Is passive voice always a bad thing?
In creative writing, few grammatical elements spark more debate than the use of passive voice. Often termed as weak or lazy, the passive voice gets a bad rap. Writers are frequently urged to “show, don’t tell” and to use active voice for clarity and immediacy. While there is some truth to these warnings, it’s important to understand that passive voice isn’t inherently bad—especially in fiction. In fact, when used purposefully, passive voice can enhance your storytelling by adding subtlety, shifting focus, and evoking the right mood.
What is passive voice?
Passive voice occurs when the subject of the sentence is acted upon rather than doing the action. For example:
Active voice: Tom threw the ball.
Passive voice: The ball was thrown.
In the passive construction, the focus is on the object (the ball) rather than the doer of the action (Tom). This shift in focus is what can make passive voice useful in fiction.
When passive voice works in fiction
When the doer of the action is unknown or unimportant
Sometimes, the person performing the action is less important than the action itself. Passive voice allows you to omit the actor altogether, if necessary, which can be helpful for maintaining mystery or suspense. For example, in a crime novel, revealing too much too soon could ruin the tension:
“The door had been left open.”
In this sentence, who left the door open isn’t clear. That omission can make the reader wonder: Was it intentional? Was someone in the house? If you said “Harry left the door open,” it would strip away the ambiguity, dulling the tension.
To create a sense of detachment
Sometimes, a story calls for a tone that is more distanced or impersonal. Characters may feel disjointed from the events around them. Passive voice can help create that distance. Consider a scene of emotional detachment:
“The decision was made to close the store.”
The passive construction here mirrors the impersonal nature of bureaucratic decision-making. It suggests the speaker is indifferent to the outcome, creating a subtle emotional distance. In contrast, writing “The owner decided to close the store” might come across as too direct or specific for the tone you're aiming for.
To shift focus for emphasis
Passive voice allows writers to put the emphasis on the object of the action rather than the subject. This can be useful when what’s happening is more important than who is doing it. For instance, when writing about the aftermath of a disaster or battle, focusing on the actions themselves can evoke more powerful emotions. Take this example:
“The city was destroyed by the bomb.”
In this sentence, the city and its destruction take spotlight. The bomb itself—while significant—is secondary to the devastation. Writing “The bomb destroyed the city” might not carry the same weight, because it shifts focus to the bomb, potentially dulling the reader's sense of tragedy.
Balancing passive and active voice
Of course, passive voice should not be overused. Like any stylistic tool, its impact diminishes if relied on too heavily. When the action and the doer both need to be clear and immediate, active voice is usually the better choice. But by mixing passive constructions with active ones, you can create a more dynamic, layered narrative.
In fiction, passive voice can be an invaluable tool when used purposefully. It allows you to manipulate focus, control pacing, and evoke certain moods or tones. Whether you’re crafting an air of mystery or shifting attention away from the subject, passive voice offers flexibility in storytelling
