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The Editing Blog: for Editors, Proofreaders and Writers

FOR EDITORS, PROOFREADERS AND WRITERS

Should you make changes to your editing business?

8/8/2025

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Tips on why your editorial business offering might be ripe for some changes.
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Summary of episode 145

Find out more about the following:
  • Signals that it’s time to make changes
  • What change looks like
  • How to make change strategically
  • Resource: Is Your Website AI-Friendly? The 8-Point Checklist for Keeping AI Visitors Happy
  • Bonus content for Second Cup tier Patreon members: Louise and Denise discuss how their editing businesses have changed over time.

Listen to episode 145

Support The Editing Podcast

  • Tip your hosts: Support Louise and Denise with a one-off tip of your choosing.
  • Join our Patreon community: Our patrons benefit from access to PDF transcripts for episodes featuring just Louise and Denise, and for some of our guest episodes. Members of our Second Cup tier get extra free bonus content too!

Music credit

'Vivacity’ by Kevin MacLeod
  • Link: https://filmmusic.io/song/4593-vivacity
  • Licence: http://creativecommons.org/licenses/by/4.0/

About Louise

Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.

  • Get in touch: Louise Harnby | Crime Fiction & Thriller Editor
  • Connect: X @LouiseHarnby, Facebook and LinkedIn
  • Learn: Books and courses
  • Discover: Resources for authors and editors

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15 types of materials that academic editors work on

8/8/2025

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Explore a selection of the different types of materials you might consider working on if you’re an academic editor.
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Summary of episode 144

Find out more about the following:
  • Books and monographs
  • Conference materials 
  • Grant proposals
  • Journal articles
  • Peer review reports
  • Reference lists
  • Research reports
  • Review articles
  • Textbooks and handbooks
  • Theses and dissertations
  • White papers
  • Editorials and opinion pieces
  • Book chapters 
  • Meta-analyses
  • Case studies
  • Bonus content for Second Cup tier Patreon members: An extra 5 content types for you to consider working on and promoting if you're an academic editor.

Listen to episode 144

Support The Editing Podcast

  • Tip your hosts: Support Louise and Denise with a one-off tip of your choosing.
  • Join our Patreon community: Our patrons benefit from access to PDF transcripts for episodes featuring just Louise and Denise, and for some of our guest episodes. Members of our Second Cup tier get extra free bonus content too!

Music credit

'Vivacity’ by Kevin MacLeod
  • Link: https://filmmusic.io/song/4593-vivacity
  • Licence: http://creativecommons.org/licenses/by/4.0/

About Louise

Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.

  • Get in touch: Louise Harnby | Crime Fiction & Thriller Editor
  • Connect: X @LouiseHarnby, Facebook and LinkedIn
  • Learn: Books and courses
  • Discover: Resources for authors and editors

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Glue words, hedge words and qualifiers: How to use them in fiction writing

1/8/2025

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Learn how to identify glue words, hedges and qualifiers, and then explore whether they’re adding clarity and enhancing character voice, or cluttering your fiction writing.
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In this post

Read on to find out more about:
  • the function of glue words, hedge words and qualifiers
  • whether glue words, hedges and qualifiers signal poor writing
  • using glue words, hedges and qualifiers with purpose
  • ​how glue words can enhance prose
  • how hedge words can enhance prose
  • how qualifiers can enhance prose
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What are glue words, hedge words and qualifiers?

Glue words, hedge words and qualifiers serve different purposes and are used in different contexts, but all relate to how language functions in writing or speech. 

The function of glue words
The function of glue words is structural. They hold or glue a sentence together. By themselves they add little semantic meaning to a sentence. Examples include:
  • prepositions (eg ‘with’)
  • conjunctions (eg ‘and’)
  • articles (eg ‘a’ and ‘the’)
  • auxiliary verbs (eg ‘is’ and ‘have’).
He flicked through the report to get a better sense of what the prosecutor’s approach might be.
 
​
The function of hedge words
The function of hedge words is modification. They soften or limit the strength of a claim and can introduce uncertainty, speculation, caution or humility. Examples include:
  • ‘I guess’
  • ‘maybe’
  • ‘possibly’
  • ‘might be’
  • ​‘probably’.
Xe flicked through the report. Maybe it wouldn’t be so bad after all. The detective might even come out on xer side once she understood the background. 

The function of qualifiers
The function of qualifiers is limitation. They narrow the meaning of another word such as a noun or adjective, and make a statement more precise. Examples include:
  • ‘kind of’
  • ‘almost’
  • ‘pretty’
  • ‘somewhat’
  • ‘very’
  • ‘really’
  • ‘a bit’.
Lex was pretty sure that, despite the officer’s reassurance, she was almost certainly not going to get away with a warning. A little pessimistic, her dad would have said. But that was Lex all over.
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Are glue words, hedges and qualifiers signal of poor writing?

No, glue words, hedges and qualifiers are not  signals of poor writing, not when they’re used with purpose.

If you’re reading guidance on using these words, watch out for statements arguing bluntly that they:
  • signal doubt instead of commitment
  • create distance between character and emotion
  • slow pace and clutter clean syntax
  • reduce impact
then step back and take a breath before you start a process of obliteration.

Why? Because this kind of prescriptivism can encourage developing writers to rip the heart and soul out of a character’s voice, emotions and layered experience.  

The key is to ensure that every word on the page is working hard for you – whether it’s a glue word, a hedging word, a qualifying word, or some other language marker.
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​Using glue words, hedges and qualifiers with purpose

Instead of eliminating glue, hedging and qualifying words, review your sentences and consider whether these markers are:
  • providing grammatical structure
  • supporting character voice
  • making dialogue sound more natural
  • capturing subtext
  • enhancing variances in rhythm.
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How glue words can enhance prose

Let’s look at an example of how glue words can enhance a piece of prose:
Lex was pretty sure that, despite the officer’s reassurance, she was almost certainly not going to get away with a warning. A little pessimistic, her dad might have said. But, really, that was her all over. Very Lex. Always had been somewhat glass half full. She flicked through the report a second time to get a better sense of what the prosecutor’s approach might be, but the text was all blurred – headings and words and numbers mashed up together.
This paragraph has multiple glue words including ‘was’, ‘that’, ‘despite’, ‘the’, ‘to’, ‘but’ and ‘and’. Think of them as the cement that holds the prose together, ensuring that the prose maintains a smooth syntactic flow even when internal thought becomes more fragmented or reflective.
​
But note also the rhythmic tool in play in the final clause – the use of multiple gluing conjunctions (polysyndeton) to show rather than tell Lex’s overwhelm as she looks at the report.

Glue words can therefore go beyond their structural function. They can also be used as a literary mechanism to evoke mood and emotion.
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How hedge words can enhance prose

The example also contains instances of hedging language including ‘might have said’, ‘somewhat’ and ‘might be’.
Lex was pretty sure that, despite the officer’s reassurance, she was almost certainly not going to get away with a warning. A little pessimistic, her dad might have said. But, really, that was her all over. Very Lex. Always had been somewhat glass half full. She flicked through the report a second time to get a better sense of what the prosecutor’s approach might be, but the text was all blurred – headings and words and numbers mashed up together.
These hedges reflect Lex’s tentativeness in terms of her dad’s opinion, the prosecutor’s strategy and her own self-judgement about her positivity, and this helps readers understand how she bends towards reflection and uncertainty.

The language also helps the writer convey a more realistic voice that carries nuanced emotional conflict. Lex is trying to be rational but her doubt is intruding. Through this, readers are shown how people rarely speak or think in absolutes.
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How qualifiers can enhance prose

The qualifiers in the excerpt adjust the meaning of the words they modify to give reads more emotional texture.
Lex was pretty sure that, despite the officer’s reassurance, she was almost certainly not going to get away with a warning. A little pessimistic, her dad might have said. But, really, that was her all over. Very Lex. Always had been somewhat glass half full. She flicked through the report a second time to get a better sense of what the prosecutor’s approach might be, but the text was all blurred – headings and words and numbers mashed up together.
  • ​​‘pretty’ reduces the strength of ‘sure’.
  • ‘almost’ tempers ‘certainly’.
  • ‘a little’ shows how Lex is trying to downplay her own negativity.
  • ‘really’ adds emphasis to her self-analysis.
  • ‘Very’ acts as a clipped intensifier that introduces a nudge towards mild humour and irony’
  • ‘somewhat’ softens ‘glass half full’.
Overall, the interplay of glue words, hedges and modifiers creates a narrative tone that avoids the extremes of melodrama or stoicism, and instead takes a middle ground that deepens our understanding of Lex as introspective, thoughtful, quietly resigned and gently self-critical.
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Summing up

Glue words, hedge words and qualifiers can be effective writing devices when they’re used with purpose.

Don’t ditch yours without first analysing them so you understand whether they’re working for your prose.

If they’re just adding to your word count needlessly, remove or rework them. However, if they’re providing your characters with emotional complexity and intelligence, and enhancing the structure, flow and mood of your sentences, embrace them!
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Other resources you might like

  • Start Crime Fiction Editing: multimedia course
  • Editing Fiction at Sentence Level: book
  • Fiction editing line craft: books
  • How to Line Edit for Suspense: multimedia course
  • How to Write the Perfect Editorial Report: multimedia course
  • Narrative Distance: multimedia course
  • Resource library
  • Switching to Fiction: multimedia course​
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About Louise

Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.

  • Get in touch: Louise Harnby | Crime Fiction & Thriller Editor
  • Connect: X @LouiseHarnby, Facebook and LinkedIn
  • Learn: Books and courses
  • Discover: Resources for authors and editors

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