Category Archives: correct grammar for writers of fiction

Which grammar rules writers should follow and which to scrap

Parallelism in Writing for Voice and Style!

Bleu curveOne of the hardest writing strategies to teach effectively is “parallel structure.” Yet it’s incredibly useful in all kinds of writing, argumentative and expository as well as literary.

In my last post, I used an example from a terrific education site on grammar to illustrate how sentences could be packed with detail using “absolutes.” This example powerfully illustrates, as well, how parallel structure works.

“Down the long concourse they came unsteadily, Enid favouring her damaged hip, Alfred paddling at the air with loose-hinged hands and slapping the airport carpeting with poorly controlled feet, both of them carrying Nordic Pleasurelines shoulder bags and concentrating on the floor in front of them, measuring out the hazardous distance three paces at a time.
(Jonathan Franzen, The Corrections. Farrar Straus & Giroux, 2001)

What makes this an example of parallelism?

orange curve glippedEach descriptive phrase (in this case absolutes, which consist of a noun and its modifiers) precisely mirrors the grammatical form of the one that came before, with all the phrases ultimately connected to each other by an “coordinating conjunction,” in this case, “and.”

favouring

paddling

slapping

carrying

concentrating

measuring

In this example there’s also a parallelism of meaning: the first two phrases compare Enid’s and Alfred’s physical actions

favouring her damaged hip

paddling at the air with loose-hinged hands and slapping the airport carpeting with poorly controlled feet

But the heart of the parallel structure lies in the perfect repetition of the main verb forms.

green curve

Here’s another example, using participles (“-ing” forms) and nouns to create two parallel scaffolds:

“Her moving wings ignited like tissue paper, enlarging the circle of light in the clearing and creating out of the darkness the sudden blue sleeves of my sweater, the green leaves of jewelweed by my side, the ragged red trunk of a pine.”
(Annie Dillard, Holy the Firm. Harper & Row, 1977)

Note the grammatical precision of the noun set: not just nouns preceded by “the” and adjectives but also each followed with a three-word prepositional phrase:

the sudden blue sleeves of my sweater

the green leaves of jewelweed by my side

the ragged red trunk of a pine

orange curveIn literary writing, the use of parallelism, like the use of absolutes, can help you flow into your details so that they seem to be rhythmic extensions of your original clause, much like water flowing down a stream. In expository or argumentative writing, careful attention to parallelism can keep readers on track as you move through related ideas.

Here’s an example from one of my recent summaries on my other blog, College Composition Weekly (where I summarize recent research on the teaching of college writing). I’m presenting Steve Lamos’s argument in the March 2016 College English that job security for writing teachers not on the tenure track will remain elusive if the negative attitudes of college administrators and other powerful stakeholders are not addressed:

Although emotional labor is devalued across most educational contexts, Lamos writes, within more prestigious research universities it is especially “subject to a kind of gendered dismissal” based on a sense that it involves work that women find “inherently satisfying” and thus not in need of other compensation and that, by its nature, consists more of “pandering to difference” rather than enforcing academic standards (366).*

Whimsical road Depositphotos_17645691_s-2015

Use parallelism to eliminate tangles in your writing!

This sentence appears in the context of an academic discussion and is part of a “summary,” so it requires me to incorporate fairly complex information in a taut space. Parallelism holds the two points of this sentence together through the repetition of “that”:

on a sense

that it involves

and

that, by its nature, [it] consists

Readers of dense texts like this can benefit from knowing that as long as the long clauses are introduced by a repeated word and structure (“that + verb” in this case), they’re still in the same sentence, progressing through related points.

Writers surrender the power of parallelism when they forget that the last element of a list should echo the previous elements:

The lecture was accessible, helpful, and it gave me lots of good information.

He came in dripping sweat, panting for breath, and he was trembling with exhaustion.

Why not:

The lecture was accessible, helpful, and informative.

He came in dripping sweat, panting for breath, and trembling with exhaustion.

In both cases, parallelism has allowed you to cut empty words (in the second case, you could even cut “and”).

So for fiction and essay writers (as well as poets!), parallelism is a tool for adding detail, creating rhythm, and connecting ideas. For writers in other contexts, it can serve as a logical, connective tool.

*Bonus: many constructions other than lists joined with “and” benefit from—and usually actually require—parallelism. Here, the “more of/rather than” construction is cemented through the mirroring verbs “pandering”/”enforcing.” Other constructions requiring parallelism include “neither/nor”; “not only/but also”; and “both/and.”green curve flipped

Do you have favorite examples of parallelism as a literary device, from your own or others’ writing? Share!

1 Comment

Filed under correct grammar for writers of fiction, ebooks publishing and selling, Editing your novel, grammar rules for writers, indie publishing, Learning to write, self editing for fiction writers, Self-publishing, style for writers, Writing, writing novels

Commas Control Emphasis. Here’s How!

I have been thinking about the inordinate power of commas.Comma 1I intuitively understood this power from my own writing, but I credit Martha Kolln’s Rhetorical Grammar with making concrete what my instinctive ear told me: how such a simple little mark can help communicate precisely what we want readers to hear.

Grammar books and various grammar web sites, of course, lay down the kinds of apparently sacrosanct rules that drive real writers crazy. “You must, must, must put a comma there because the rules say so.”

Comma 2On the one hand, not necessarily. On the other, it’s important to understand how certain principles governing things like punctuation have consequences for writing. I’ve worked hard not to be the natural Grammar Curmudgeon I am, one who smacks other people’s writing around for rule-breaking, but by golly, punctuation is a tool!

We’ve all seen those fun exercises where simply moving a few little marks around completely changes meaning. A simple example is “Woman without her man is nothing,” which, with just a few tweaks, comes to mean its opposite. (Can you do it? Give it a try!)

But punctuation also controls rhythm and emphasis, and commas are tough little drill sergeants, lining up every word in its place.

Take emphasis. Read this sentence aloud:

  • There is in fact a reason for what happened.

Comma 3Now, in my view, whether or not we should set off the “interrupter” (“in fact”) with commas, as the grammar books instruct, is a judgment call. Leaving out the commas is fine. But when you add them, something happens. Listen:

  • There is, in fact, a reason for what happened.

To my ear, and Kolln substantiates this, the commas change the intonation and emphasis. In the first sentence, without the commas, I hear

  • There is in fact a REASON for what happened.

In the second sentence, the commas do what Kolln and my ear say they do, shifting the emphasis onto the words before the commas. So the sentence now reads

  • There IS, in FACT, a reason for what happened.

The meaning hasn’t particularly changed, but the way we hear it has. We shift our attention to the “facticity” of the claim. We get a beat on the FACT of this utterance.

Comma 4

But that’s not all that happens. The commas break up the flow of the sentence in ways that reinforce meter. In this case, it’s our old favorite, iambic pentameter, the most ubiquitous meter for English speakers (Shakespeare’s meter). And that change not only asks us to hit “is” and “fact” with extra emphasis, but also taps “REAson.” So that the sentence reads,

  • There IS, in FACT, a REAson for what happened.

Comma 5And as a bonus:

In addition to illustrating one of the functions of commas—to reposition emphasis—these examples also illustrate how breaking one of those apparently sacrosanct rules we all hear again and again can actually give you an additional tool to control emphasis. How many times has someone told you to strike out “there is” and “there are” every time they crop up? But if you try to get rid of the “there is’ in this sentence, the emphasis on “reason” that persists through all three versions withers. Compare

  • I can tell you a reason for what happened.
  • The facts reveal a reason for what happened.

Nothing wrong with these sentences. But their message—that what seemed random or accidental is actually the result of some cause that the speaker is about to explain—is flatter, more subtle. That’s fine. But if you want to be assertive, if you want to firmly refute the idea that the event is random, accidental, then “There IS, in FACT, a REAson” is your go-to choice.Comma 6

And there is, in fact, a reason why.

Both the “there is/are” and “it is” force emphasis on the words that immediately follow them.

  • There is NO POINT in not liking asparagus.
  • It is TRUE that I liked asparagus when I was a child.
  • It is SAD that I don’t like asparagus now.

This effect holds for the contraction forms of these constructions —”it’s” and “there’s”—as well.

The bottom line: Punctuation and sentence structure choices give you more control over how readers “hear” what you write. Don’t ignore the rules; just recognize how understanding the flexibility they offer can leverage the power of your writing. Don’t want to emphasize ‘FACT”? Leave the commas out. Want to hit hard on “REAson”? Hang on to that much-maligned “There is.”

Buble quote speech on cloud space for text

Do you have examples of how commas and sentence structure control emphasis in your own writing? Decisions you’ve made about how to re-organize sentences to take advantage of this little power tool?

 

1 Comment

Filed under correct grammar for writers of fiction, ebooks publishing and selling, Editing your novel, grammar rules for writers, indie publishing, Learning to write, Myths and Truths for writers, punctuation for writers of novels, self editing for fiction writers, Self-publishing, style for writers, Writing

Is the Hypercorrectness Troll Gobbling Up Your Grammar?

Writer with questions I remember one of the humorist Dave Barry’s satirical “Ask Mr. Language Person” columns years ago, in which the all-too-sure-of-himself Mr. Language Person opined that “‘me’ is always incorrect.” Barry was referring indirectly to an example of the phenomenon of “hypercorrectness,” which I’d argue leads to almost as many grammar slips as does its opposite, carelessness. I say “almost as many” because these slips are so common!

In a nutshell, a writer slips into hypercorrectness when he or she isn’t gut-sure about what is correct and inoculates him- or herself by making a grammatical choice that sounds just a teeny bit “fancy” and thus “must” be what an educated writer ought to opt for. Books and ladder

As with all grammar choices, whether or not a hypercorrectness slip will hurt you with that editor or agent you hope to impress, or whether it will get your prose chewed up in red in your business report, depends on whether or not your particular audience knows the difference or, for that matter, cares. I’ve seen so many kinds of errors, including just plain careless ones, in so many “erudite” places that I know it can be a toss-up whether your slip costs you an acceptance or gets ignored.

But I argue that knowledge is the power to choose with confidence. The “correct” choice sounds funny to you, so you’d rather go with the “incorrect” one because it feels more natural? Go for it. But it’s really nice to make that choice because you know what you’re doing and why you want it that way.

Free runners sport concept illustration

The single most ubiquitous hypercorrectness error, as Barry recognized, may be the prejudice against poor little “me.” And the single most common example of that prejudice is “between you and I.”

What? That’s wrong? Well, if you’re a purist, yes—for the same reason it’s wrong to write “the zombies were chasing George and I.”

Why? Because, in both cases, the pronouns are “objects” and should be in the “objective case”: that is, “me.”

There’s really a simple test. Strip out or move the proper name or problematic pronoun and see what you have:

  • Between I and you
  • The zombies were chasing I

See?Explosive set

Case two: Sometimes what sounds natural is better. E. g., the who/whom conundrum

I’ve suggested in a prior post that if choosing between these two options leaves you sweating, go with “who.” The situations in which “who” won’t work for almost all readers are rare: say, when you’re inverting the sentence or inserting the pronoun behind an actual preposition:

  • To whom are you speaking?
  • This is the person for whom I was waiting.

If you are writing Downton Abbey fan fiction, okay, you’ll have to master these forms. But in most cases

  • Who are you talking to?
  • That’s who I was waiting for.

will pass muster with almost everyone, even if they are technically incorrect. But as I wrote in my earlier post, the correct forms,

  • Whom are you talking to?
  • That’s whom I was waiting for.

Sad Editing!can actually sound more jarring in many contexts than the errors.

 

 

But the troll of hypercorrectness comes charging out from under the bridge when a writer gets paranoid and decides that “whom” sounds like what a smart person would say. Then we end up with

  • He didn’t say whom would be going to lunch.
  • Don’t give money to whomever asks for it.

cartoonguns

In both cases, the correct choice—and the more unobtrusive choice regardless of what’s correct—is “who.” (For those who enjoy these kinds of things, the rule is that the case of the pronoun is governed by its role in its own clause, not the clause in which it’s embedded.) You can actually apply the same test as for the “I/me” choice: you wouldn’t write, ” He didn’t say her would be going to lunch.” It’s clear you need the subject case.

Case 3:

I came across this usage (though not this exact sentence) in a self-published book just the other day:

  • Our worries lied in the way he was behaving.

emoticon face

Obviously, I can’t know what prompted the writer to make this choice. But I suspect it’s another instance of hypercorrectness, based on the Mr.-Language-Person-type precept that, in this case, “‘lay’ is always incorrect.” We’ve heard and heard and heard that people don’t “lay,” chickens do. So it must follow that anywhere our uneducated ears order us to say “lay,” we must really need “lie.”

Uh, no.

Confused business man, short term memory loss

There’s really no test or easy fix for this one. If you aren’t sure but really want to be, you have to look it up. I will say that the use of “lay” as in “I’m going to lay out in the sun for a while” has become so universal that many an otherwise persnickety person will read right past “lay” in this usage. They’ll probably read past “we laid out in the sun yesterday” (yes, “lay” is the correct past tense of “lie”). But I suspect that most readers would hiccup at “We lied out in the sun yesterday.”

Moral? Sometimes it’s better to be technically wrong than hypercorrect. If you really want to be correct, don’t guess. When in doubt, find out!

Magic book

 

 

 

2 Comments

Filed under correct grammar for writers of fiction, Editing your novel, grammar rules for writers, Learning to write, Myths and Truths for writers, self editing for fiction writers, Self-publishing, style for writers, Writing, writing novels

Terrific Post on Style for Writers!

Chuck Wendig responds to a reader who finds sentence fragments troublesome (they make writing “unreadable,” in the commenter’s view). If you haven’t met Chuck yet, you’re in for a ride, though you’d best leave your Sunday-go-to-meetin’ expectations at home. I envy his verbal energy!

Explosive set

What I love about this post is that it celebrates the incredible flexibility of language, all the ways that writers can whip it up and lay it down and make it their own (in the great tradition of Humpty Dumpty in Alice in Wonderland!). Wendig illustrates the power of the dreaded fragment with examples from some of the greatest of writers. He reminds us that rules are the groundwork but imagination and a writer’s ear are the scaffolding that builds palaces on those placid rules.

My own caveat is that when I was teaching, so many of my students had a tough time recognizing things like fragments. Especially fragments! The lack of some kind of internal sense of what “a sentence” is may not have handicapped those with the drive and verve to become creative writers; imagination and ear may have been enough.

But I argue (and Wendig cautions) that it’s vital to learn such “basics” of language because if you don’t, you can’t make choices. You can’t switch your verbal code to fit it to different contexts, for example, to a business setting where a lively fragment-sequined style will simply be out of place. You probably can’t write that query letter we all sweat over. At least you can’t write it with confidence that you can decide when to explode on the page and when to hold back.

So many of my students hoped to be great novelists. I couldn’t help worrying that without the ability to choose the linguistic strategies they needed in a given context, they would be handicapped if the whole great-novelist thing didn’t come off. As it so often doesn’t . . . at least not as fast as we’d like it to.

Do you agree with Wendig? What is your fragment strategy? Do you have a favorite “fragment passage” to pass on?

Novel!

 

Leave a comment

Filed under correct grammar for writers of fiction, Editing your novel, grammar rules for writers, indie publishing, Learning to write, Myths and Truths for writers, punctuation for writers of novels, self editing for fiction writers, Self-publishing, style for writers, Teaching writing, Writing, Writing and teaching writing, writing novels

Battle is Lost!

A sad day for grammar purists: The Washington Post will allow “singular they”!

Leave a comment

Filed under correct grammar for writers of fiction, Editing your novel, grammar rules for writers, indie publishing, Myths and Truths for writers, self editing for fiction writers, Self-publishing, style for writers, Teaching writing, Writing

Visiting Bryan Garner’s “Language Change Index” for Grammar Rules

Bill, the dog, critiques

When in doubt, I ask Bill.

Lurking around on an NCTE forum for English teachers, I learned about Bryan A. Garner’s Language Change Index and thought it nicely complemented some thoughts I’ve posted on this blog about grammar and usage. An interview and a critique discuss his efforts to do more formally what I did informally in ranking usage practices by how widely they’re likely to actually be noticed (see “split infinitive”) by the learned folks aspiring authors need to impress. What emerges for me, based on the examples in these articles, is how idiosyncratic grammar prescriptives can be. BTW, “hopefully” is now a Stage 5, not, in my view, because it ever was an “error,” but because it has been recognized as a perfectly good sentence modifier along the lines of “unfortunately” or Garner’s example of a “correct” sentence modifier, “regrettably.” No identifiable subject has to “hope” any more than an identifiable subject has to “regret.” So there.

Leave a comment

Filed under correct grammar for writers of fiction, Editing your novel, grammar rules for writers, Interviews, Learning to write, Myths and Truths for writers, self editing for fiction writers, style for writers, Writing

Grammar Rules I’m on the Fence On. Are You?

Typewriter with questions marksI’m curious what people think because I am on the fence. Unlike ending a sentence with a preposition, these are not nonsensical non-rules. And unlike using “who” when “whom” is technically called for, they’re not completely invisible—or are they? That’s my question: If you were advising a beginning indie author wanting to self-edit, would these go on your “must know” list?

In fact, very well-credentialed writers do ignore them. Is that enough to move them to “okay to ignore”?

I’ll start with one that seems to have been ripped up and stomped on:

The dangling modifier.

I recall the first time I heard a dangling construction on an episode of NPR’s Nova. What??!! Since then, I’ve seen so many of these that if I had a penny for every one, I could pave my driveway in copper.Sad Editing!

The pattern’s ubiquitous.

“An accomplished author, her books have sold millions.”

“Long known for her steamy romances, her fans number in the millions.”

“His heart broken, the loss of his lover left him devastated.”

“Running across the street, a car almost hit me.”

Does only an ex-English teacher shrivel inside her arid little syntactical shell when the modifier doesn’t modify the noun or noun phrase that immediately follows? When it’s not her books that are an accomplished author? When it’s not her fans that are known for her books? When it’s not the car running across the street?

It’s not that readers can’t make out what goes with what. Is it only an ex-English teacher who shivers in delight when parts of sentences link together so precisely that they’re like the rocks in Inca walls—you couldn’t force a needle between them?

It’s amazing how obviously problematic these seem in isolation. Yet, zoomed over in texts, it can be hard to catch them. (Hah! See?)

But readers know what’s meant perfectly well, don’t they? So what’s the fuss?

Lie and Lay.Writer with questions

I just saw “laying” when it should have been “lying” in a book I deeply respected. Which editor’s job is it to catch this? Am I silly to care?

I’m going to make the radical claim that the English language has decided. “Lie” and “lay” in the progressive tenses (she was lying/laying, he is lying/laying) are interchangeable, as they are in the simple past (he lay/laid down). Let go of it, you hyperventilators! The distinction has deserted you.

Or has it? Is it worth fighting for?

pile of lettersIncomplete comparisons.

If you look this one up online, you’ll be told that you “complete” a comparison by making sure to state what is being compared with what. In other words, it’s “incomplete” if you say that “Painkiller X is better.” You must say better than what. Nor can you say, “Product X has the most nutritious ingredients.” You must designate the category in which nutritious ingredients are being measured. The first hits in an online search tie such “incomplete comparisons” to misleading advertising. These hits are correct: We do hear claims like these all the time. But they’re fairly easy to spot if we’re looking.

However, here’s what seems to be a more subtle form of incomplete comparison, given how often it pops up:

1) Education in Europe is a lot cheaper than the United States.

2) The restaurants in Louisville are better than Cincinnati.

3) My friend’s grammar skills are better than some English teachers.

Here’s a sentence I read this morning in an academic journal (I have changed some relevant nouns lest some enterprising soul try to figure out where it came from):

My years as a low-wage employee have been a lot better than some others at many locations.

Now, one could make the case, given the exceptional level of literacy this writer demonstrates throughout the article, that “some others” here refers to “years,” not other, comparable employees. If the referent is “employee,” however, the sentence would have to read (with the “understood” parts in brackets):

My years as a low-wage employee have been a lot better than [they have been] FOR some others at many locations.

Would you have read this sentence as I did? Would you have revised it, possibly to clarify the referent? What about the others above (1-3)? Would they have jumped out at you if you weren’t looking for them?Torn up drafts

And then there are these:

Each of these, in some camps, is wrong. Yet I bet we read over them as often as we catch them. So. . . if you were editing your own work or your critique partner’s, would you flag these?

Neither of us are going to be there.

The data explains why the theory is wrong.

McDonald’s raised their prices again.

None of us like making mistakes.

Verdicts? Let me know what you think!Woman writing

2 Comments

Filed under correct grammar for writers of fiction, Editing your novel, grammar rules for writers, indie publishing, Learning to write, Myths and Truths for writers, self editing for fiction writers, Writing and teaching writing

More on Singular “They” from Dennis Baron’s Web of Language

Writer with questionsLooks as if many people are interested in the wonderfully time-saving and ink-saving solution represented by using “they” to refer to singular antecedents. Baron discusses some of the more complex implications as this rather time-honored practice is enlisted to address new challenges inherent in producing precise, inclusive language. The WOL doesn’t have a reblog button (and be aware, when I try to sign in to comment using Facebook or Google, I get an error message and so end up using my gmail account). But the blog is worth a look.  The article on “they” is here.

1 Comment

Filed under correct grammar for writers of fiction, grammar rules for writers, Myths and Truths for writers, self editing for fiction writers, Writing

Which Grammar Rules Do You Ignore?

Typewriter publishAs I noted a few posts ago, in his article “The Phenomenology of Error,” Joseph Williams categorized errors by type. Among his more interesting categories, in my view, were those errors that the experts make even as telling us not to (and nobody notices). He also had a category of grammatically correct constructions that sound so odd when we use them that we generally prefer the error.

These categories change with time, since language and usage do, of course. But his discussion of them made me think about the kinds of errors we can and maybe should ignore and, in fact, the kinds of rules we should ignore.

Here are three of my “rules I can ignore” (if I want to). Do you agree with me on these? What are yours?

Three question marks printed on a typewriter

The “that/which” distinction.

Okay, I don’t ignore it, but from what I’ve seen, a whole lot of people do. It’s the one Jacques Barzun didn’t catch himself ignoring, as Williams documents. It depends on knowing the difference between a restrictive and nonrestrictive (or an essential versus nonessential) adjective clause (which you can read about here), and yes, I’m using “which” correctly here:

The house, which had just been painted and re-roofed, sat on a cozy cul-de-sac. (Nice info but you could lift if out and not miss it.)

The house that had the new paint and new roof was the best deal of the three. (Allows you to distinguish the best deal from the others; take it out and see how much is lost.)

The point is, only a very few termagants (like me) would even notice if you replaced the “that” in the second sentence with “which.”Typewriter and flowers

The “whom” challenge.

I call this a challenge because the error is a lot less noticeable when people commit it than when they try to get it right and get it wrong. Simply speaking, only the above referenced termagant will rage if you just use ‘who” ninety-nine percent of the time.

After all, doesn’t it sound more natural to say, “Who did you give that to?” than “Whom did you give that to?” The “whom” in the second is correct because it’s the object of the preposition “to” and objects have to be in the objective case (like “him,” “her,” “us,” and “me”). But our minds these days just aren’t trained to worry about all such distinctions.

A sign of our downfall? Actually, putting that “m” on “who” is an “inflection,” and English has been discarding inflections when they don’t really add any information for centuries.

Actually, the only time most people will want the “whom” form is when it directly follows its preposition, and that usually happens in a question that’s been re-ordered: “To whom did you give it?” “With whom were you going?” “For whom did you buy that hat?” Do you have to write these particular sentences? In my view, not unless you feel compelled.Happy editing

The problem arises when people assume that because “whom” sounds so much more formal, it is compelled whenever one wants to sound formal. So I’ve actually encountered sentences like “Whom is going with us?” Ouch, that really grates.

The messier­—and understandably more confusing—situation occurs when the who/whom pair has to be sorted out at the beginning of a dependent clause acting as an object. The handbook rule is that you choose “who” or “whom” depending on what it’s doing in its own clause, not in the larger sentence.

“Did you say who is going with us?” (correct) and “Did you say whom the hat is for?” (again correct–note that little preposition “for” controlling the choice). But “hypercorrectness”—going gaga over sounding upmarket—leads to “Did you say whom is going with us?” As a sort of sub-termagant, I submit that more than a few of the erudite people writers hope to impress WILL notice that one (though I’m willing to be corrected).

In my view, you should go ahead and make the “mistake” of the perfectly natural-sounding “Did you say who the hat is for?” and just kick “whom” out of your vocabulary rather than sticking it where it doesn’t belong (here’s a wise soul who agrees!).pile of letters

Singular “they.”

This one is a lost cause. It’s been a lost cause, according to Dennis Baron of the Web of Language, just about forever. English simply has no singular, gender-neutral pronoun—except “it,” of course; just try choosing “it” in this sentence: “Everybody should bring his/her/its lunch to the meeting.”

The conundrum, of course, is that “everybody” wants so badly to be singular; we say “everybody is,” not “everybody are.” Certain people who shall not be named think there’s really no problem. Just pick “his,” and who’ll care? After all, everybody is a “he,” n’est-ce pas?

For quite a while, “he” and “his” were the preferred options among those who got to do the published writing. Because more kinds of people get to do published writing now, the masculine singular won’t do. As Baron points out, efforts to creatively solve this problem of a singular “antecedent” with no acceptable gender-neutral singular pronoun have gone nowhere.

And “his or her” (or “her or his”), the only option that is even remotely close to acceptable, gets old in a hurry (“Everybody should open his or her notebook and take out his or her homework. . . .”). Baron writes that Vanderbilt University has actually declared singular “they” perfectly acceptable in its formal documents. So ignore this baby at will.

letter scatter novel

Those are a few of the rules I think we should ignore a) because people notice them less and less and often never; and b) trying to follow them results in sentences that will offend even people with certified tin ears.

So what are your rules to ignore?Woman writing

33 Comments

Filed under correct grammar for writers of fiction, Editing your novel, grammar rules for writers, Myths and Truths for writers, self editing for fiction writers, Self-publishing, style for writers, Writing

How Much Grammar Do You Need, Part V: Rules I’ve Seen Erudite People Break–

—but that other erudite people will definitely notice!

One of Joe Williams’s categories included errors erudite people make but no one notices. Even the erudite people preaching against the error make it and don’t catch themselves.

Bill, the dog, critiques

He tells me when I’m wrong!

But another category: errors erudite people DO notice, and react negatively to—the implication being that these are errors erudite people scrupulously avoid.

Ahem.

I recently read the following in the New York Times:

The Arlington police had went to the Classic Buick GMC dealership Friday just after 1 a.m. when a caller reported that a man was standing on top of a car in the lot “stamping on the windshield trying to break it,” according to a 911 call.

I’m not posting this here as a statement on the events being described (you can learn about that elsewhere.) I’m providing it because it commits—in the New York Times of all places!—one of those fairly egregious errors an agent or editor or any other “well-educated” reader definitely will notice—and judge.Sad Editing!

(Tip for that NYT writer: if “have” or “had” is part of the verb phrase, go with the past participle. Otherwise choose the simple past.)

So Rule #1 that won’t be overlooked is use the correct verb form!

Rule # 2 on this list: Know the difference between “its” and “it’s.”

Trivial? Absolutely. Will not knowing the difference really matter? In some cases, you bet.

I suspect this one results from writing too quickly and proofing on the screen with a deadline looming. If by some chance keeping these straight plagues you, there’s unfortunately no easy way to remember, unless it’s to go with the one that makes the least sense. You’d think a possessive, like “The dog chased its/it’s ball,” would take an apostrophe, wouldn’t you, since possessives are formed with apostrophes? But “its,” the correct choice, is kin to “her” and “his.” Just fix in your mind how silly “He ate hi’s supper” would look, and you may be able to remember to pick the one without the apostrophe.

While we’re on the subject of apostrophes,

Rule #3 on this list is do not form plurals with apostrophes.

I saw this done in the crawl on Good Morning America! But it’s like announcing that the writer has been reading more roadside veggie stands than novels.

Rule #4? Do not put commas in these two places.

Comma rules can look complicated. Recently I eavesdropped on professional editors trying to decide whether to insert a comma based on whether they heard “a pause” or not. But people hear pauses in different places. There are “rules” for commas. I find that the basic list of uses for commas in handbooks, or on sites like this one, make sense.

I consider commas one of the most important tools for clear writing. They mark off sections of sentences and help me, as a reader, know what’s coming next (are we still in the appositive, or have we returned to the independent clause?). In this post, I just want to emphasize two places where I’ve seen commas sneak in. (And my agent from years back said specifically that she’d stop reading a query the minute she spotted one of these.)

Forbidden place A) Between a subject and its verb. “Gloria, went out to lunch.” I don’t hear a pause there. Do you? Or, more understandably: “One of the reasons I don’t like that play, is. . . .” Here, the length of the subject phrase may make a writer feel as if it’s time for a pause.

The only time a subject should be followed by a comma is when some kind of “interrupting” element comes between the subject and its verb: “Gloria, however, hated the restaurant we’d chosen.” Or “Gloria, who hates Chinese food, went with us to the Chinese buffet because it was cheap.”

Forbidden Place B) After a coordinating conjunction.

The most dangerous place for this interloping comma is after the conjunction between two complete sentences: “I hope you will consider representing my novel but, I know you have many submissions to read.” The comma goes before the “but,” never after, unless there’s an interrupter, and then you need two commas: “I hope you will consider representing my novel, but, like all agents, you have many submissions to read.”

None of these errors directly impacts communication. At worst, they create little hiccups in the flow of the text. Except that, as Williams points out, error is in the eye of the beholder. What’s a hiccup for me might well be a coughing fit for someone else. Agents and editors qualify, at least in general, as erudite readers. Even if the staff of the New York Times didn’t catch that “had went,” they probably will.

Do you have your own candidates for rules you really can’t get away with breaking? Leave a comment and let me know!

Cats as kibbitzers

They have their opinions, too!

Leave a comment

Filed under correct grammar for writers of fiction, Editing your novel, grammar rules for writers, indie publishing, Learning to write, punctuation for writers of novels, self editing for fiction writers, Self-publishing, style for writers, Writing, writing novels