Let me say first that sentence length is a matter of the author’s personal style. Some of us write long sentences strung together with commas, and others break things out into shorter, more concise packets of information.
If you are familiar with the rules of punctuation and use your commas wisely, longer sentences will flow well.
If you’re unsure of how to use commas, and simply put them anywhere you pause, or take a breath, you’ll have a long, convoluted mess on your hands, similar to this sentence.
In writing genre work, we consider the age and reading experience of our intended reader. Generally speaking, for younger readers, we use shorter sentences and a narrower vocabulary.
For older readers who read in a wide variety of genres, compound sentences and a wide vocabulary pose no problems.
In the final chapter of his novel, Ulysses, James Joyce enters the head of Molly Bloom. He spews an internal dialogue that runs on for more than 24,000 words with only ONE punctuation mark. The final paragraph of the book goes like this:
“…I was a Flower of the mountain yes when I put the rose in my hair like the Andalusian girls used or shall I wear a red yes and how he kissed me under the Moorish wall and I thought well as well him as another and then I asked him with my eyes to ask again yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes. “
As a side note, I had to take a college class in order to read and enjoy James Joyce’s work. Most of us hope our work won’t require a reader to take a college-level course to appreciate it.
Sentence length becomes problematic for most readers when:
- The sentence contains numerous clauses
- The clauses are unrelated.
- The sentence runs on and on and on.
- The author uses little or no punctuation.
Several factors affect sentence length. Commas and the fundamental rules for their use exist for a reason. If we want the reading public to understand our work, we need to follow them.
Commas join two independent clauses. The independent clause is a complete stand-alone sentence. Sometimes, if sentences are too short, our work becomes choppy.
- Greg worships the ground I walk on. His adoration never tires me. (Two sentences)
- Greg worships the ground I walk on, and his adoration never tires me. (One compound sentence)
Dependent clauses are unfinished sentences and can’t stand on their own. They should be joined to the sentence with a conjunction.
- Greg worships the ground I walk on and brings me my coffee.
You do not join unrelated independent clauses (clauses that can stand alone as separate sentences) with commas as that creates a rift in the space/time continuum: the Dreaded Comma Splice:
Comma Splice: Greg kissed the hem of my garment, the dog likes to ride shotgun.
The dog has little to do with Greg, other than the fact they both adore me. The same thought, written correctly:
- Greg kissed the hem of my garment.
- (New paragraph) The dog likes to ride shotgun.
Would it be better if we used a semicolon? No. A semicolon in an untrained hand is a needle to the eye of an editor.
The dog riding shotgun is an independent clause and does not relate at all to Greg and his adoration of me.
Semicolons join independent clauses that could stand alone, but which relate to each other.
I recommend you avoid joining more than two clauses. Even when an author uses semicolons correctly, they can create some lo-o-o-o-ong, run-on sentences. Sentences comprised of more than twenty to thirty words can be difficult to slog through.
Sentences all become paragraphs, whether they are comprised of one sentence or several.
Paragraphs are not just short blocks of randomly assembled sentences. A paragraph is a group of sentences that fleshes out a single idea. That means that only one thought or speaker is featured in each paragraph.
The rules are simple:
- Present a single idea per paragraph.
- Present the dialogue and reactions of only one person per paragraph.
- Present the viewpoint of one character per paragraph.
All through her book, Howl’s Moving Castle, Diana Wynne Jones wrote two points of view into one paragraph. The story is brilliant, but that habit made the dialogue very difficult to follow in some places.
A paragraph done wrong:
Ron said, “You cheated on me.” Jamie clutched his arm. “I don’t want to lose you.” He pulled away. “You disgust me.”
That’s a confusing passage, but it doesn’t have to be. Three ideas are explored there: Ron’s accusation, Jamie’s guilt and fear of losing him, and finally, Ron’s disgust.
Ron said, “You cheated on me.”
Jamie clutched his arm. “I don’t want to lose you.”
He pulled away. “You disgust me.”
While it makes for short paragraphs, you must break out Jamie’s reaction. One thought, one point of view per paragraph, no matter how short that makes it.
In English, a good paragraph agrees with itself. It is logical, and the central idea it contains is developed.
Sometimes, we will end up with long paragraphs. In a paper book, paragraph length isn’t as much of a problem as in an eBook. I’ve noticed that versions of eBook novels containing long paragraphs tend to appear as page after page of an unbroken wall of words.
That can be confusing, and the reader may decide to move on to a different book.
Thus, for a manuscript that you intend to publish as an eBook, consider dividing long passages at logical places, using two paragraphs to explore the idea. This is especially a problem when the paragraph contains a long section of internal dialogue, which is frequently written in italics.
Each author writes differently. Both sentence length and paragraph length are individual, part of the fingerprint that is the author’s voice. If longer sentences are your style, by all means, write them.
I no longer use as many compound sentences as I once did. Those who have read my earlier work are grateful for that gradual change.
Credits and Attributions:
Quote from Ulysses, by James Joyce, published 1922 by Sylvia Beach
Wikipedia contributors, “Ulysses (novel),” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Ulysses_(novel)&oldid=777540958 (accessed May 7, 2017).
Howl’s Moving Castle, by Diana Wynne Jones, Tim Stevens, Illustrator, Greenwillow Books (US), Methuen (November 1986) Fair Use.
Wikipedia contributors, ‘Howl’s Moving Castle’, Wikipedia, The Free Encyclopedia, 20 February 2020, 02:23 UTC, <https://en.wikipedia.org/w/index.php?title=Howl%27s_Moving_Castle&oldid=941685495> [accessed 25 February 2020]