Strengthen prose by highlighting weak verbs
AI finds every adverb and weak verb in your writing. Replace 'walked quickly' with 'hurried.' Make your prose stronger and more vivid.
Strengthen prose by highlighting weak verbs
River's Adverb and Weak Verb Highlighter identifies prose weakeners in your creative writing. You paste your text. The AI highlights adverbs (especially 'very' and 'really'), weak verbs that need adverbs to convey action, and opportunities to use stronger, more specific verbs. Within minutes, you see exactly where your prose loses precision and power. Perfect for fiction and memoir writers who want vivid, active prose.
Unlike grammar checkers that flag all adverbs automatically, we use context to identify problematic uses. The AI distinguishes between necessary adverbs and lazy ones. It highlights weak verb-adverb pairs (walked slowly, looked carefully) where single strong verbs would be better (trudged, examined). You get targeted comments showing how to replace vague verb-adverb combinations with precise, vivid verbs that show action clearly.
This tool is perfect for fiction writers, memoirists, and creative nonfiction authors who want stronger prose. Use it during revision to eliminate weak constructions. Use it to learn your writing habits around adverbs and verbs. Great for developing eye for strong verb choice and understanding when adverbs weaken versus strengthen your writing. The focused feedback helps you write with more precision and power.
Why Adverbs and Weak Verbs Weaken Prose
Adverbs often signal weak verb choice. When you write 'walked slowly,' you're using two words to convey what 'trudged' or 'shuffled' says with one. Strong verbs contain their own modification. They show exactly how action happens without needing adverbs. This isn't about eliminating all adverbs. It's about recognizing when verb-adverb pairs indicate you haven't found the right verb yet. Precise verbs create vivid prose. Weak verbs propped up by adverbs create vague, indirect prose.
Modifiers like 'very,' 'really,' and 'quite' are almost always unnecessary. They're intensifiers that rarely intensify anything. 'Very angry' is weaker than 'furious.' 'Really beautiful' is weaker than 'stunning.' These modifiers are verbal filler. Writers use them when they don't trust their nouns and adjectives to carry weight. Strong writing chooses words that don't need propping up. If you need 'very' to make a word work, you probably need a different word entirely.
The goal isn't adverb elimination. It's intentional word choice. Some adverbs serve essential purposes. Dialogue tags benefit from occasional adverbs when they convey something the dialogue doesn't ('he said quietly' when the words themselves aren't quiet). Adverbs can control pacing in action sequences. The difference is deliberate use versus habit. Most adverbs in early drafts are crutches. Revision means identifying them and deciding: does this adverb do necessary work, or did I just not find the right verb yet?
What You Get
Every 'very,' 'really,' and common adverb highlighted
Weak verb-adverb pairs identified with stronger alternatives
Comments showing how to replace two words with one precise verb
Focused feedback on only adverbs and weak verbs (no other issues)
Revision guidance that strengthens and tightens your prose
How It Works
- 1Paste your writingCopy 500-3000 words of your creative writing
- 2AI analyzes verbs and adverbsOur AI identifies weak constructions and unnecessary modifiers in 2-3 minutes
- 3Review highlightsSee all adverbs and weak verbs marked with stronger alternatives
- 4Revise for precisionReplace weak verb-adverb pairs with strong, specific verbs
Frequently Asked Questions
Are all adverbs bad?
No. Adverbs that provide information the verb doesn't contain can be useful. The problem is adverbs that compensate for weak verb choice. 'Whispered quietly' is redundant (whisper already means quiet). 'Shouted loudly' is redundant. But 'whispered urgently' adds information the verb doesn't contain. Use adverbs when they do work the verb can't. Cut them when you can find a verb that includes the adverb's meaning. Most adverbs in early drafts are crutches worth examining.
What makes a verb weak?
Weak verbs are vague and generic. Walk, look, say, go, move, get, put, seem, feel. They're not wrong, but they miss opportunities for precision. 'He walked into the room' is fine but generic. 'He strode,' 'shuffled,' 'stumbled,' or 'burst' into the room each create different images and emotions. Strong verbs show exactly how action happens. Weak verbs need adverbs or additional description to clarify. The strongest writing uses the most specific verb available.
Will this make my writing sound pretentious?
Only if you choose fancy words for their own sake. The goal is precision, not complexity. 'Walked slowly' becomes 'trudged,' not 'perambulated.' Simple, clear, specific words are better than complicated ones. Don't replace 'said' with 'opined' or 'articulated.' Do replace 'moved quickly' with 'darted' or 'rushed.' Choose the simplest word that precisely captures your meaning. Precision and clarity strengthen prose. Thesaurus abuse weakens it.
Should I cut 'very' and 'really' every single time?
Almost always, yes. Look at each instance and ask if it's doing any work. 'Very tired' is weaker than 'exhausted.' 'Really happy' is weaker than 'elated' or 'thrilled.' 'Very big' is weaker than 'enormous' or 'massive.' These intensifiers rarely intensify. They pad prose without adding meaning. Occasionally 'very' or 'really' might fit character voice in dialogue. In narrative prose, they're almost always cuttable. Your writing becomes stronger and tighter without them.
What about dialogue tags with adverbs?
Use sparingly. 'Said' is usually enough. If you need an adverb to clarify how something was said, first check if the dialogue itself can convey that. 'I hate you, she said angrily' is redundant (the words show anger). 'I love you, she said quietly' might add useful information the words don't contain. Better: use an action beat instead. 'I love you. She looked away.' Shows the emotional complexity without telling. Reserve adverb-heavy dialogue tags for when no better alternative exists.
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