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删掉这 15 个"小词",你的句子立刻提升一个档次

写作的核心减法不是删段落,是删那些你根本没意识到在拖后腿的"小词"——it、so、just、that、well——它们是句子里的隐形脂肪。
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2026-01-13 原文链接 ↗
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核心观点

  • 副词是懒惰写作的标志,小词是隐形写作的杀手 Hemingway 恨副词(-ly 结尾的词)是老生常谈,但 Nicolas Cole 往前推了一步:那些看起来无害的连接词和填充词(it/so/just/that/well/like/really/probably/sometimes)才是真正让句子变"糊"的元凶。大多数人改稿时只看大结构,忽略了词级别的噪音。
  • "删到无法再删"不是口号,是可执行的操作 文中的改写示例很直观:原句 26 个词删到 12 个词,信息量不变,可读性翻倍。这不是文学追求,是信噪比工程。对任何需要写文案、写 brief、写 prompt 的人来说,这是立竿见影的技能。
  • 写作规则的价值在于"让你看见之前看不见的东西" Cole 说学了 Hemingway 的副词规则后,开始主动寻找更多规则。这个元认知才是关键——不是某条规则本身多厉害,而是"有规则"这件事让你从无意识写作变成有意识写作。
  • Less is more 在 AI 时代更致命 当 AI 能无限生成文字时,人类写作的竞争力恰恰在于精炼。AI 的默认输出是冗长的——它会用尽所有"小词"。能删、敢删、知道删哪里,这是人类写作者最后的护城河之一。

跟我们的关联

  • 👤ATou:ATou 日常产出大量文字(brief、prompt、团队沟通、Discord 消息)。"删小词"是一个零成本、立即见效的写作升级。下一步:下次写完任何超过 3 句话的东西,花 30 秒扫一遍 it/so/just/that/really,删掉能删的。
  • 🪞Uota:Uota 生成的简报和消息也需要这个规则。当前 Uota 的输出偶尔会有填充词倾向("其实"、"本质上"、"事实上")。下一步:在 SOUL.md 的沟通原则里加一条"删小词"的自检。

讨论引子

1. ATou 写给团队的消息里,最常出现的"小词"是什么?如果强制删掉,沟通效率会提升还是会显得太冷? 2. "Less is more"在中文写作里等价于什么?中文的"小词"(其实、然后、就是、基本上、可能)跟英文的有什么不同的杀伤力?

小词(尤其是诸如 “In so forth” 或 “So much as” 这类固定用法里的小词)很擅长把原本可能很棒、很有力、很简洁的一句话,杀成一团稀糊。

比如:

[Original sentence]:

“One of the most common changes that occurs when people go off to college is they become different versions of themselves.”

[Rewrite]:

“When people go off to college, they become different versions of themselves.”

One of the most interesting “writing rules” I came across in college was Hemingway’s feelings on adverbs.

小词(尤其是诸如 “In so forth” 或 “So much as” 这类固定用法里的小词)很擅长把原本可能很棒、很有力、很简洁的一句话,杀成一团稀糊。

He hated adverbs. He called them “lazy writing.”

比如:

Adverbs are any descriptor word ending in -ly:

[Original sentence]:

  • Lazily

“One of the most common changes that occurs when people go off to college is they become different versions of themselves.”

  • Eerily

[Rewrite]:

  • Mostly

“When people go off to college, they become different versions of themselves.”

  • Honestly
  • Etc.

Learning about this rule changed my writing forever.

And while I still make the mistake of using one too many adverbs here and there, I try very hard not to fill my sentences with them.

But since learning about this rule, and realizing the ways it improved my writing, I started looking for more rules.

And a big one I’ve come across has been the importance of removing “little words:”

  1. It
  1. So
  1. Just
  1. That

One of the most interesting “writing rules” I came across in college was Hemingway’s feelings on adverbs.

He hated adverbs. He called them “lazy writing.”

Adverbs are any descriptor word ending in -ly:

  • Lazily

  • Eerily

  • Mostly

  • Honestly

  • Etc.

Learning about this rule changed my writing forever.

And while I still make the mistake of using one too many adverbs here and there, I try very hard not to fill my sentences with them.

But since learning about this rule, and realizing the ways it improved my writing, I started looking for more rules.

And a big one I’ve come across has been the importance of removing “little words:”

  1. It

  2. So

  3. Just

  4. That

  5. Well

  6. Like

  7. This

  8. Much

  9. Often

  10. Really

  11. Better

  12. Usually

  13. Probably

  14. Sometimes

  15. And, and, and

Little words (especially in turns of phrase like “In so forth” or “So much as”) have a knack for killing what could be a great, powerful, concise sentence — and turning it into a soupy mess.

For example:

[Original sentence]:

“One of the most common changes that occurs when people go off to college is they become different versions of themselves.”

[Rewrite]:

“When people go off to college, they become different versions of themselves.”

Both sentences are saying “the same thing,” and yet the second sentence reads 10x easier than the first.

Why?

We removed all the little words:

  • One

  • Of

  • The

  • That

  • Is

So, the next time you’re staring at a sentence and can’t quite put your finger on why it’s not reading the way you want it to read, ask yourself:

“What little words can I delete here?”

With writing, less is always more.

It's how I got paid to write and network with industry leaders (like CEOs, NYT best-selling authors, and Grammy award-winning musicians).

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