Critique, for any writer, is how we grow. It’s how we refine our craft, spot our blind spots, and really lift our stories to new heights. But let’s be real, a critique can fall flat, become forgettable even, if it’s not delivered with punch and precision. The difference between just a quick comment and something truly insightful, something that makes an impact, often comes down to the verbs we pick.
Strong, active verbs don’t just describe; they drive things forward. They don’t just state a fact; they shine a light on it. They inject energy, clarity, and authority into your feedback, making sure your words stick and genuinely help someone improve.
This isn’t about using fancy words or sounding like you swallowed a thesaurus. It’s about picking verbs strategically – choosing words that accurately and forcefully convey what you’ve observed, helping the writer you’re critiquing see the problem and get a feel for the suggested solution. When you say a character “walks” compared to “strides,” “ambles,” or “lurches,” you’re not just offering a different word; you’re painting a much clearer picture of what they’re doing, how they’re feeling, or their physical state. This guide is going to give you the tools to use verbs like fine-tuned instruments in your critiques, turning everyday feedback into insights that actually lead to action.
Getting Started: Why Active Verbs Are So Powerful
Before we get into the specifics, it’s important to understand why active verbs are just plain better in a critique. Passive voice often hides who’s doing the action, softens the punch, and just adds extra words. “The plot point was explained poorly by the author” sounds weak. “The author obscured the plot point” is direct, it points to who’s responsible, and it highlights the flaw. Strong verbs are usually active, making your critique clear, direct, and authoritative. They leave no doubt about what you observed or what it means.
Ditching “Is” and “Was”: Getting Rid of Those Weak Linking Verbs
The worst offender in dynamic critique is leaning too much on linking verbs like “is,” “are,” “was,” “were.” These verbs describe a state of being, but they rarely convey action or real insight.
Weak: “The character is unconvincing.”
Stronger: “The character falters in their conviction,” or “The character’s motivations falter.” (This goes from a static judgment to showing an active struggle.)
Weak: “The ending was confusing.”
Stronger: “The ending muddies the narrative arc,” or “The ending obfuscates the resolution.” (Much more specific, showing the effect of the confusion.)
Actively seeking out and replacing these weak links will naturally boost the power of your critique.
Boosting Specificity: Verbs for Really Precise Observations
Vague critique leads to vague revisions. Strong verbs let you pinpoint exactly what’s working or not working in a manuscript. Instead of generalities, you offer surgical insights.
1. Spotting Plot Issues: Verbs That Show Narrative Flaws
When talking about the plot, try to avoid saying things “happen” or “are unclear.” Instead, use verbs that articulate the exact breakdown in how the story moves or its logic.
- Instead of: “The timing is off.”
- Try This: “The scene’s pacing jerks unexpectedly, disrupting the build-up.”
- Or This: “The reveal prematures the suspense, robbing the twist of its punch.”
- Or Even This: “This subplot detours from the main conflict, dissipating tension.”
- Instead of: “The plot doesn’t make sense here.”
- Try This: “The narrative contorts itself to achieve this outcome, straining credulity.”
- Or This: “The motivations collide illogically, leaving the reader questioning the character’s choices.”
- Or Even This: “This event undermines the previously established world rules.”
- Instead of: “The pacing is slow.”
- Try This: “The narrative stalls in this chapter, delaying crucial developments.”
- Or This: “The descriptions linger too long, impeding the story’s forward momentum.”
- Or Even This: “Dialogue meanders, failing to advance the plot.”
See it in action:
* Weak: “This scene with the detective felt slow.”
* Strong: “The detective’s interrogation drags, loaded with redundant questions that fail to unearth new information. Consider having their methods sharpen and target key discrepancies.”
2. Sharpening Character Feedback: Verbs That Uncover Authenticity & Development
Characters are often the heart of stories. Your critique of them needs to be sharp, going beyond “they’re not believable.”
- Instead of: “The character isn’t consistent.”
- Try This: “The character’s actions clash with their established personality.”
- Or This: “Their conviction wavers inexplicably at a critical juncture.”
- Or Even This: “Their dialogue contradicts their internal monologue.”
- Instead of: “The character lacks depth.”
- Try This: “The character resents a past trauma, but the text shies from exploring its impact.”
- Or This: “Their emotional responses skim the surface, never truly delving into vulnerability.”
- Or Even This: “The character’s goals remain abstract; root them in tangible desires.”
- Instead of: “The character arc is missing.”
- Try This: “The character stagnates, failing to evolve despite significant challenges.”
- Or This: “Their journey culminates in a return to their starting point, dissipating any sense of transformation.”
- Or Even This: “The narrative neglects to demonstrate the character’s internal shifts.”
See it in action:
* Weak: “I don’t believe the villain would do that.”
* Strong: “The villain’s sudden act of mercy undermines their established ruthlessness, eroding their menace. Explore what unexpected nuance propels this decision, or allow their ruthlessness to prevail consistently.”
3. Refining Worldbuilding & Setting: Verbs That Show Immersion
Worldbuilding critiques often end up vague. Use strong verbs to articulate where the illusion breaks or where you could add more richness.
- Instead of: “The world isn’t clear.”
- Try This: “The magical system flickers inconsistently, failing to anchor the reader’s understanding.”
- Or This: “The cultural norms remain abstract, never truly manifesting in character actions.”
- Or Even This: “The environment blends into the background, never truly shaping the narrative or characters.”
- Instead of: “The descriptions are boring.”
- Try This: “The setting descriptions list details rather than evoking atmosphere.”
- Or This: “The imagery flattens the scene, failing to stimulate sensory engagement.”
Or This: “The prose skips over crucial environmental cues that could intensify the stakes.”
See it in action:
* Weak: “I don’t get how this fantasy world works.”
* Strong: “The rules governing elemental magic clash in this scene, confusing the reader’s understanding of its limitations. Clarify how power manifests and depletes for a more immersive and believable world.”
Guiding Action: Verbs for Constructive Suggestions
Critique isn’t just about pointing out problems; it’s about guiding solutions. Strong verbs turn abstract suggestions into clear calls to action.
1. Verbs for Strengthening Weak Areas
When a section needs more impact, clarity, or depth, your verbs can suggest specific ways to improve it.
- Instead of: “Add more detail here.”
- Try This: “Expand on the protagonist’s internal conflict to intensify their struggle.”
- Or This: “Elaborate on the villain’s backstory to nuance their motivations.”
- Or Even This: “Incorporate sensory details to immerse the reader more deeply in this environment.”
- Instead of: “Make this clearer.”
- Try This: “Rephrase this dialogue to clarify the character’s true intentions.”
- Or This: “Streamline the exposition to unveil the information more efficiently.”
- Or Even This: “Distill the complex lore into digestible chunks to illuminate the world-building.”
- Instead of: “Improve the pacing.”
- Try This: “Accelerate the scene’s tempo by cutting redundant descriptions.”
- Or This: “Slow down this crucial confrontation to amplify the emotional stakes.”
- Or Even This: “Rearrange the events to propel the narrative forward more effectively.”
See it in action:
* Weak: “This battle scene needs help.”
* Strong: “The battle scene dissipates its energy through over-description of minor movements. Instead, focus on key actions that advance the conflict and reveal character under pressure. Consider how a few powerful verbs could compress exposition while heightening impact.”
2. Verbs for Trimming & Refining
Sometimes, the best critique involves suggesting what to remove or make shorter. Again, precise verbs are key.
- Instead of: “Too much info.”
- Try This: “Condense this lengthy exposition to streamline the narrative flow.”
- Or This: “Prune redundant adjectives that clutter the prose.”
- Or Even This: “Excise the unnecessary flashback; it derails the present tension.”
- Instead of: “Cut this character.”
- Try This: “Integrate this minor character’s function into an existing one to tighten the cast.”
- Or This: “Redistribute this character’s revealing dialogue to strengthen another’s voice.”
- Or Even This: “Consider if this character serves a distinct purpose, or if they merely duplicate another’s role.”
- Instead of: “This scene doesn’t belong.”
- Try This: “This scene diverges from the main storyline, diluting the primary conflict.”
- Or This: “Relocate this exposition to an earlier chapter where it can ground the reader more effectively.”
- Or Even This: “Re-evaluate if this scene advances the plot or deepens character, or if it simply fills space.”
See it in action:
* Weak: “This long monologue from the sidekick is boring.”
* Strong: “The sidekick’s monologue stretches credibility and arrests the scene’s momentum. Consider condensing their philosophical musings into sharp, impactful lines, or distributing the insights through their actions instead. This will allow the core conflict to reclaim its prominence.”
Beyond the Obvious: The Nuance of Verb Choice
Strong verbs aren’t always about aggressive action. They can also show delicate shifts, subtle implications, or even the absence of something.
1. Verbs for Implied Action or Inaction
Sometimes, what’s not happening or what fails to happen is the crucial feedback.
- “The protagonist hesitates at every opportunity, hindering their own progress.” (Implied: they should be acting.)
- “The narrative resists diving into the emotional fallout of the tragedy.” (Implied: it should be exploring.)
- “The climax flounders, never truly escalating the tension to a satisfying peak.” (Implied: it should be escalating.)
- “The resolution evades true closure, leaving lingering questions rather than tying up threads.” (Implied: it should be providing closure.)
2. Verbs for Emphasizing Sensory Experience
Critique isn’t just intellectual; it’s about how the writing feels.
- “The dialogue clatters unnaturally, failing to resonate with the character’s regional dialect.”
- “The prose reeks of purple, inundating the reader with excessive adjectives.”
- “The final sentence chills the reader, perfectly reinforcing the story’s grim tone.”
- “The setting breathes life into the conflict, its oppressive atmosphere mirroring the protagonist’s internal struggle.”
3. Verbs for Highlighting Strengths (Yes, Just as Important!)
Strong verbs aren’t just for fixing problems. They amplify what’s working, encouraging the writer to lean into their strengths.
- “Your opening paragraph captivates immediately, its sharp imagery pulling the reader into the scene.”
- “The character’s subtle smirk betrays their inner turmoil, enriching their complexity.”
- “The dialogue sparkles with authentic wit, truly elevating the comedic elements.”
- “The magic system intrigues with its unique limitations, perfectly integrating into the plot mechanics.”
- “Your voice throughout the narrative shines, imparting a distinct personality rare in early drafts.”
See it in action (Strength):
* Weak: “This scene has good dialogue.”
* Strong: “The dialogue in this confrontation snaps with raw tension, each exchange propelling the emotional stakes. The way characters parry and thrust with words truly illuminates their power dynamic.”
Making It Happen: Using Strong Verbs in Your Critiques
Now that you’ve got the theory down, how do you make this a regular habit?
1. The “Highlight and Replace” Exercise
When you read a draft for critique, keep an eye out for weak verbs. Specifically, look for:
* Forms of “to be” (is, am, are, was, were, been, being)
* Generic verbs (make, get, go, come, said, walk, run, feel)
* Passive constructions
Highlight them. After your first read-through, go back to these highlighted sections. For each highlighted verb, challenge yourself: “Can I replace this with a more active, specific verb that conveys exactly what I mean?”
For example:
* Original Critique: “The character was confused by the situation.”
* Highlight “was.”
* Brainstorm: Puzzled, perplexed, bewildered, stumbled, grappled, misinterpreted, muddled.
* Revised Critique: “The character grappled with the situation, their confusion muddling their perceptions.”
2. Create Your Own “Critique Verb List”
Build your own personal list of powerful verbs for common critique areas. This isn’t a cheat sheet; it’s a mental toolkit you’re building over time.
Example Categories:
* Narrative Flow: Stalls, hurries, derails, propels, stagnates, flows, drags, sprints, meanders, accelerates.
* Character Action/Emotion: Hesitates, falters, resolves, embodies, contradicts, reveals, conceals, grapples, resents, yearns, retreats, asserts.
* Descriptive Impact: Evokes, blurs, sharpens, heightens, dulls, inundates, skims, paints, stifles, illuminates.
* Clarity/Confusion: Obscures, clarifies, muddies, distorts, specifies, unravels, tangles, simplifies.
* Strength/Weakness: Fortifies, erodes, undermines, supports, bolsters, weakens, reinforces.
3. Focus on the “Why” with Your Verbs
When you choose a strong verb, it naturally pushes you to explain why you picked it. A stronger verb isn’t just a synonym; it’s like a diagnostic tool that highlights the specific nature of the problem or success.
- Instead of: “The dialogue is okay.”
- Think: “Why is it ‘okay,’ and not great? Is it bland? Does it lack purpose?”
- Choose verb: “The dialogue languishes in small talk, failing to advance the characters’ relationships or the plot.”
This process builds both your critical thinking and your vocabulary at the same time.
4. Practice Self-Critique with Verbs
Apply these ideas to your own writing. When you revise your own work, question every “is” and “was.” Ask yourself if a more dynamic verb could carry the weight of your sentence with more power and fewer words. This practice, critiquing your own work, will naturally spill over into how you critique others.
The Ripple Effect: Beyond Just the Critique
Using strong verbs in your critiques has a positive chain reaction that goes beyond just that one feedback session.
1. Boosted Credibility and Authority
When your feedback is precise and impactful, you immediately come across as a knowledgeable and thoughtful reader. Your words carry more weight, and your insights are more easily understood. The writer sees you not just as a reader, but as someone genuinely helping them improve.
2. Clearer Communication & Less Misunderstanding
Vague critique leads to confusion. “The ending felt off” invites subjective guessing. “The ending undercuts the established theme of redemption” provides concrete direction. Precise verbs minimize ambiguity, leading to more focused revisions and less frustration for the writer.
3. Helps the Writer Understand More Deeply
When you use verbs that accurately describe how you experienced their writing, you help the writer develop their own critical eye. They start to feel the difference between prose that “describes” and prose that “evokes,” between plot points that “happen” and those that “propel.” You’re not just giving them answers; you’re teaching them how to ask better questions about their own work.
4. Inspires More Confident Revisions
A writer who receives specific, actionable critique, powered by strong verbs, understands what to fix and, often, how to go about it. Instead of feeling overwhelmed by general dissatisfaction, they feel a clearer path forward, which boosts their confidence in tackling revisions.
Wrapping Up
The words we choose wield immense power, especially in the delicate art of critique. By consciously and consistently picking strong, active verbs, you transform your feedback from just subjective comments into objective, impactful analysis. You don’t just point out flaws; you illuminate their true nature. You don’t just suggest changes; you propel the writer toward solutions they can actually use. Master this skill, and your critiques won’t just be more engaging and heartfelt, but also profoundly more effective, truly empowering the writers you work with to elevate their craft.