All writers have a process that allows them to create. However, the art of "Writing" is often mistaken for that "Process." Hopefully this blog explains the difference, and inspires people to develop their crafts, become writers, or just keep on writing.
Monday, July 6, 2020
How Verbs Make or Break the Story
Don't get me wrong - I could tell a story about the time I got two pounds of broccoli that would be quite amusing and you would enjoy those ten minutes. However, it would carry the voice, tone, and mood that matched what the story had to offer, and not try to oversell with a bunch of unnecessary dramatics. Within the realm of storytelling, nothing can do a greater injustice to our story than the wrong verbs.
As a refresher, a verb relates to action - what is happening in the sentence. The most boring verb around is the verb "to be," which is most often used with terms like "I am walking," "They are walking," "You were walking" and so on. The people are all walking, but the verb is am/are/were (all forms of "to be"). This is like saying that people existed - boring already. Use of this is called the passive voice, and is a big no-no in writing. There are plenty of articles explaining the details, so I will let Google explain that while I explain a little about mood verbs.
So let's say my story starts with me going to the store. I won't say "I was walking to the store" because that "was" makes it boring. I can instead say, "I walked to the store." However, let's think if "walked" is even necessary. This provides information. I didn't drive, or cycle, or run - I walked. At this point I should ask myself whether my form of transportation to the store important? If I walked, then bought thirty pounds of stuff and had to lug them back two miles in those crappy plastic bags, walking is important. Maybe as I shop, I think about carrying stuff back. However, if my transportation isn't important, why burden the reader with excessive information?
"I went to the store." Ta-da! I am at the store without concerning the reader about unnecessary stuff. I can save the important verbs for the parts of the story that matter. In fact, if I use the interesting verbs exclusively for the dramatic parts of the story, the reader subconsciously collects this information and focuses on the most important elements. They become engaged with the story, and, as I have said many times in this space, engaging the reader is the most important responsibility of any writer.
Being overdramatic is the flip-side of verb use. "I put on my walking shoes and rushed to the store," would pack on the details, information, and active verbs, but if none of that is important to the story, it creates a false sense of urgency - drama - that ultimately disappoints the reader. They become burdened with every little point and the story - no matter how interesting it may be - gets lost in the writing.
Try examining a story that really draws you in, and see how the verb use works. You might be surprised to see just how cleverly they are used. And someday when I write the broccoli story, you will realize just how funny it was.