The Truth About Adverbs in Fiction

"The road to hell is paved with adverbs," a warning popularized by Stephen King. This statement has ignited endless debates, leading some writers to declare a ban on any word ending in "-ly." But are adverbs truly the enemy, or have they been unfairly demonized?

This matters because adverbs are everywhere in our language. They colour everyday speech and appear constantly in fiction. The real question isn't whether to use them, but when they help your writing shine and when they detract from it. These kinds of decisions are at the heart of good novel editing and prose improvement.

Spoiler alert: Adverbs aren't inherently evil. In fact, some can be incredibly useful (see what we did there?). Yet most are unnecessary and can be a symptom of weaker writing. Let's dive in and unpack the truth about adverbs in fiction.

What Are Adverbs?

Before we declare war or make peace, let's refresh our understanding. In their simplest form, adverbs are words that modify verbs, adjectives, or other adverbs. They often (but not always!) end in "-ly."

Common "-ly" adverbs: quickly, slowly, angrily, gently, quietly, excitedly. Sneaky adverbs that don't end in "-ly": very, really, just, quite, rather, always, never, often, soon, here, there, well.

They exist to add detail, context, and nuance to sentences. They tell how, when, where, to what extent, or why something is happening. Without them, our language would be far less descriptive.

The Problem with Most Adverbs

If adverbs exist to add detail, why the bad rap? The issue isn't their existence, but their misuse; often as a crutch for lazy writing or a sign of weak verbs.

Lazy Writing: Telling vs. Showing

This is perhaps the biggest sin of the adverb. Instead of showing a character's emotion or the intensity of an action, writers tell it with an adverb. This is a classic example of weak prose that good manuscript feedback or a writing critique will quickly point out (for example: an Inkshift critique)

• Adverb-heavy: "She said angrily, slamming the door loudly."
• Stronger: "Her voice rose to a shout, face flushed, as she slammed the door with a crack that echoed through the hall."

The stronger example shows the anger and the loud slam through actions and vivid descriptions, allowing the reader to experience it rather than simply being told.

And if you're wondering why that matters, here's an article where we cover the concept of "showing" vs. "telling."

Redundancy

Often, an adverb states something already inherent in the verb itself.

• "He whispered quietly." (Does anyone whisper loudly?)
• "She shouted loudly." (Shouting is inherently loud.)
• "He clenched his fist tightly." (You can't clench a fist loosely.)

These adverbs are redundant. The verb already conveys the meaning, making the adverb superfluous, which serves only to bog down the writing.

Weak Verbs

Many adverbs are used to prop up a weak verb when a stronger, more precise verb could do the job on its own.

• Weak verb + adverb: "He walked quickly to the door."
• Stronger verb: "He hurried to the door." / "He raced to the door." / "He sprinted to the door."

Consider the difference in impact. "Hurried" immediately conjures an image of speed and purpose, while "walked quickly" is less dynamic.

Here are some examples of adverb-heavy writing:

She angrily slammed the door, muttering darkly to herself. He followed quickly, closing it carefully behind him. "You really don't understand," he said softly. She shook her head violently, her eyes quite suddenly filling with tears.

Imagine how much more impactful these sentences could be with stronger verbs and more active showing!

The "Hedge" Problem: When Writers Don't Trust Themselves

There's another sneaky way adverbs weaken writing that many authors don't recognize: the tendency to hedge or soften statements because we don't trust our own word choices.

Writers often use adverbs like "somewhat," "rather," "quite," "fairly," and "pretty" to dial down the intensity of their descriptions, as if they're afraid to commit to a strong statement.

Hedged Example	Strong Example
"She was quite beautiful and rather intelligent."	"She was beautiful and intelligent."
"The room was fairly dark and somewhat cramped."	"The room was dark and cramped." Or better: "Shadows filled the cramped room."

This hedging often stems from a lack of confidence. Writers worry that "beautiful" might be too strong, so they soften it to "quite beautiful." But here's the thing: if you don't believe your character is beautiful, why should your reader? Strong writing demands strong words. If your character isn't beautiful, don't call her beautiful at all—find a more accurate description. If the room isn't actually dark, don't say it is. But if it is dark, commit to that darkness. Trust your word choice.

These lessening adverbs create wishy-washy prose that lacks conviction. They make your writing sound tentative and uncertain. Readers can sense when a writer doesn't fully believe in their own descriptions, and it undermines the entire narrative. Be decisive. Choose words you believe in, then trust them to do their job without modification. Your prose will immediately sound more confident and engaging.

When Adverbs Actually Work

Despite their reputation, adverbs aren't always bad. There are situations where they're not only permissible but enhance your prose.

Precision: When You Need Subtle Meaning Changes

Sometimes, an adverb is the most efficient way to convey a nuanced difference in meaning that a single verb simply can't capture.

• "He smiled wryly." (A specific kind of smile that's hard to convey with a single verb.)
• "She barely touched his hand." (The adverb here conveys a crucial lack of contact.)

Character Voice: Some Characters Naturally Think in Adverbs

If a character has a particular way of speaking or thinking, adverbs can be integral to their voice. An overly formal, academic, or anxious character might naturally use more modifiers.

• "He considered the implications carefully, always one to overthink."
• "She felt unusually quiet today, a rarity for her."

This use must be intentional and contribute to characterization, not just be a habit of the author.

Rhythm: Sometimes You Need That Extra Syllable

Occasionally, an adverb can contribute to the flow or rhythm of a sentence, adding a beat or emphasis that feels right. This is often more intuitive than rule-bound.

• "The old house stood quietly, watching the world go by." (Here, "quietly" adds to the serene, slightly eerie atmosphere.)

Types of Adverbs to Watch

While the "when" is important, understanding which adverbs are most likely to be problematic can guide your editing eye.

The Worst Offenders

These are the adverbs you should almost always scrutinize.

• Dialogue tags: "she said quietly," "he yelled angrily." (Unless absolutely necessary for distinction, let the dialogue itself or a preceding action convey the emotion.)
• Intensity words: "very," "really," "extremely," "terribly." (These often dilute meaning. Instead of "very tired," try "exhausted." Instead of "really hungry," try "ravenous.")
• Action descriptions: "ran quickly," "walked slowly." (Look for a stronger verb.)

The Usually Fine Ones

These adverbs are less likely to cause problems because they often convey essential information that's hard to replace.

• Time/Place: "yesterday," "here," "always," "never," "soon." (These directly answer 'when' or 'where' and are often crucial for narrative clarity.)
• Necessary Modifiers that Actually Change Meaning: As discussed above, those adverbs that add crucial precision ("barely," "only," "almost," "wryly"). But again, be careful with overuse and make sure it's actually (we're on a roll today) necessary.

The Adverb Editing Process

So, how do you handle adverbs in your own writing? It's a multi-stage process.

First Draft: Don't Worry About Them

When you're drafting, your primary goal is to get the story down. Don't let adverb policing slow you down. Write freely, use whatever words come to mind, and focus on capturing your ideas.

Editing: The Replacement Test, Necessity Test, Redundancy Check

This is where the real work begins. After you have words on the page, the next step is editing. We've written extensively about getting manuscript feedback if you need a refresher. But suffice it to stay, you should edit yourself and then get outside feedback. Whether that's beta readers, critique partners, or Inkshift, we're too close to our own stories to see all its flaws. Including the adverbs we use as a crutch.

Here are a few ways to test whether you need the adverb, or whether it's an opportunity to improve your prose.

• The Replacement Test: Can you replace the adverb + verb combination with a single, stronger verb?
  • "walked quickly" -> "hurried"
  • "looked carefully" -> "scrutinized"
• The Necessity Test: Does the adverb add crucial information or nuance that isn't conveyed elsewhere? If you remove it, does the sentence lose significant meaning or impact?
  • "He spoke haltingly." (Necessary)
  • "She smiled happily." (Probably unnecessary; a smile usually implies happiness, or you can show her happiness.)
• The Redundancy Check: Is the adverb merely repeating information already present in the verb or context?
  • "He whispered quietly." (Redundant)

Quick Checklist

Ask yourself these questions for every adverb you spot:

1. Does it change or add specific meaning that's otherwise missing?
2. Can I use a stronger, more precise verb instead?
3. Am I being redundant? Is the adverb telling me something the verb already implies?

Better Alternatives

Instead of reaching for the adverb, consider these more impactful strategies:

Stronger Verbs Instead of Verb + Adverb

We won't spend much time on this as it's already been covered, but build a mental library of dynamic verbs as you write.

• Instead of "walked slowly," try "sauntered," "ambled," "meandered."
• Instead of "ate quickly," try "gobbled," "devoured," "wolfed."

Show Through Action Instead of Telling with Adverbs

Engage the reader's senses and imagination by describing what a character does, rather than stating how they feel or act.

• Instead of "She waited impatiently," try: "She tapped her foot. Her eyes darted to the clock."
• Instead of "He looked angrily," try: "His jaw tightened. Sinews pressed against the skin of his neck."

Let Context Do the Work

Sometimes, the surrounding sentences or the overall scene can convey the necessary tone or intensity without an explicit adverb. Trust your reader to infer.

• If a character is in a tense situation, you don't need to say they spoke "nervously" if their dialogue is clipped and their hands are shaking.

The Bottom Line

Trust stronger verbs to do the heavy lifting in your sentences. They are the backbone of vivid prose. Keep the adverbs that genuinely improve your writing, adding precision, unique voice, or undeniable rhythm. Cut the rest, and watch your prose become sharper, more dynamic, and far more engaging.

When in doubt, try the sentence without it. Read it aloud. Does it still convey the same meaning and impact? Often, you'll find the sentence is stronger and more concise without the adverb.

The advice to avoid adverbs isn't about eradicating them entirely; it's about being intentional with every word choice. Most adverbs are unnecessary, but some serve a clear, impactful purpose.