Writing good sentences is key to telling a good story. However, before we jump into sentence craft, I want to caution you: it’s not the first issue to tackle in revisions. First, finish your draft. Second, step away from your manuscript, preferably for a month or more. Third, edit macro issues such as plot holes, character development, and story arc. Don’t fret about sentence craft until the bones of the story are in place and working well.

Now, on to writing good sentences!

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What makes a good sentence will vary according to genre expectations. A thriller full of purple prose won’t hit the right note, and literary fiction that never dives into language and hidden depths won’t satisfy the target audience. A sentence in a picture book should be short enough to read out loud in one breath. Action scenes usually need shorter, more terse sentences. Descriptions of a peaceful setting are often winding, gorgeous, and symbolic.

But the one commonality in writing good sentences between genre and category? Clarity. That’s the first thing to check for. Is the sentence communicating? Beta readers or editors can be so helpful identifying sentences that leave the reader confused. Do all the pronouns in a sentence have a clear antecedent? That is, if we read, “He was the first” or “It is over there,” can the reader tell who “he” is and what “it” is?

SOME TIPS FOR SENTENCE CRAFT

Cutting out words that aren’t pulling their weight is a great way to practice the craft of writing good sentences. “There are,” “It is,” and “to be” often signal opportunities to cut—and to eliminate passive voice. For instance, “There are going to be three tests that the students will be required to take” could be “Students must take three tests.” “He was running through the forest” is better as “He ran through the forest.”

Look for places to replace generic words with vivid, interesting, and specific ones. Instead of “forest,” give us “oak” or “sycamore.” Our runner is more interesting with “He smashed through the bracken in the forest” or “He darted between aspens.” Except for dialogue tags! “Said” and “ask” are reliable standbys that don’t need changing up.

Every writer tends to have crutch words. One of mine is “just.” Other common ones include that, very, seems, wonder, realize, really, well, sigh, gaze—there are many lists online, and you’ll develop your own over time. Cut with abandon!

Watch out for adverbs. They can often be replaced by verbs instead. “She quickly moved aside to avoid the snowball” could be “She dodged the snowball.”

One tic that I’ve noticed in many writers is stacking physical events within the same sentence, usually using “as” and “while” in the construction. For instance, “He ran through the forest as he listened to the sound of the helicopters whirring above while the enemy ran after him.” Each time we add a phrase that follows “as” or “while,” we are stopping the flow of the sentence a bit. Instead, consider breaking it up where you find “as” and “while.” “He ran through the forest. The helicopters whirred above, and the enemy ran after him.” Another thing to note is that I cut out “he listened.” If we’re in a character’s point of view, and a sound is described, we understand that he’s hearing it. So places where a character is seeing, viewing, hearing, listening, observing, and noticing can often be trimmed out entirely. “She noticed the tactical assault team closing in” is more tense as “The tactical assault team closed in.”

POINT OF VIEW in Writing Good Sentences

One essential element in writing good sentences is filtering them through the point of view character’s perspective. The POV character ought to influence what the character notices and how they describe settings and events. For instance, my dad—with a PhD in biochemistry—once visited the nature and science museum with my family. He was delighted with the collection of rocks and minerals because the rocks were organized by their chemical composition. Not something I’d ever noticed! I enjoyed the end of the exhibit, with gems turned into jewelry. My toddler found the hidden passage that allowed him to jump out and startle us. Think how different a scene and its sentences would be if my dad, my son, or I were narrating it—our ages, education, interests, and hobbies all matter. These are the kinds of differences that must influence what characters notice when we’re in their POV.

POV is also such a useful tool in avoiding clichés. Go ahead and fill your first draft with pounding hearts, crying over spilled milk, and being brave as a lion. But in revision, when you’re working on sentence craft, consider swapping each cliché for an image specific to that character. For instance, a common cliché is that a character is so nervous, they have butterflies in their stomach. Elevate that cliché by filtering it through a character’s point of view. An ice skater might feel as nervous as the first time they tried a triple axel. A preacher might be as nervous as Moses before the Red Sea parted. Look for opportunities to deepen point of view and replace clichés, and your sentences will improve.

The secret weapon for sentence craft: Poetry

If you’ve combed through your manuscript, clarifying your sentence structure, adding vivid nouns and verbs, cutting out crutch words and adverbs, filtering descriptions and thoughts through a character’s point of view, and still feel like your sentences are subpar, consider reading some poetry. In poetry, every word must pull enormous weight to conjure imagery, connotations, and emotion. Immersing ourselves in well-written poetry can sometimes help us incorporate those tools into our stories. There are wonderful poets from English class—Emily Dickinson, Robert Frost, Alexander Pushkin—but take a look at more contemporary poets, too. Mary Oliver is one of my favorites.

And remember: you are writing good sentences because you want to tell a good story. Clarity and communication reign above all. You don’t have to turn your novel into 80,000 words of poetry, but perhaps studying some poetry can improve your sentence craft and elevate your style.

As an agented writer and highly experienced editor, Amy Wilson can quickly identify strengths and opportunities for growth in your plot and prose, help you build a compelling submission package, and provide the encouragement you need to reach your writing goals.