From Pat Holt’s “The Ten Mistakes: Ten Mistakes Writers Don’t See (But Can Easily Fix When They Do)” (Holt Uncensored: 17 November 2008):
EMPTY ADVERBS
Actually, totally, absolutely, completely, continually, constantly, continuously, literally, really, unfortunately, ironically, incredibly, hopefully, finally – these and others are words that promise emphasis, but too often they do the reverse. They suck the meaning out of every sentence.
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NO-GOOD SUFFIXES
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The “ness” words cause the eye to stumble, come back, reread: Mindlessness, characterlessness, courageousness, statuesqueness, preciousness – you get the idea. You might as well pour marbles into your readers’ mouths. Not all “ness” words are bad – goodness, no – but they are all suspect.
The “ize” words are no better – finalize, conceptualize, fantasize, categorize. … Not all “ize” words are bad, either, but they do have the ring of the vulgate to them – “he was brutalized by his father,” “she finalized her report.” Just try to use them rarely.
Adding “ly” to “ing” words has a little history to it. Remember the old Tom Swifties? “I hate that incision,” the surgeon said cuttingly. “I got first prize!” the boy said winningly. But the point to a good Tom Swiftie is to make a punchline out of the last adverb.
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THE “TO BE” WORDS
Once your eye is attuned to the frequent use of the “to be” words – “am,” “is,” “are,” “was,” “were,” “be,” “being,” “been” and others – you’ll be appalled at how quickly they flatten prose and slow your pace to a crawl.
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Try also to reserve the use of “there was” or “there is” for special occasions. If used too often, this crutch also bogs down sentence after sentence. “He couldn’t believe there was furniture in the room. There was an open dresser drawer. There was a sock on the bed. There was a stack of laundry in the corner. There was a handkerchief on the floor….”