In fiction, strong point of view (POV) is the reader’s lifeline to immersion. The deeper the POV, the more readers can live inside a character’s experience – see what they see, feel what they feel. One of the most common obstacles to this depth is the presence of filter words: verbs that insert a layer of narration between the reader and the character’s direct experience.
Words like noticed, saw, felt, thought, heard, realised, knew – these are all filter words.
They report that something happened, rather than letting the reader experience it firsthand. Professional line editors look out for this. The more we remove that filter, the more immediate and engaging the prose becomes.
And so eliminating filter words isn’t just about tightening the prose. It’s about helping authors craft a more immersive, emotionally resonant reading experience.
However, line editors also need to know where their job ends … and where POV issues cross into developmental territory.
What are filter words?
Let’s look at a simple example:
She heard footsteps behind her and realised she was being followed.
Compare that to:
Footsteps echoed behind her. She was being followed.
The first version tells us what the character is perceiving; the second lets us perceive it right along with her. In the second version, there’s no need to say she heard – the footsteps are already a sound. Likewise, realised is unnecessary when we show the character drawing that conclusion through action or reaction.
Filter words often arise from a well-meaning instinct: to clearly convey a character’s experience. But they tend to create distance, reminding the reader that they’re watching a character notice something, rather than noticing it themselves.
The key to eliminating filter words: deepening POV
Removing filter words successfully often means going deeper into the character’s point of view. This isn’t just a line-level tweak; it’s a technique that enhances the narrative voice, the emotional tone, and the character’s interiority.
Deep POV means the reader is in the character’s head, not hovering over their shoulder. It’s the difference between:
He thought the room looked familiar.
and
The room was familiar. The warped floorboard near the fireplace, the faded red armchair – he’d been here before.
In the second example, we get direct access to the character’s perception, memory and emotional reaction without needing the signpost he thought. We are shown why the room was familiar isn’t of being told. This technique makes scenes more visceral and compelling.
Of course, filter words don’t always need to be deleted. They can serve a purpose – especially when writing from a slightly more distant narrative stance. But when they’re overused, especially in a close POV, they dull the emotional impact and slow the pacing.
Line editing: how to fix filter words without rewriting
As line editors, our role is to polish and refine – not to rewrite. But when it comes to filter words, we’re often in the perfect position to flag opportunities to deepen POV and tighten prose.
In the example we just looked at, a whole extra sentence is used to deepen the POV. But we can’t go around adding in lots of extra writing to a client’s novel – that would be overstepping the line.
So how do we address filter words without rewriting the manuscript?
1. Flag and suggest rather than reconstruct
If a passage includes multiple filter words, highlight them and leave a comment like:
Consider rewriting to deepen POV here – phrases like ‘she saw’, ‘she thought’ and ‘she realised’ may be creating distance between the character and the reader. Can this moment be shown more directly through action or description?
This approach respects the author’s voice while guiding them toward a stronger execution.
2. Offer a brief solution – then let the author run with it
Here are a few examples:
Original: He realised he’d made a mistake.
Comment: Try something like: The silence pressed in. That was it – he’d messed up. Again. This doesn’t just remove the filter word realised, it also adds a beat of interiority that anchors us in the character’s self-awareness and emotion.
Original: She heard the door creak open and knew someone was there.
Comment: Try something like: The door creaked open, slow and deliberate. Her breath caught. Someone was there. This keeps us in her body and mind, building tension with rhythm and physical response – not just information.
Original: He saw the way she looked at him and thought she might be angry.
Comment: Try something like: She didn’t smile. Her eyes flicked past him, sharp and fast. Was she angry? This version shows the character interpreting what he sees, making the emotional subtext feel immediate and personal.
Giving one good example often teaches more than editing every instance.
3. Respect the author’s voice and intention
Sometimes filter words reflect a deliberate choice for a more distant POV. Before cutting, consider whether the tone, style or narrative distance supports the use of filters. The goal isn’t to erase the author’s style (or every single filter word), but to eliminate unintentional distance that weakens the prose.
When POV problems go deeper than line edits can fix
As we’ve seen, filter words are often a symptom of a larger POV issue.
In some manuscripts, they’re scattered here and there – a normal part of a draft. In others, they signal a deeper problem: the POV isn’t defined, consistent or controlled.
This is where a line editor must tread carefully.
A few considerations:
- Mild to moderate POV drift: The author might be using filter words to clarify switches in POV – but if the manuscript mostly sticks to one character’s POV (and clearly isn’t using omniscient narration), a line editor can flag these moments and suggest alternative phrasing.
- Widespread inconsistency: If the manuscript bounces between heads or switches narrative distance frequently, line edits alone can’t solve the problem. Trying to fix POV inconsistencies line by line without a structural plan may result in a disjointed narrative (and an awful lot of work for you, the editor!). This kind of manuscript needs a developmental pass.
- Unclear narrative intent: If it’s not obvious whether the story is meant to be in close third, omniscient, or something in between, the author may need to make a fundamental choice before line editing is effective.
In these cases, the kindest and most professional response is honesty. A line editor can (and should) say something like:
There are significant POV issues throughout that affect narrative clarity and consistency. A deeper developmental edit is needed before a line edit will be fully effective.
Key takeaways
Eliminating filter words is more than a mechanical process – it’s a way to deepen the emotional resonance of a scene and connect the reader directly to the character’s world.
For authors, it means trusting the reader to follow the action and emotion without constant narrative signposts. For editors, it’s about guiding, not ghostwriting – suggesting stronger alternatives without imposing.
And perhaps most importantly, it’s about recognising the limits of each editing stage.
Line editing can transform a manuscript’s prose – but only when the underlying structure, POV and character voice are already sound.
Filter words are a great place to start – but they’re also a diagnostic tool. Pay attention to how and where they appear, and you’ll often discover not just a line that needs tightening, but a character’s voice waiting to be fully heard.
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