was clearest to you?

Which setting was the most memorable?

Am including enough/too much detail?

Plot and conflict:

Are the internal and external conflicts well defined for the main characters?

Are the internal conflicts and the external conflicts organic and believable?

Are there enough stakes?

Are the plot twists believable but still unexpected?

[xyywrites]

Heya @quiven! Yes this is a tricky thing to write about.

(for me personally, the hardest things to write are the simplest, mundane, everyday occurrences) Depending on the context this is how you could write silence,

1. A minute passed. Then five. No reply from the other side.

So quiet it was almost unnatural—as if the universe had swallowed every last sound, leaving only a void of unspoken secrets. At this point she wasn't sure what she was waiting for anyways. An apology? A confession? A whisper of hope? All the while, she could hear the tic-tic-tic of the clock, the distant laughter of children playing outside, the hum of traffic. Yet the sound she most longed to hear was.....

(I imagined the woman holding a corded landline phone here, old times, maybe she's a school teacher)

2. The air grew thick with the things unsaid. As if they were both afraid. Afraid of what they might bring into existence by naming that delicate, unspoken longing that hovered between them.

3. His silence was a bruise. Purple. Tender. And she kept pressing it to check if it still hurt.

4. They didn't speak. They didn't have to. Spending years in each others' company, they could read even the slightest shifts in expression. How a twitch of an eyebrow meant annoyance, how ....

5. He froze mid-sentence, words caught in his throat, choking him.

6. The phone rang, unanswered. One ring, two ring, three—by the fourth—even the quiet had grown teeth.

7. He’d always hummed while he worked. A habit she'd always found annoying. But now she missed it.

9. She’d always hated quiet. It gave her thoughts too much room to scream.

10. .....Each breath felt like swallowing glass, sharp with the truth they’d rather bleed out than speak.

Silence isn’t passive. It’s a loaded moment — a held breath, a coiled spring, a grenade with the pin pulled. Give it purpose. Is it awkward? Heavy? Comfortable? Threatening?

The context matters. The context guides the imagery.

(this was a comment on my post: The power of Silence in Dialogue)

[rhiannonhgarrard]

...Like a proper writer, I suppose

[jgmartin]

me, after clearing my schedule to write:

uhhhh it was raining... and dark (and also night) and um... cold i guess?? anyway, something dramatic~ happened

me, stuck in traffic on my way to work:

Rain tumbled through midnight leaves, casting the forest in liquid moonlight. A low growl shook the horizon. Death had come.