Tag Archives: punctuation

April 17, 2024 · 6:00 am

Self-editing part 2: rare beasts – ellipsis, em dash, hyphen, and ?! #Writing

The mechanics of writing are the framework that makes a story readable. Every language has specific rules for managing grammar. The language I work in is English, so if you also write in another language, you have my profound respect. You have double the work ahead of you.

MyWritingLife2021BLast week, we talked about how punctuation is the traffic signal that keeps our words flowing smoothly.

Ellipses, em dashes, hyphens, and semicolons are rare beasts in the punctuation realm. Authors who rely on spellcheck may be getting the wrong advice when it comes to the use of rare punctuation.

For instance, Microsoft’s editor app sometimes tells us to use a comma to join two independent clauses when they don’t relate to each other. Microsoft is wrong. That creates a comma splice. The comma splice is a dead giveaway that either the author has skimped on editing their work or they’re not well-versed in grammar. (See Monday’s post, Self-editing part 1 – seven basic rules of punctuation, for a better explanation of comma splices.)

So, let’s talk about ellipses. Many authors use them incorrectly or inconsistently. This is because ellipses are not punctuation and shouldn’t be used as such.

The ellipsis is a symbol that represents omitted words and is not punctuation. The Chicago Manual of Style says that when the conversation trails off, we must add ending punctuation.

Groundfall apples, bruised and over-ripe, lay scattered across the ground. But the apple orchard is across the road, so how did they…?

Hyphens are usually not necessary, although my first drafts are often littered with them. If the meaning of a compound adjective is apparent when written as two separate words, a hyphen is not needed.

  • bus stop

hyphenated wordsIf the meaning is understood when two words are combined into one, and common usage writes it as one word, again a hyphen is unnecessary.

  • afternoon
  • windshield

Some combinations of “self” must have a hyphen:

  • self-editing
  • self-promotion

Dashes are not hyphens and are used in several ways. One kind of dash we frequently use is the ‘en dash,’ which is the width of an ‘n.’

En dashes join two numbers written numerically and not spelled out in US usage.

  • 1950 – 1951

To insert an en dash in a Word document, type a single hyphen between two words and insert a space on either side (word space hyphen space word). When you hit the space bar after the second word, the dash will lengthen a little, making it slightly longer than a hyphen. UK usage often employs the en dash in the place of the em dash.

Em dashes are the width of an “m” and are the gateway to run-on sentences. To make one, key a word, and don’t hit the spacebar. Hit the hyphen key twice, then key another word, and then hit the spacebar: (word hyphen hyphen word space) word—word.

Authors sometimes use emdashes without thinking. Too many em dashes—like salt—ruin the flavor of the prose. It often works best to rephrase things a little and use a comma or a period.

interrobangBut what about !?  These mutant morsels of madness are called “interrobangs.”

Writers of comics frequently employ interrobangs to convey emotions because they have little room for prose in each panel.

More than one punctuation mark at the end of a sentence is not accepted in most other genres. Editors working in the publishing industry will tell you that the interrobang is not an accepted form of punctuation unless you write comic books, manga, or graphic novels.

It’s your narrative, so you will do as you see fit. However, interrobangs are a writing habit writers should avoid in novels and short stories if they want to be taken seriously.

Readers expect words to flow in a certain way, but no one gets it right all the time. If you choose to break a grammatical rule, be consistent about it. Voice is how you break the rules, but you must understand what you are doing and do it deliberately.

Most readers are not editors. They will either love or hate your work based on your voice, but they won’t know why.

Craft your work to make it say what you intend in the way you want it said. Sometimes, you will deliberately use a comma in a place where an editor might suggest removing it. You should explain that you have done this to make something clear. Conversely, you might omit a comma for the same reason.

The editor you hired might ask you to change something you did intentionally. You are the author, and it’s your manuscript. If you know the rule you are breaking, you will be able to explain why you are doing so.

Most editors will do as you ask and will gladly ensure that you break that rule consistently.

Sometimes, the stories we consider powerful writing violate accepted grammar rules. Readers fall into the rhythm of the prose as long as the choices made for punctuation remain consistent throughout the manuscript.

AnneMcCaffrey_DragonflightOne of my favorite authors, Ann McCaffrey, set off telepathic conversations with both italics and colons in the place of quote marks.

:Are you well?:

Spoken conversations in her books are punctuated using standard grammar and mechanics.

Hemmingway used commas but often connected his clauses with conjunctions.

The world is a fine place and worth the fighting for and I hate very much to leave it.

As readers get into a story, they become habituated to the author’s style and voice. They overlook grammar no-nos because the story captivates them.

I love a good story, but more than that, I enjoy seeing how other authors write, how they think, and how their voice comes across in their work.

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April 15, 2024 · 6:22 am

Self-editing part 1 – seven basic rules of punctuation #writing

Many authors are just starting out and have never written anything longer than a memo or a tweet. Once that first manuscript is finished, they will self-edit it. But what if they didn’t have the luxury of a college education in journalism? Many new writers don’t know how to write a readable sentence or what constitutes a paragraph.

MyWritingLife2021I certainly didn’t. If these authors hope to find an agent or successfully self-publish, they have a lot of work and self-education ahead of them.

Most public schools in the US no longer teach creative writing. While some do have some writing classes, the majority of students leave school with a minimal understanding of basic grammar mechanics.

  • They know when they read something that is poorly written, but they don’t know what grammar error makes it wrong. It just feels awkward, so they stop reading.

We who love to read know good writing when we read it. We might have the idea for the best story and the dedication and desire to write it.

However, getting our thoughts onto paper so other readers can enjoy it is not our best skill—yet.

But it soon will be. First, we must think of punctuation as the traffic signal that keeps the words flowing and the intersections manageable.

Trying to learn from a grammar manual can be complicated. I learned by reading the Chicago Manual of Style, which is the rule book for American English. Most editors in the large traditional publishing houses refer to this book when they have questions.

chicago guide to grammarIf you are writing in the US, you might consider investing in Bryan A. Garner’s Chicago Guide to Grammar, Usage, and Punctuation. This is a resource with all the answers to questions about grammar and sentence structure. It takes the Chicago Manual of Style and boils it down to just the grammar.

There are other style guides, each of which is tailored to a particular kind of writing, such as the AP manual for journalism and the Gregg manual for business writing. The CMoS is specifically for creative writing, such as fiction, memoirs, and personal essays, but also includes business and journalism rules.

However, the basic rules are simple.

Punctuation seems complicated because some advanced usages are open to interpretation. In those cases, how you habitually use them is your voice. Nevertheless, the foundational laws of comma use are not open to interpretation.

Consistently follow these rules, and your work will look professional.

First, 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.

Wrong-Way-Traffic-Sign-K-101-1Let’s get two newbie mistakes out of the way:

  1. Never insert commas “where you take a breath” because everyone breathes differently.
  2. Do not insert commas where you think it should pause because every reader sees the pauses differently.

Second: How do we use commas and coordinating conjunctions?

A comma should be used before these conjunctions: and, but, for, nor, yet, or, and so to separate two independent clauses. They are called coordinating conjunctions because they join two elements of equal importance.

However, we don’t always automatically use a comma before the word “and.” This is where it gets confusing.

Compound sentences combine two separate ideas (clauses) into one compact package. A comma should be placed before a conjunction only if it is at the beginning of an independent clause. So, use the comma before the conjunction (and, but, or) if the clauses are standalone sentences. If one of them is not a standalone sentence, it is a dependent clause, and you do not add the comma.

Take these two sentences: She is a great basketball player. She prefers swimming.

  1. If we combine them this way, we add a comma: She is a great basketball player, but she prefers swimming.
  2. If we combine them this way, we don’t: She is a great basketball player but prefers swimming.

The omission of one pronoun makes the difference.

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 Meme

Boris kissed the hem of my garment, the dog likes to ride shotgun.

The dog has little to do with Boris other than the fact they both worship me. The same thought, written correctly:

Boris kissed the hem of my garment.

The dog likes to ride shotgun.

The dog riding shotgun is an independent clause and does not relate at all to Boris and his adoration of me. It should be in a separate paragraph. If you want Boris and the dog in the same sentence, you must rewrite it:

Boris and the dog worship me, and both like to ride shotgun.

Third, a semicolon in an untrained hand is a needle to the eye of the reader. Use them only when two standalone sentences or clauses are short and relate directly to each other.

Some people (including Microsoft Word) think a semicolon signifies an extra-long pause but not a hard ending. The Chicago Manual of Style and Bryan A Garner say that belief is wrong. Don’t blindly accept what Spellcheck tells you!

Semicolons join short independent clauses that can stand alone but which relate to each other. When do we use semicolons? Only when two clauses are short and are complete sentences that relate to each other. Here are two brief sentences that would be too choppy if left separate.

  • The door swung open at a touch. Light spilled into the room. (2 related short standalone sentences.)

  • The door swung open at a touch; light spilled into the room. (2 related short sentences joined by a semicolon.)

  • The door swung open at a touch, and light spilled into the room. (1 compound sentence made from 2 related standalone clauses joined by a comma and a conjunction.) (A connector word.)

strange thoughts 2All three of the above sentences are technically correct. The usage you habitually choose is your voice.

I generally try to find alternatives to semicolons. they’re too easily abused because Microsoft Word and most people don’t know how to use them.

Fourth: Colons. These head lists but are more appropriate for technical writing. Colons are rarely needed in narrative prose. In technical writing, you might say something like:

For the next step, you will need:

  1. four bolts,
  2. two nail files,
  3. one peach, whole and unpeeled.

Technically speaking, I have no idea what they are building, but I can’t wait to see it!

Fifth:  Oxford commas, also known as serial commas. This is the one war authors will never win or find common ground, a true civil war.

When listing a string of things in a narrative, we separate them with commas to prevent confusion. I like people to understand what I mean, so I always use the Oxford Comma/Serial Comma.

If there are only two things (or ideas) in a list, they do not need to be separated by a comma. If there are more than two ideas, the comma should be used as it would be used in a list.

We sell dogs, cats, rabbits, and picnic tables.

Why do we need clarity? You might know what you mean, but not everyone thinks the same way.

I accept this Nebula award and thank my late parents Irene Luvaul and Poseidon.

That sentence might make sense to some readers, but not in the way I intended. The intention of it is to thank my late parents, my editor, and the God of the Sea. If I don’t thank Poseidon, he’ll pitch a fit.

I accept this Nebula award and thank my late parents, Bob and Marge, my editor Irene Luvaul, and Poseidon, the God of the Sea.

Sixth: We use a comma after common introductory clauses.

After dark, Boris would change into his bat form and go hunting for enchiladas.

Seventh: Punctuating dialogue: All punctuation goes inside the quote marks.

  1. A comma follows the spoken words, separating the dialogue from the speech tag.
  2. The clause containing the dialogue is enclosed, punctuation and all, within quotes.
  3. The speech tag is the second half of the sentence, and a period ends the entire sentence.

The editor said, “I agree with those statements.”

If the dialogue is split by the speech tag, do not capitalize the first word in the second half.

“I agree with those statements,” said the editor, “but I wish you’d stop repeating yourself.”

stoplightWhy are these rules so important? Punctuation tames the chaos that our prose can become. Periods, commas, quotation marks–these are the universally acknowledged traffic signals.

If you follow these seven simple rules, your work will be readable. If your story is creative and well-written, it will be acceptable to acquisitions editors.

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April 6, 2022 · 6:00 am

How the written universe works part 2: the physics of conversation #amwriting

The supermassive black hole known as Sagittarius A Star gives the spiral shape to our galaxy and keeps it together. Gravity is the force ensuring that “what goes into a black hole, stays in the black hole.”

How the written universe works 2All around us, gravity works in hidden ways. Gravity on a small scale keeps everything securely stuck to the surface of Planet Earth.

Except in my flying dreams. But I digress.

In writing, punctuation serves the same function as gravity, keeping paragraphs and sentences from flying apart, shaping prose. The physics that constrain the chaos of words and word clusters are the laws of grammar and punctuation. They are the quantum mechanics of writing.

What is spoken must be easily distinguished from the ordinary narrative. Therefore, punctuation is for the reader’s benefit. While we can take some liberties with grammar and dialect when writing conversations, following the established rules of punctuation is essential.

We want readers to be able to forget the punctuation and just enjoy the story. They only notice bizarre punctuations, such as:

All, hands on deck”. Said the captain.

“What do we do with the drunken sailor? Blurted the First Mate!

“Put him in the scuppers at the lee rail. With the captain’s teddy bear,” replied the bosun

So, they put him in the scuppers, and all hands were finally on deck. Some were prone, but all were there until a rogue wave washed drunk dave and the soggy bear away.

I’m sure you noticed the problems when reading the above example.  I have several times been asked to edit work with problems of that magnitude. I respectfully declined the job. No editor has the time to teach a writer how to write.

The one place where the fundamental laws of grammar are allowed to deviate from the norm is in conversation. But even conversations have quantum laws we must follow.

I didn’t make these rules – readers make the rules because their ability to suspend disbelief is the universe we are writing to.

Alfred Hitchcock quote re dialogueCreating memorable characters is the goal of all authors. After all, who would read a book with bland and uninteresting dialogue? Dialogue is where most information is given to the characters and the reader. However, when we are just beginning to write, many of us are confused about how to punctuate conversations. It’s not that complicated. Here are four rules to remember:

Rule 1: Surround everything that is spoken with quotation marks. “I’m here,” Loretta said.

Begin and end the dialogue with “double quotes.” These are called closed quotes. All punctuation goes inside the quotation marks. This is a universal, cast-iron rule that we must follow.

Rule 2: When quoting someone else as part of a conversation, you should set the quoted speech apart with single quotes (apostrophes, inverted commas) and keep it inside the closed quotes.

You can do this in two ways:

  • George said, “When I asked her, Tammy replied, ‘I can’t go.’ But I’m sure she was lying.”
  • George said, “When I asked, Tammy replied, ‘I can’t go.'”

Note that in the second sentence, 3 apostrophes are placed after the period (full stop): 1 apostrophe and 1 double (closed) quote mark. This is in keeping with the rule that all punctuation goes inside the quotation marks in dialogue.

Indirect dialogue is a recapping of a conversation.

  • When asked, George said Tammy couldn’t go.

We don’t use quotes in indirect dialogue. Also, in the above sentence, the word that is implied between said and Tammy.

Rule 3: Commas—Do not place a period between the closed quotes and the dialogue tag. Use a comma because when the speech tag follows the spoken words, they are one sentence consisting of clauses separated by a comma: “I’m here,” she said.

  • When leading with a speech tag, the commas are placed after the tag and are not inside the quotation marks: She said, “I’m here.”
  • Dialogue that is split with the speech tag is all one sentence: “The flowers are lovely,” she said, “but they make my eyes water.” Note that the first word in the second half of the sentence is not capitalized.

Rule 4: When a speaker’s monologue must be broken into two paragraphs, lead off each with quotation marks but only put the closed quote at the end of the final paragraph. A wall of dialogue can be daunting in a story but sometimes happens in essays and when quoting speeches.

Elmore Leonard quote re dialogueWhen you envision your characters in conversation, you must think about what the word natural means. People don’t only use their words to communicate. Bodies and faces tell us a great deal about a person’s mood and what they feel.

Actions (also called beats) serve to punctuate the dialogue, give the scene movement, and maintain a strong mental picture in the absence of description.

George turned away, his expression cold. “She can’t go.”

These small actions can show a character’s mood and are often best placed where there is a natural break in the dialogue. They’re an effective tool and are essential to good conversations, but don’t rely entirely on them.

Just remember, certain facial actions are physically impossible to do while speaking. In life, they happen just before or after the words are spoken.

Try smiling and speaking at the same time. Or, try snorting the words out—it isn’t a pretty picture. Snorting=air goes in through the nose. Speaking=air goes out through the mouth.

They can be done at the same time—but it’s ugly.

Write those actions this way:

“Oh, she would say that.” Jane snorted.

“I love roses.” Tammy smiled. “But they make my eyes water.”

We do need speech tags of some sort. Nothing is worse than trying to figure out which character said what. I suggest using simple dialogue tags, like said or replied. Getting too creative with speech tags can cause the reader to stop reading out of disgust.

Even worse is when the action upstages the dialogue. The dialogue can fade into the background, obscured by the visual noise of the characters’ movements and facial expressions.

writng_dialogue_LIRFFor this reason, we don’t want to inject an excess of flushing, smirking, eye-rolling, or shrugging into the story. Those actions have a specific use in conveying the mood, but anything used too frequently becomes a crutch.

We must be creative, but speech tags must be unobtrusive. Achieving this balance is the hardest part of being an author.

To summarize, grammar and punctuation serve the same purpose as gravity, giving shape to the story and forming it into a familiar, identifiable structure.

Conversations, both spoken and internal, light up and illuminate the individual parts of the story, bringing the immensity of the overall story arc down to a personal level.

Good conversations and mental dialogues bring characters to life and turn them into our closest friends. The laws of grammar sometimes break down when our characters are speaking naturally.

But on the quantum level, punctuation is hard at work, holding the written universe together.

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July 7, 2021 · 6:00 am

Fundamentals of Grammar: seven basic rules of punctuation #amwriting

Mark Twain famously said, “If it’s your job to eat a frog, it’s best to do it first thing in the morning. And if it’s your job to eat two frogs, it’s best to eat the biggest one first.”

MarkTwainEatAFrogQuotLIRF04042021Many authors  are just beginning their careers and trying to self-edit their NaNoWriMo manuscript. The problem is, they don’t know how to write a readable sentence or what constitutes a paragraph. If they are hoping to find an agent or self-publish, they have a big, ugly job ahead of them.

Most public schools in the US don’t go into depth in teaching creative writing, so the majority of students leave school with only a cursory understanding of basic mechanics.

We know good writing when we read it, but when we are just starting out, getting our thoughts onto paper so others enjoy it eludes us.

Learning to write in your native language involves work and means you must educate yourself. As Twain would say, this is a multi-frog task.

The biggest frog to swallow is gaining an understanding of basic punctuation.

Punctuation is the traffic signal that keeps the words flowing and the intersection manageable.

Trying to learn from a grammar manual can be complicated, but I learned by reading the Chicago Manual of Style, which is the rule book for American English. Most editors refer to this book when they have questions.

However, you don’t need to know everything that is in that book, because the basic rules are simple. If you know these seven laws, your writing will pass most editors’ tests.

What follows is a quick guide, a “How-To Guide for Basic Punctuation.”

Punctuation seems difficult because some advanced usages are open to interpretation. In those cases, how you habitually use them is your voice. Nevertheless, the foundational laws of comma use are not open to interpretation.

If you consistently follow these rules, your work will look professional.

First:  Let’s get two newbie mistakes out of the way:

  1. Never insert commas “where you take a breath” because everyone breathes differently.

  2. Do not insert commas where you think it should pause because every reader sees the pauses differently.

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.

Second: Commas join two independent but related clauses.

The independent clause is a complete standalone sentence.

  • Edward worships the ground I walk on, but his adoration tires me.

Dependent clauses are unfinished and can’t stand on their own. Join them to the sentence with a conjunction.

  • Edward worships the ground I walk on and brings me my coffee. (And is a conjunction, a joining word.)

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-spliceComma Splice:

Boris kissed the hem of my garment, the dog likes to ride shotgun.

The dog has little to do with Boris, other than the fact they both worship me. The same thought, written correctly:

Boris kissed the hem of my garment.

The dog likes to ride shotgun.

The dog riding shotgun is an independent clause and does not relate at all to Boris and his adoration of me and should be in a separate paragraph. If you want Boris and the dog in the same sentence, you must rewrite it: Boris and the dog worship me, and both like to ride shotgun.

Third: A semicolon in an untrained hand is a needle to the eye of the reader. Use them only when two standalone sentences or clauses are short and relate directly to each other.

Some people (and Microsoft Word) think they signify an extra-long pause but not a hard ending. The Chicago Manual of Style says that belief is wrong. DON’T blindly accept what Spellcheck tells you!

Semicolons join short independent clauses, which can stand alone but which relate to each other. These are short sentences that would be too choppy if left separate.

  • The door swung open at a touch. Light spilled into the room.
  • The door swung open at a touch; light spilled into the room.
  • The door swung open at a touch, and light spilled into the room.

All three of the above sentences are technically correct. The usage you habitually choose is your voice. I usually suggest avoiding semicolons except under those circumstances, as they’re the gateway to run-on sentences.

When do we use semicolons? Only when two clauses are short and are complete sentences that relate to each other.

If the independent clauses don’t relate to each other, revise that passage. Use common sense and rewrite them, so they aren’t choppy. An example of a semicolon done wrong:

Boris attempted to kiss the hem of my garment; my boot was in his face.

The first clause is one whole idea: Boris adores me. The second clause is an entirely different idea: my boot was someplace inconvenient.

Two separate standalone clauses done right, assuming the mention of my boot is essential:

Boris attempted to kiss the hem of my garment, but my boot was in his face.

I don’t dislike semicolons as some editors do, but I generally try to find alternatives to them. I think they are too easily abused because Microsoft Word and most people don’t know how to use them.

Fourth: Colons. These head lists but are more appropriate for technical writing and are rarely needed in narrative prose.

Fifth:  Oxford commas, also known as serial commas. This is the one war authors will never win or find common ground, a true civil war. When listing a string of things in a narrative, we separate them with commas to prevent confusion. I like people to understand what I mean, so I always use the Oxford Comma/Serial Comma.

If there are only two things (or ideas) in a list, they do not need to be separated by a comma. If there are more than two ideas, the comma should be used as it would be used in a list.

We sell dogs, cats, rabbits, and birds.

Why we need clarity:

I accept this Nebula award and thank my parents Ralf and Maggie Jasperson and Poseidon.

Rumors abound regarding my demigoddess-like beauty and possibly heroic background. Could Poseidon be my father? Mother refused to talk about it, so the mystery remains unsolved. However, a comma after Jasperson would eliminate confusion.

virtually golden medallion of mayhem copyI accept this Nebula award and thank my parents, Ralf and Maggie Jasperson, and Poseidon.

Sixth: We use a comma after common introductory clauses.

After dark, Boris would change into his bat form and go hunting for insects.

Seventh: Punctuating dialogue: All punctuation goes inside the quote marks.

  1. A comma follows the spoken words, separating the dialogue from the speech tag.
  2. The clause containing the dialogue is enclosed, punctuation and all, within quotes.
  3. The speech tag is the second half of the sentence, and a period ends the entire sentence.

“I agree with those statements,” said the editor.

The editor said, “I agree with those statements.”

What do these seven rules mean? Punctuation tames the chaos that our words can become. It is the universally acknowledged traffic signal, signifying a pause or a joining to the reader.

If you follow these seven simple rules, your work will be readable. If your story is stellar, it will be acceptable to acquisitions editors.

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November 11, 2019 · 6:00 am

Interrobangs and other Mutant Morsels of Madness #amwriting

Writers at the beginning of their career often get into the habit of using punctuation as a kind of shorthand. They tell us “This is dangerous!” “She was mad!” or “This is funny!”

When we are in the midst of writing the first draft of a story, we don’t notice how frequently we use the exclamation point to convey excitement and urgency.

But that habit must be addressed in the revision process. Making too free with the power punctuation makes the narrative too breathless, or in the case of ellipses, too slow and halting.

When prose is well-written, it conveys the excitement of the moment without force. A good author doesn’t resort to creating excitement with the overuse of exclamation points as this makes the narrative feel frantic.

It tells the reader what to think, rather than showing them a scene that is exciting.

When I am laying down the first draft, I am just as guilty of filling the manuscript with exclamations, em dashes, and ellipses as anyone. I am in a rush to get the ideas down on paper.

In reality, we only need one or two morsels of power punctuation per page. The way you have set the scene combined with the dialogue itself should convey the tension without your having to sprinkle the narrative with loud, proud punctuation.

The common, garden-variety period or comma will usually serve the situation well and won’t throw the reader out of the book. When we think about how to shape a scene with words, the punctuation we use won’t be a needle in the eye of the reader.

But what about !?  These mutant morsels of madness are called “interrobangs.”

Editors working in the publishing industry will tell you that the interrobang is not an accepted form of punctuation for anything but comic books, manga, and possibly, text messages to your BFF.

Think about it: comic books show events and emotions by combining pictures with as few words as possible to tell the story.

Writers of comics frequently employ interrobangs because they are limited on space. They use creative punctuation as a shorthand for the reader.

It’s your narrative, so of course, you will do as you see fit. However, more than one punctuation mark at the end of a sentence is not accepted in literature of any genre but comic books. Thus, interrobangs are a writing habit the professional writer will avoid if they want to be taken seriously.

If you choose to include the interrobang in your work, don’t be surprised if you receive negative feedback from your beta readers or writing group. To be seen as a professional, you must write as professionally as you are able.

As writers, our intention is to immerse the reader in the story, not blow them out of the manuscript. Unfortunately, power punctuation used too freely becomes a bludgeon, beating the reader with how exciting it all is.

We subconsciously use the exclamation point as a shorthand. They are signals for us to expand on in the second draft. When we make revisions, we remove the loud punctuation and reshape these telling scenes so that they become showing scenes. We search for the right words to show the emotion of the moment and use unobtrusive punctuation.

But how do we convey excitement if we’re not allowed to use enough exclamation points?

A great resource for ideas on how to convey strong emotions without telling the reader what the character is feeling is The Emotion Thesaurus: A Writer’s Guide to Character Expression by Angela Ackerman and Becca Puglisi.

When you submit a manuscript to a contest or publisher, they will look at your knowledge of mechanics and grammatical style first. If you look like an amateur, your work goes straight into the rejection pile.

In writing, “mechanics” is the term used for how the rules of grammar and style are applied to the kind of work you are writing.

The rule is that all sentences should have only one punctuation mark to signify the end.

“Ahah!” you say. “What about the ellipsis?”

The ellipsis is not punctuation. It is the accepted symbol signifying words that have been omitted.

When the ellipsis falls at the end of the sentence, it should be three dots followed by the required punctuation.

  • If the ellipsis falls at the end of a sentence in dialogue, use a comma at the end of it followed by a speech tag. “But, my dog…,” Annie said.
  • If no speech tag is used, employ a period, question mark, etc. “But, my dog….” Annie’s brow furrowed.

This is because the ellipsis at the end of a sentence symbolizes unspoken words, trailing off.

The Chicago Manual of Style says:

Use an ellipsis for any omitted word, phrase, line, or paragraph from within a quoted passage. There are two commonly used methods of using ellipsis: one uses three dots for any omission, while the second makes a distinction between omissions within a sentence (using three dots: . . .) and omissions between sentences (using a period and a space followed by three dots: . …). An ellipsis at the end of a sentence with no sentence following should be followed by a period (for a total of four dots).

Once again, I emphasize that we use the Chicago Manual of Style  as our grammar reference guide if we are writing fiction and intend to publish it. The Chicago Manual of Style is written specifically for writers, editors, and publishers and is the publishing industry standard. All the editors at the major publishing houses own and refer to this book when they have questions.

If you develop a passion for words and the ways in which we bend them, as I have done, you could soon find your bookshelf bowing under the weight of your reference books. Writing is not a one-size-fits-all kind of occupation. No style guide will fit every purpose, but the Chicago Manual of Style comes closest.

If you want to symbolize cut off words, the em dash at the end of a sentence does the job, and in that case, no punctuation is needed.

Consider the following quote from A Dog’s Tale by Mark Twain. In this case, you do not add punctuation:

It did seem to me that life was just too lovely to—

In writing fiction, when it comes to punctuation, these rules have no exceptions:

  • Exclamation points must be used sparingly, or they lose their effectiveness.
  • Ellipses symbolize omitted words and are not punctuation, so when the conversation trails off, you must add ending punctuation. My God, I thought. What…?
  • Em dashes can either set off phrases—like this—or if used at the end of a sentence an em dash can indicate cut off words, like—

Exclamation points, em dashes, and ellipses are like speech tags. They are necessary, but simplicity is the key to making them unobtrusive. Generally, dialogue worded powerfully, along with the way you visualize and then show the attitude of the characters and their situation will serve to convey the emotions.

When it comes to punctuation, you can choose to tell or show. How you choose to blend showing and telling is what makes your voice unique.

Sources and Attributions:

The Chicago Manual of Style (16th ed.), page 639 sections 13.51 – 13.55 The Chicago Manual of Style 16th edition text © 2010 by The University of Chicago.

The Chicago Manual of Style (16th ed.), page 334 Section 6.84 Em dashes to Indicate Sudden Breaks, The Chicago Manual of Style 16th edition text © 2010 by The University of Chicago. Fair Use.

A Dog’s Tale,  by Mark Twain. © 1904 Harper & Brothers, via Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=A_Dog%27s_Tale&oldid=769178379 (accessed May 16, 2017).

Power Punctuation by Connie J. Jasperson was first published here on Life in the Realm of Fantasy on May 17, 2017 and has been revised and re-edited.

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January 28, 2019 · 6:00 am

Chaos Theory, Commas, and Basic Punctuation #amwriting

Punctuation and the fundamentals of how to use it can be confusing for many new writers. Most grammar books and style guides are difficult to understand and seem intimidating. What follows is only a quick guide, a “How-To Guide for Basic Punctuation.”

The many convoluted laws of grammar can make the literary universe a chaotic place. Commas can be tricky because some applications are open to interpretation. However, the most basic laws of comma use are not open to interpretation.

Two things we never do:

  1. Never insert commas “where you take a breath” because everyone breathes differently.
  2. Do not insert commas where you think it should pause, because every reader sees the pauses differently.

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.

The Fundamental Laws of Commas:

Commas join two independent clauses. The independent clause is a complete stand-alone sentence.

  • Boris worships the ground I walk on, but his adoration tires me.

Dependent clauses are unfinished and can’t stand on their own. They should be joined to the sentence with a conjunction.

  • Boris worships the ground I walk on and brings me my coffee.

You do not join 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: Boris kissed the hem of my garment, the dog likes to ride shotgun.

The dog has little to do with Boris, other than the fact they both adore me. The same thought, written correctly: Boris kissed the hem of my garment. The dog likes to ride shotgun.

Comma splices? Don’t do it! The universe will grind to halt, and everyone will die, and it will be your fault.

Would it be better if we used a semicolon? No. That would create a nuclear holocaust of the literary persuasion.

The dog riding shotgun is an independent clause and does not relate at all to Boris and his adoration of me.

I have said this before, but semicolon in an untrained hand is a needle to the eye of an editor.

Remember: Semicolons join independent clauses, which are clauses that can stand alone, but which relate to each other.

Your best bet is to avoid using them except under extreme duress as they can create some lo-o-o-o-ong, run-on sentences.

But what if you absolutely, positively have to use a semicolon, or your skin will melt? Trust me, it won’t happen, but there are rules for using this type of punctuation, and the wise author will follow them:

Two clauses that are joined together with a semicolon should be

  • complete sentences that relate to each other
  • if they don’t relate to each other, make them separate sentences and reword them so they aren’t choppy.

Two separate ideas done wrong: Boris attempted to kiss the hem of my garment; my boot was in his face.

The first sentence is one whole idea—Boris adores me. The second sentence is a completely different idea—my boot was someplace inconvenient.

Two separate ideas done right, assuming the mention of my boot is important: Boris attempted to kiss the hem of my garment, but my boot was in his face.

I don’t dislike semicolons as some editors do, but I generally try to find alternatives to them. I think they are too easily misused because people forget the simple rule:

Semicolons (;) should be used only when two stand-alone sentences or clauses are really short and relate directly to each other.

We like people to understand exactly what we mean, so we ALWAYS use the Oxford Comma, also known as the Serial Comma.

If there are only two things (or ideas) in a list, they do not need to be separated by a comma. If there are more than two ideas, the comma should be used as it would be used in a list.

Dogs, cats, rabbits, and birds.

Colons (:) head lists but are never to be used in the literary narrative, so YES, we DO use serial commas to prevent confusion when we are listing things. You’ve all seen the memes—and you’ve heard the arguments.

On a personal level, I do love cooking my pets and my family. (But not in the same pot.) They’re happy that I use serial commas. Argue against the Oxford comma all you want–you will never change my mind.

I want to thank my parents, Ralph and Maggie Johnson and Poseidon.

Although the dog thinks I’m a goddess, I am not really the daughter of Poseidon. Parents, when named, are a single unit. A comma after Johnson would eliminate confusion.

We use a comma after most common introductory clauses.

After dark, Boris would change into his bat form and go hunting for insects.

To wind that up, commas tame the chaos that our words can become. They are the traffic signals, signifying a pause or a joining.

>Periods, also called full stops, end sentences.

In dialogue, all punctuation goes inside the quote marks. A comma follows the spoken words, separating the dialogue from the speech tag, and the period (or question mark, or exclamation point) ends the sentence.

“I agree,” said the editor.

If you follow these simple rules, your work will be readable. 

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January 16, 2019 · 6:00 am

Honesty in Writing #amwriting

As writers, we are entertainers. We write books for people who want a diversion from the daily grind. No matter what the subject or genre is, we write escapes, windows into other lives, other places, other realities. When we offer the book to the public, we hope the reader will stay with us to the end, hope they find the same life in the narrative that we thought we were imparting when we wrote it.

This can only happen if we are honest. When I first started out, I wrote poetry, lyrics for a heavy metal band. I was young, sincere, and convinced I had to impart a message with every word. I didn’t know until twenty years later when I came across my old notebook—my poems weren’t honest. I wasn’t honest with myself, and when I looked back at my work, I could see the falseness clearly. My words were contrived, formed too artfully. They shouted, “Look at me! I’m young and full of angst, but I’m talented and artsy!”

When I began writing stories for my children, I still wrote crap, but it was honest crap. I no longer had anyone to impress—children are never impressed by parents who write. They are also quite honest about where a story fails to impress them, and why. I began to write fairy tales that were honest, but not written by an educated author.

With that as my training ground, learning how to make my writing enjoyable became a goal. It was there that I discovered that, besides writing honestly, an author needs to be consistent with punctuation. I had no idea I was uneducated—after all, I had done well in school.  Even so, I had to re-learn the fundamentals of American English grammar because my first real editor pointed out that I hadn’t retained much of what I was taught in elementary school.

As Ursula K. LeGuin said in her wonderful book, Steering the Craft, A 21st Century Guide to Sailing the Sea of Story, “If you aren’t interested in punctuation, or are afraid of it, you’re missing out on some of the most beautiful, elegant tools a writer has to work with.”

My rule is to embrace what I fear, so I embraced grammar. I’m not perfect, but I make an effort.

I have always been a reader, enjoying books in every genre and style.  While the books I love are scattered all across the spectrum, they have one thing in common—they are all written by authors with an understanding of the basic rules of punctuation. Sure, they break other rules of grammar with style and abandon, but they do pay attention to punctuation.

This is because punctuation is the traffic signal telling the reader to go, slow, pause, yield, go again, or stop. Punctuation at most of the right places allows the reader to forget they are reading and encourages them to suspend their disbelief.

Writers begin as readers. In his book, On Writing, Stephen King gives us permission to read for six hours a day, should we so desire. Reading is how we come to understand writing and the art of story. (He also admonishes us to learn the fundamentals of punctuation and grammar.)

In my quest to understand the art of story I have come across some pretty awful books. I don’t consider “hard to read because it is written in an old-fashioned style” awful. However, I do consider “hard to read because the author wasted my time” awful.

Contrived prose is not poetic. Hokey and forced situations are not exciting. Perfectly beautiful people bore me. Long passages about clothing and furnishings bore me.

Write me an honest story about “real” people with real problems, one that comes from your deepest soul. Set it in outer space, or the Amazon Jungle—I don’t care. I read all genres and all settings. I will forgive imperfect grammar and punctuation for a great story that rings of truth and touches my heart.

Let me sink into your story. Let me forget the world—let me become so into the book I forget to cook dinner.

Credits and Attributions:

Quote: Ursula K. LeGuin, Steering the Craft, A 21st Century Guide to Sailing the Sea of Story, ©1999 Ursula K. LeGuin, First Mariner Books Edition 2015, page 11.

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November 7, 2018 · 6:00 am

Power Punctuation Revisited #amwriting #NaNoWriMo

An interesting conversation occurred in one of the many writers’ forums I frequent on Facebook, a discussion of the use of the ‘interrobang’ in modern literature. When the discussion was over, several new-to-the-craft writers lay dead on the floor, and two editors were blue in the face.

Okay, the writers weren’t actually dead unless acute embarrassment is a terminal condition. (Give me a break—I’m an author, and I write fiction.) However, I’m pretty sure the editors were blue in the face.

Anyway, most editors agree that the interrobang is not an accepted form of punctuation for anything but comic books, manga, and possibly, text messages. I thought about writing a new post on the subject, but instead, I have decided to be environmentally friendly and recycle this perfectly good post from May of 2017.

Enjoy!

A little power is a dangerous thing, and certain punctuation has power.

Exclamation points!

Em dashes—

Ellipses…

These are all wonderful, fun things to play with, but making too free with the power punctuation makes the narrative too breathless, or in the case of ellipses, too slow.

When prose is well-written, it conveys the excitement of the moment without force. A good author doesn’t resort to creating excitement with the overuse of exclamation points as this makes the narrative feel frantic. It tells the reader what to think, rather than showing them a scene that is exciting.

When I am laying down the first draft, I am just as guilty of filling the manuscript with exclamations, em dashes, and ellipses as anyone. I am in a rush to get the ideas down on paper.

This is a subconscious shorthand for the second draft, which is where I take those telling scenes and show them.

I do a global search for exclamation points, ellipses, and em dashes. At each one, I examine the scene. Nine times out of ten, I reword it to show the action and change the power punctuation to a period. Many times I find the em dash or ellipsis was not needed.

Exclamation points, em dashes, and ellipses are like speech tags. They are necessary, but simplicity is the key to making them unobtrusive. Generally, dialogue worded powerfully, along with the way you visualize and then show the attitude of the characters and their situation will serve to convey the emotions.

When it’s done right, you will only need one or two morsels of power punctuation, and the punctuation you use won’t be a needle in the eye of the reader. The common, garden-variety period or comma will usually serve the situation well and won’t throw the reader out of the book.

All punctuation has its place and should be used appropriately. For the most part, the way you have set the scene combined with the dialogue itself will convey the tension without your having to sprinkle the narrative with power punctuation.

I suggest you do a global search and change most of them to a period.

But what about !?  These mutant morsels of madness are called “interrobangs.”

Comic books frequently employ interrobangs, generally because the authors are limited on space for narrative and use creative punctuation as a shorthand. They do this as a way of telling the story.

It’s your narrative, so of course, you will do as you see fit. However, the exclamation point before a question mark is not accepted punctuation in literature of any genre but comic books, so don’t be surprised if you receive negative feedback in reviews. Interrobangs are a writing habit the professional writer will avoid if they want to be taken seriously.

Peppering the narrative with exclamation points and interrobangs is a form of telling the reader “this is exciting” as opposed to showing the excitement. We want to immerse the reader, not blow them out of the manuscript.

Power punctuation used too freely becomes a bludgeon, beating the reader with how exciting it all is.

A great resource for ideas on how to convey strong emotions without telling the reader what the character is feeling is The Emotion Thesaurus: A Writer’s Guide to Character Expression by Angela Ackerman and Becca Puglisi.

All sentences should have only one punctuation mark to signify the end. “Ahah!” you say. “What about the ellipsis?”

When the ellipsis falls at the end of the sentence, it should be three dots followed by the required punctuation.

  • If the ellipsis falls at the end of a sentence in dialogue, use a comma at the end of it followed by a speech tag. “But, my dog…,” Annie said, her brow furrowed.
  • If no speech tag is used, employ a period, question mark, etc. “But, my dog….” Annie’s brow furrowed.

This is because the ellipsis at the end of a sentence symbolizes unspoken words, trailing off. The ellipsis is not punctuation.

The em dash at the end of a sentence symbolized cut off words, so no punctuation is needed.

This is what the Chicago Manual of Style says:

Use an ellipsis for any omitted word, phrase, line, or paragraph from within a quoted passage. There are two commonly used methods of using ellipsis: one uses three dots for any omission, while the second makes a distinction between omissions within a sentence (using three dots: . . .) and omissions between sentences (using a period and a space followed by three dots: . …). An ellipsis at the end of a sentence with no sentence following should be followed by a period (for a total of four dots).

Once again, I emphasize that we use the Chicago Manual of Style  as our grammar reference guide if we are writing fiction and intend to publish it. The Chicago Manual of Style is written specifically for writers, editors, and publishers and is the publishing industry standard. All the editors at the major publishing houses own and refer to this book when they have questions.

If you develop a passion for words and ways in which we bend them, as I have done, you could soon find your bookshelf bowing under the weight of your reference books. Writing is not a one-size-fits-all kind of occupation. No style guide will fit every purpose, but the Chicago Manual of Style comes closest.

However, some things are universal:

Exclamation points must be used sparingly.

Ellipses symbolize omitted words and are not punctuation, so when the conversation trails off, you must add ending punctuation. My God, I thought. What…?

Em dashes can either set off phrases—like this—or if used at the end of a sentence an em dash can indicate cut off words. Consider the following quote from A Dog’s Tale by Mark Twain. In this case, you do not add punctuation:

It did seem to me that life was just too lovely to—

It is your task to write the narrative so that it shows the character’s emotions. Their eyes will widen, or their mouth will drop open, or they will stop and stare. When it comes to punctuation, do you tell, or do you show?

You make the decision, but I see the interrobang and the overuse of the exclamation point as if they were too much seasoning. They are strong flavors that can ruin the taste of the narrative.

Sources and Attributions:

Power Punctuation by Connie J. Jasperson was first published here on Life in the Realm of Fantasy on May 17, 2017.

The Chicago Manual of Style (16th ed.), page 639 sections 13.51 – 13.55 The Chicago Manual of Style 16th edition text © 2010 by The University of Chicago.

The Chicago Manual of Style (16th ed.), page 334 Section 6.84 Em dashes to Indicate Sudden Breaks, The Chicago Manual of Style 16th edition text © 2010 by The University of Chicago.

A Dog’s Tale,  by Mark Twain. © 1904 Harper & Brothers, via Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=A_Dog%27s_Tale&oldid=769178379 (accessed May 16, 2017).

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April 26, 2017 · 6:45 am

#amwriting: demystifying the semicolon

Semicolons are misunderstood and misused bits of punctuation. Some people believe they are extra-long pauses, halfway between a comma and a (full stop) period. With that in mind, they litter their work with instances of typographical madness.

Semicolons are NOT extra-firm pauses. When writing genre fantasy, em dashes (or hyphens if you are British) serve that function. Semicolons have a different place in the universe. So now we’re going to examine the semicolon and discover what it is that they actually do.

The proper use of a semicolon is to join two short sentences that are directly related to each other, turning them into a compound sentence.

No one enjoys reading a choppy narrative because too many short sentences can be distracting and hard to get into. The way we smooth the narrative is to join short sentences into longer, compound sentences. But frequently, that creates run-on sentences. (I am the queen of those.)

SEMICOLON: Use a semicolon in place of a period to separate two complete, stand alone sentences where the conjunction has been left out. These sentences MUST be directly related to each other.

Incorrect: Call me tomorrow; if it rains. (The semicolon is not needed because “if it rains” is not a stand alone sentence. This sentence should be written: Call me tomorrow, if it rains.)

Incorrect: Call me tomorrow; the car is running in the driveway. (Each clause can stand alone but they have no relation at all to each other. They are separate thoughts completely.)

Correct: Call me tomorrow; we’ll make the arrangements then. (The conjunction and has been replaced by the semicolon.)

The key to understanding semicolons is to understand what a stand alone sentence is. A stand alone sentence consists of a subject and a verb, and expresses a complete thought:

Vera walked carefully across the rough ground.

Dogs and their owners came from all over to play in that park.

If you have sentences that express complete thoughts but make the narrative choppy, you can connect them with a conjunction: Rain had fallen. The yard was flooded. We were trapped.

Rain had fallen, and the yard was flooded, so we were trapped.

Alternatively, we could rewrite the sentences in such a way they aren’t choppy:

Rain had fallen, flooding the yard. We were trapped.

If you don’t want to use a conjunction and you absolutely must use a semicolon, or you will burst into flames, you have the legal right to do so.

Rain had fallen, flooding the yard; we were trapped.

Authors who truly believe in themselves and their work will go out of their way to learn the proper use of punctuation. Once we know the mechanics of the English language, we will use it in ways that define our vision for our work.

When we learn how punctuation functions in making our sentences flow for the reader, we begin to develop our sense of style. We begin to craft our work with intention.

As a result, our work ceases to be uneven, with occasional flashes of brilliance. It becomes engrossing, something our readers can get lost in.

However, there are some considerations for each author to ponder when it comes to the use of the infamous semicolon. For general fiction or literary fiction, semicolons are no big deal. Used properly, readers and reviewers won’t even notice them.

If you are writing in genres such as paranormal fantasy or hard science fiction, I suggest you use conjunctions or rewrite the sentences in such a way they aren’t choppy, rather than resorting to using semicolons. Some reviewers in those genres seem to despise semicolons, saying they are “archaic.” These reviewers will criticize work sprinkled with semicolons as being “too literary” (whatever that means).

Maybe they are archaic, but I doubt it. When I first began writing, I used to employ semicolons far too frequently and improperly. I had the good fortune of having an editor who was patient and happy to explain how they actually function. I bought a copy of the Chicago Manual of Style and that book is what I refer back to when I have questions about how punctuation works.

While I rarely use them myself nowadays, the semicolon is a legitimate punctuation mark, and when used correctly, it has a specific task. I suspect the many haters of this little morsel of madness are simply confused by the proper use of it, and therefore they consider it unnecessary.

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September 8, 2014 · 6:11 am

Clauses and Pauses

commaCommas–those mysterious, curving morsels of punctuation designed to contain clauses, but which, when used  irresponsibly, wreak havoc in the ordinary life of the author.

According to the wonderful website, Get it Write, there are two specific situations that call for the use of a comma before the word and:

The first instance is created when there are  three or more items in a series. This mark of punctuation is called the serial comma which I covered in a post called Comatose Ambiguity, (see link here)

“The second situation occurs when “and” is being used to coordinate two independent clauses. An independent clause—also known as a main clause—is a group of words that has a subject and a verb and can stand alone as a sentence. In the following example, the independent clauses are in brackets:

  • [Miguel took piano lessons for sixteen years], and [today he is an accomplished performer].

“The use of the comma would also apply when any of the seven coordinating conjunctions (and, but, or, nor, for, so, yet) join two independent clauses.

“Notice in the next example that we do not use a comma before “and” because it does not join two independent clauses but merely joins two verbs:

  • Miguel took piano lessons for sixteen years and today is an accomplished performer.

“Here we have only one independent clause—two verbs (“took” and “is”) but one subject (“Miguel”).” (Quoted directly from Get it Write, Sept 8, 2014)

I know this will be difficult for some to swallow, but commas do not serve as pausing places for the reader to breathe.  They join together clauses–short sentences–that would make your narrative sound choppy if they were left to stand by themselves. Take these short sentences, for instance:

Rall had seen to it that John sparred daily. He cut a swath through the ranks quickly. Even Garran had no legitimate complaints. He still needled John at every opportunity.

Each sentence  can technically stand alone, but they are boring and choppy that way.

Rall had seen to it that John sparred daily, cutting a swath through the ranks at such a rate that even Garran had no legitimate complaints, although he still needled him at every opportunity.

Another good online reference is Brian Wasko’s Write at Home Blog. His article called 7 Ways NOT to Use a Comma is good stuff. Of particular interest to this post on using commas for pauses: “The comma-by-ear method doesn’t work — at least not consistently. I inevitably inserted unnecessary commas all over the place.”

One rule he mentions (that is one of my personal weak areas) is rule number four (and I love his comments): 

4. Don’t use a comma to connect two clauses if the second clause is subordinate (i.e., dependent).

Frowny face:  Mrs. Johnson’s garden was ruined, because rabbits nibbled her cucumbers.

Smiley face: Mrs. Johnson’s garden was ruined because rabbits nibbled her cucumbers. (end quote)

I would have shot straight to sticking the comma in front of ‘because’ because it is a good place to pause. (Yep. I said because because.) (Snicker.)

Using commas for pauses is an invitation for comatose mayhem. Consider this: Every person reads aloud at a different rate and with a different cadence. If you indiscriminately throw your commas in wherever YOU think a pause should go, your prose will be filled with strange bumps in the road, because your reader won’t be pausing where YOU think they should. No matter how much of a control freak you are, you can’t force people to read the same way you do. This is why we follow common rules when using punctuation.

Commas separate independent clauses from each other and also from introductory words. In other words, they divide little sentences from each other in order to form compound sentences. 

Oh, the editorial agony.

 

 

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