The problem with modifiers in general, and adverbs in particular, is they are notorious tellers and a hindrance to good showing. Instead of telling us, “He stormed out of the room angrily,” show us by his actions how an angry man storms out of the room. Show us his clenched fists with white knuckles. Let us hear the boom of his stomping. Describe the sneer on his lip or the growl under his breath.
Adverbs as sound
However, there is a place for the adverb. Sometimes the adverb is useful if only for its sound. As writers, we cannot ignore the resonance of our texts. In these instances, the literary meaning isn’ as important as how the prose sounds – sort of an Ode to Joy-ish literary timbre. So I’d say it’s permissible to use an adverb if it’s there more for its beautiful sound than its sound logic.
Adverbs as symbolism
Adverbs may also carry a bit of symbolism in them, too. In my last novel Prince, I have a woman dying of pneumonia. Her son and her ex-husband are in the hospital room with her. The son notices in the corner a moth dancing “phantasically” on a lightbulb in a small lamp. The moth’s shadow cast upon the ceiling looks like an angel. Both the references to a ghosts and angels let you know that she is going to die. After she passes, the son realizes that the moth is gone.
How to choose correct adverbs
A rule I use to keep adverbs to a minimum is to ask, “How can (some antecedent) be (its modifier)?” My first creative writing professor always asked us to get rid of adverbs. For example, if someone wrote, “The ball rolled happily across the floor,” he’d ask, “How can a ball be happy?” If the student couldn’t answer, the adverb had to go. If by chance a student could explain how hissubject could act in a certain manner, then my professor would say, “Now you’re showing me.” Point made.
Let’s watch our adverbs. If they are examples of us telling and showing, they should go. But they can be used for the sound and the symbolism. When properly placed, a good adverb and enhance the quality of your writing.
