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{{a|plainenglish|}}{{d|Adverb|/ˈædvɜːb/|n|}}{{quote|“Using adverbs is a mortal sin.” | {{a|plainenglish|{{image|LA confidential|jpg|James Ellroy. No truck with adverbs.}} }}{{d|Adverb|/ˈædvɜːb/|n|}}{{quote|“Using adverbs is a mortal sin.” | ||
:— Elmore Leonard}} | :— Elmore Leonard}} | ||
A word you use when you can’t think of a better [[verb]]. A good writer’s ''capitulation''. | A word you use when you can’t think of a better [[verb]]. A good writer’s ''capitulation''. | ||
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An {{tag|adverb}} ''modifies'' a {{tag|verb}}. It makes it stronger, weaker, more or less specific. Most end in ~ly, but not all do: “now”, “later”, “still” “again” “moreover”, “further”, “also”, “besides”, “too” can all function as adverbs, but note how ''redundant'' they tend to be: | An {{tag|adverb}} ''modifies'' a {{tag|verb}}. It makes it stronger, weaker, more or less specific. Most end in ~ly, but not all do: “now”, “later”, “still” “again” “moreover”, “further”, “also”, “besides”, “too” can all function as adverbs, but note how ''redundant'' they tend to be: | ||
“I will see you ''later''”; “I am ''now'' reading”; “I have some ''further'' thoughts” — they render idiomatic | “I will see you ''later''”; “I am ''now'' reading”; “I have some ''further'' thoughts” — they render phrases idiomatic, but add no semantic content. | ||
You can make [[adverbial phrases]], ''too'', like “on top of”, “over and above”, “into the bargain”, “by the same token” and so ''tiresomely'' (<-- also an adverb) on. | |||
===Writing hack=== | |||
Therefore, a writing hack: if you are labouring with any prose passage, try removing all adverbs, and strengthening the verbs. | |||
“Jane '''struck the ball firmly''' through the covers and '''proceeded quickly''' to the non-striker’s end.” | “Jane '''struck the ball firmly''' through the covers and '''proceeded quickly''' to the non-striker’s end.” | ||
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“Jane '''spanked''' the ball through the covers and '''galloped''' to the non-striker’s end.” | “Jane '''spanked''' the ball through the covers and '''galloped''' to the non-striker’s end.” | ||
We call this the “James Ellroy oblique strategy”: the crime writer | |||
stumbled upon it when his editor told him to cut 100 pages from his ''L.A. Confidential'' manuscript. Adamant that removing any characters or plot-lines would kill the story, Ellroy combed the draft nixing every adverb, most adjectives and many verbs, in the process creating a distinctive style he’s stuck with ever since. | |||
{{Sa}} | |||
*[[Adjective]] | |||