artikel active and passive voice

When I returned home I dusted off old college grammar books, determined to study this thing called "passive voice." As I did, I discovered the workshop leader gave us excellent advice.
I found passive voice is easy to recognize and cut from my writing. I also learned removing it breathes life and flare into my work. Eliminating passive voice pares excessive words from the piece and causes the words to race along through action.
Passive voice almost always uses a form of the verb "to be." "To be" indicates an object "is"–it simply exists. There is no action, therefore the sentence is passive, or is said to be in "passive voice."
The forms of the verb "to be" are: is, are, was, were, am, be, been, and being. Forms of "to be" can also hide in contractions such as it’s, they’re, you’re, wasn’t, weren’t, and aren’t.
Passive voice dulls writing in three ways. First, action comes through the verbs, pushing the story onward and pulling the reader along. Passive verbs provide no action. No pushing. No pulling. So the action slows or stops.
Second, passive voice generally requires more words, which slow down the action. Just as a pot of simmering soup becomes more flavorful and potent as excess water boils off, so our writing becomes more intense and sharp as we "boil off" excess words. Flavorful, potent, intense, sharp writing is something readers like and editors love.
Third, passive voice obscures or omits the actor and therefore, is less direct and often vague or confusing. Active voice, on the other hand, is direct and dynamic.
To cut passive voice from your writing, start by identifying every occurrence of a passive verb in your manuscript. I check my work for passive voice as one of my final editing steps. If I’m working on a long work like a novel, I break it up into manageable pieces, such as doing one scene or chapter at a time.
If you’re working with a hard copy (on paper), use the list of "to be" verbs provided above and circle every form of the verb throughout your manuscript.