Literary agent, Lane Heymont, discusses how he works with editing a client's manuscript here:
Pub Hub: In The Life of an Agent: Editing Edition Part 1
Pub Hub: In the Life of an Agent: Editing Edition Part 2: Plot Structure
It's interesting to see the issue of filler words come up again:
Pub Hub: In The Life of an Agent: Editing Edition Part 1
Pub Hub: In the Life of an Agent: Editing Edition Part 2: Plot Structure
It's interesting to see the issue of filler words come up again:
Every word in a book needs to serve a purpose. Be it character development, pushing the plot forward, or evoking one of our senses. If it doesn’t do anything, cut it out. There’s a few words consistently marked as fillers. These include:
- Just (as in “She just stared at her.”)
- That (as in “He stood there, thinking that if he could just make it across the parking lot he’d be safe.”)
- Like ({most often in dialogue}) as in “Mike, you need to, like, stop it.”)
- So, a weak modifier (as in “She so wanted to punch him.”)
- Very, also a weak modifier (as in “He was running very late.”)
- Really, basically the same as “so” and “very”.
- Some (as in “He thirsted for some gold.”)