Passive voice weakens your writing. It obscures responsibility for action. Those who learn English as a second language struggle to make sense of the many ways in which Americans use passive verb constructions in everyday speech. It often finds its way into our writing. Rarely is the writer conscious of this problem in their writing. Passive voice is used by victims. Instead of actors, they are acted upon. Let me help you understand passive voice and how you can get rid of it in your writing. “The boy was hit by the bus.” Passive. The boy is the subject of this sentence. He is the passive recipient of action. The responsible party for the vehicular accident ends up an object in the sentence instead of an actor. The focus is on the victim, not on who or what caused the crash. Who did what to whom? “The bus hit the boy.” Active voice. Notice the different grammatical sentence structure. Subject-verb-object. The subject is the bus. The bus acts upon the direct object, the boy. The readers’ sympathies still lie with the boy; often intended by the writer of a passively constructed sentence. The action and agency, however, are front and center. The reader can see the bus crash into a boy more easily with the active verb of “hit.” Responsibility for the action is clear. See if you can change these 10 sentences into active voice. The transcript was stamped with a seal of approval by the registrar. Grant recipients…
As an editor, I see the use of passive voice as a red flag in a manuscript. It strips out all the action and agency. Makes the text boring. Passive voice frequently appears in academic writing. The stuff no one wants to read. You can edit your own book manuscript for passive voice and hone your talents as a powerful writer with a few simple… [Read More]
That container gently bubbling in the kitchen, a jar of vegetables and spices and antiseptic salt, is an exercise in patience. It’s a testament of expectation. It’s going to be your sauerkraut in just a few weeks if you can just wait, and taste, and trust. Ellie Sandor Katz’s seminal work, Wild Fermentation, has been considered the gateway text into a world of natural fermented… [Read More]
Writing dialogue is about capturing a character’s voice and revealing her or his motivations. Good dialogue engages the reader in a dynamic exchange between characters. It quickens the pace when there is no action and moves the plot forward. Bad dialogue only relays expository information, which doesn’t feel real to the reader who can’t believe your characters would talk like that to each other. Although… [Read More]
If you are writer who seeks publication you probably know you need to blog. You’ve heard it’s necessary to build an audience platform. So you know WHY to blog. But HOW do you blog so you get found online? Search Engine Optimization (SEO) is a subject duller than watching paint dry for most authors. It doesn’t have to be. And it can’t be if you… [Read More]
Unorthodox: The Scandalous Rejection of My Hasidic Roots (Simon & Schuster, 2012) is Deborah Feldman’s memoir of growing up in Brooklyn in the most insular of Chasidic sects, the Satmars. Fathered by the village idiot and abandoned by her mother, Feldman is raised by her grandparents, a bride at 17, a mother at 19, and a divorcee at 22—at which age she enrolls in Sarah… [Read More]



