Connor Olen

I'm going to try it.

First, let me preface this with something very important: you can treat all of this advice as SECOND-DRAFT ADVICE. It is so much easier to rewrite this kind of stuff once you have words on the page. Telling yourself the first draft is totally appropriate and acceptable.

What we’re talking about here are FILTER WORDS (and to some degree verbs of being). Yes, “thought” words are included. But so are “heard, saw, looked, tasted, smelled” etc.—most words having to do with the senses.

This isn’t black and white advice; sometimes you’ll use these words and that’s okay. They’re not WRONG. They’re just weaker. And they’re weaker because they create distance between the reader and the experience of the character.*

If you want your reader to feel like they’re experiencing the story right alongside the character, you want to cut down on filter words.

*This is particularly important with first person and close third POVs. The reader always knows whose eyes they’re seeing through and thoughts they’re privy to. So you don’t need to tell them “I saw X.” Or “I heard X.” Or “I thought Y.” You can just jump into the action/observation as it’s happening.

This is also where you want to pay attention to verbs of being.

you want to pay attention

to verbs of being.

That means that when you read a line like

John saw that the curtains were open.

It immediately takes you OUT of the character's perspective and instead tells you what they experience as a secondhand observation.

You don't have to get fancy or purple with how you rephrase things like this. Not everything needs a ton of breathing room.

You wanna know what's perfectly impactful while keeping a tight POV?

The curtains were open.

dude.

it’s been 9 years since i wrote this. i was experiencing 24/7 anxiety so badly that i needed serious medication. these days in the back of my car is an “emergency party box.” when people admit they no longer really celebrate their birthday; i tell them to put the sash on and queue up kesha, we’re going bowling or something. these days i can’t spin around without finding something i am enamored with. these days i list 3 things i’m grateful for before i fall asleep. you’re probably one of them, just by virtue of you existing.

at the time i wrote this, i was suffering through a severe panic attack literally every night. i tortured my brother with constant 2 AM calls just to hear someone else breathing, because i couldn’t be alone in the silence.

i rarely wish i was still 23 even though ironically i had more hope back then. what i can tell you is this: i love the same way, but bigger now. i’ve worn the velvet cape to several business meetings. i spent thursday in a crop top without caring what my stomach looked like.

i told her i like her; i often dress as a witch. i still got glass in my foot this morning. i’ve kissed maybe a thousand people since then and met a million more than that; passing like the shadow of a hammerhead in trains and planes and buses.

i saw you, beloved, there, maybe, on platform in south station. you didn’t speak, but you said: i struggle to give the nothing meaning. the nothing fills up everything. it is just loud and yellowed panicked silence. i can’t stop shaking.

on the roof, birds curl together against the chilled spring wind. the sky outside of the craft store was an iridescent pink. the nothing already had meaning; you are giving it meaning by witnessing.