Years ago, in journalism school, we students were taught to choose our verbs with great care. Verbs, we were assured, were to express action, but not nuance. For example, we were not to write, “Politician Paul claims to be working on the problem,” or “Politican Paul professes to be working on the problem.” Instead, we were to write, “Politican Paul said he was working on the problem.” The idea behind the less expressive verb was to show the action being taken, but not allow the broadcast or publication of any perceived or actual writer bias.
The rules have since changed, for a host of reasons, including, I suspect, a desire to give the audience more of a sense of what’s really happening. The journalist with twenty years experience in the market, who knows he’s being snowballed by someone, doesn’t want to become that person’s mouthpiece by reporting action without context.
It’s also a simple matter of writing more interesting copy. Ninety said’s in one newscast is pretty dull, indeed.
I was trained to be unexpressive in verb choice and still, generally, use neutral verbs in my news copy. Writing fiction, however, is a whole other matter, and we writers can and should break free from the bondage of boring verbs and pen / scribble / jot / scratch / type verbs that are exact and lively. Like that?
Great writing comprises great verbs, we know. The verbs should mesmerize us; possess us to feel the emotion and see the imagery that the author exudes. So when creating the story, get yourself a great thesaurus and simply go crazy. Watch your writing burst to life before your eyes. I did.