How-to

How to Cut Filler Words

2026-09-28 · 5 min read

Plan, draft, edit and pitch the same book in one project.

Filler words are the small, weak words that clutter prose without adding meaning — the "just," "very," "really," "that," "actually," "somewhat," and their kin that creep into nearly everyone's writing. Individually trivial, collectively they bloat sentences, dilute impact, and signal amateur prose. Cutting filler is one of the simplest, highest-return line edits: it makes writing tighter, stronger, and more confident, often improving a sentence just by removing words. It's a mechanical skill anyone can learn, and applying it across a manuscript noticeably sharpens the prose.

This guide covers how to find and cut filler words.

What filler words are

Filler words are words that add little or no meaning to a sentence and can usually be cut without loss — often strengthening the sentence by their removal. Common categories include intensifiers that weaken rather than strengthen (very, really, quite, rather, somewhat, pretty, so), hedges and qualifiers (just, actually, basically, kind of, sort of, a bit, somehow), unnecessary "that"s, redundant words, and assorted verbal tics. They feel natural to write — they mirror how we speak — but on the page they clutter and dilute. The test: if you can delete the word and the sentence means the same thing (or means it better), it's filler. Learning to recognize these words is the first step to cutting them and tightening your prose.

The intensifier paradox

A counterintuitive truth: intensifiers like "very," "really," and "so" usually weaken the writing they're meant to strengthen. "Very tired" is weaker than "exhausted"; "really scared" is weaker than "terrified." The intensifier is a crutch propping up a weak word, when a single strong word would hit harder. So when you find "very/really + adjective," ask whether a stronger single word replaces both — and it usually does, more vividly. Even where no single word substitutes, the intensifier often adds nothing ("very unique," "really important") and can simply be cut. Intensifiers feel like they're adding emphasis, but they typically dilute it; removing them (or replacing the weak word + intensifier with a strong word) strengthens prose. This is one of the most reliable filler fixes.

Common filler words to hunt

Certain words appear on nearly every editor's filler list, worth searching for specifically:

"Just" — usually deletable; a hedge that weakens ("I just wanted to say" → "I wanted to say").
"Very" / "really" / "quite" / "rather" / "so" — intensifiers that usually weaken; cut or replace.
"That" — often unnecessary ("She knew that he lied" → "She knew he lied"); cut where the sentence reads fine without it.
"Actually" / "basically" / "literally" / "honestly" — verbal tics that rarely add meaning.
"Began to" / "started to" — often "She began to walk" → "She walked."
Filter words — "saw," "felt," "heard," "noticed," "realized," which add distance.
Redundancies — "nodded his head," "shrugged her shoulders," "stood up."

Searching your manuscript for these specific words (find-and-review, not blind delete) catches most filler efficiently. Each is usually deletable or replaceable, and the cumulative tightening is substantial.

Cut with judgment, not blindly

A crucial caveat: cut filler with judgment, not mechanically. These words aren't always wrong — sometimes "just" or "really" serves a purpose (in dialogue and voice, where natural speech includes filler; for rhythm; for occasional genuine emphasis). The goal is cutting the unnecessary instances, which are the vast majority, not robotically deleting every instance. Read each one and ask whether it earns its place; if the sentence is the same or better without it, cut it. Blind find-and-delete can damage voice and rhythm, so apply judgment. The point is awareness and intentional cutting, not zero tolerance. Most filler should go; a small fraction stays for good reasons.

Use search and an editing pass

Filler-cutting is ideally a dedicated editing pass, powered by search. Compile your personal list of filler words and crutch words (everyone overuses a particular set), then search your manuscript for each, reviewing and cutting as appropriate. This systematic approach catches filler that's invisible when reading normally, because the words feel natural in flow. Many writers are shocked how many times they've used "just" or "very" until they search. Reading aloud also surfaces clutter. Do this pass in revision, not drafting — don't let filler-anxiety slow your draft; mine the filler later. A focused search-and-cut pass mechanically tightens prose across the whole manuscript. WriteLoom's Line Editor can flag overused and filler words with counts, making this pass faster and more thorough.

The bottom line

Cut filler words to make your prose tighter, stronger, and more confident — these small weak words ("just," "very," "really," "that," "actually") add little and dilute impact, often improving a sentence simply by their removal. Watch especially for the intensifier paradox: "very/really + weak word" usually weakens, and a single strong word hits harder. Hunt the common offenders by search, cutting unnecessary instances (the vast majority) while keeping the few that serve voice, rhythm, or genuine emphasis — apply judgment, not blind deletion. Do it as a focused editing pass in revision, where searching surfaces the filler that's invisible in normal reading. This simple, mechanical skill noticeably sharpens prose, one cut word at a time.

Frequently asked questions

What are filler words in writing?

Filler words are small, weak words that add little or no meaning and can usually be cut without loss — often strengthening the sentence by their removal. Common ones include intensifiers (very, really, quite, so), hedges (just, actually, basically, sort of), unnecessary "that"s, and verbal tics. They mirror how we speak but clutter and dilute prose on the page.

Why are "very" and "really" weak?

Because they're crutches propping up weak words when a single strong word would hit harder: "very tired" is weaker than "exhausted," "really scared" weaker than "terrified." Intensifiers feel like they add emphasis but typically dilute it. When you find "very/really + adjective," replace both with a stronger single word, or just cut the intensifier — both strengthen the prose.

How do I find filler words in my manuscript?

Use search. Compile your personal list of filler and crutch words (everyone overuses a particular set — "just," "very," "that," etc.) and search your manuscript for each, reviewing and cutting as appropriate. Filler is often invisible when reading normally because the words feel natural in flow, so searching catches what you'd otherwise miss. Reading aloud also surfaces clutter.

Should I cut every filler word?

No — cut with judgment, not mechanically. These words aren't always wrong; sometimes they serve voice (natural speech in dialogue includes filler), rhythm, or genuine emphasis. The goal is cutting the unnecessary instances, which are the vast majority, while keeping the few that earn their place. Read each one and ask whether the sentence is the same or better without it.