FOR EDITORS, PROOFREADERS AND WRITERS

Learn how to identify glue words, hedges and qualifiers, and then explore whether they’re adding clarity and enhancing character voice, or cluttering your fiction writing.

Read on to find out more about:

• the function of glue words, hedge words and qualifiers
• whether glue words, hedges and qualifiers signal poor writing
• using glue words, hedges and qualifiers with purpose
• ​how glue words can enhance prose
• how hedge words can enhance prose
• how qualifiers can enhance prose

Glue words, hedge words and qualifiers serve different purposes and are used in different contexts, but all relate to how language functions in writing or speech. 

The function of glue words
The function of glue words is structural. They hold or glue a sentence together. By themselves they add little semantic meaning to a sentence. Examples include:

• prepositions (eg ‘with’)
• conjunctions (eg ‘and’)
• articles (eg ‘a’ and ‘the’)
• auxiliary verbs (eg ‘is’ and ‘have’).

 
​The function of hedge words
The function of hedge words is modification. They soften or limit the strength of a claim and can introduce uncertainty, speculation, caution or humility. Examples include:

• ‘I guess’
  
• ‘maybe’
  
• ‘possibly’
  
• ‘might be’
  
• ​‘probably’.

The function of qualifiers
The function of qualifiers is limitation. They narrow the meaning of another word such as a noun or adjective, and make a statement more precise. Examples include:

• ‘kind of’
• ‘almost’
• ‘pretty’
• ‘somewhat’
• ‘very’
• ‘really’
• ‘a bit’.

No, glue words, hedges and qualifiers are not  signals of poor writing, not when they’re used with purpose.

If you’re reading guidance on using these words, watch out for statements arguing bluntly that they:

• signal doubt instead of commitment
• create distance between character and emotion
• slow pace and clutter clean syntax
• reduce impact

then step back and take a breath before you start a process of obliteration.

Why? Because this kind of prescriptivism can encourage developing writers to rip the heart and soul out of a character’s voice, emotions and layered experience.  

The key is to ensure that every word on the page is working hard for you – whether it’s a glue word, a hedging word, a qualifying word, or some other language marker.

Instead of eliminating glue, hedging and qualifying words, review your sentences and consider whether these markers are:

• providing grammatical structure
• supporting character voice
• making dialogue sound more natural
• capturing subtext
• enhancing variances in rhythm.

Let’s look at an example of how glue words can enhance a piece of prose:

This paragraph has multiple glue words including ‘was’, ‘that’, ‘despite’, ‘the’, ‘to’, ‘but’ and ‘and’. Think of them as the cement that holds the prose together, ensuring that the prose maintains a smooth syntactic flow even when internal thought becomes more fragmented or reflective.
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But note also the rhythmic tool in play in the final clause – the use of multiple gluing conjunctions (polysyndeton) to show rather than tell Lex’s overwhelm as she looks at the report.

Glue words can therefore go beyond their structural function. They can also be used as a literary mechanism to evoke mood and emotion.

The example also contains instances of hedging language including ‘might have said’, ‘somewhat’ and ‘might be’.

These hedges reflect Lex’s tentativeness in terms of her dad’s opinion, the prosecutor’s strategy and her own self-judgement about her positivity, and this helps readers understand how she bends towards reflection and uncertainty.

The language also helps the writer convey a more realistic voice that carries nuanced emotional conflict. Lex is trying to be rational but her doubt is intruding. Through this, readers are shown how people rarely speak or think in absolutes.

The qualifiers in the excerpt adjust the meaning of the words they modify to give reads more emotional texture.

• ​​‘pretty’ reduces the strength of ‘sure’.
• ‘almost’ tempers ‘certainly’.
• ‘a little’ shows how Lex is trying to downplay her own negativity.
• ‘really’ adds emphasis to her self-analysis.
• ‘Very’ acts as a clipped intensifier that introduces a nudge towards mild humour and irony’
• ‘somewhat’ softens ‘glass half full’.

Overall, the interplay of glue words, hedges and modifiers creates a narrative tone that avoids the extremes of melodrama or stoicism, and instead takes a middle ground that deepens our understanding of Lex as introspective, thoughtful, quietly resigned and gently self-critical.

Glue words, hedge words and qualifiers can be effective writing devices when they’re used with purpose.

Don’t ditch yours without first analysing them so you understand whether they’re working for your prose.

If they’re just adding to your word count needlessly, remove or rework them. However, if they’re providing your characters with emotional complexity and intelligence, and enhancing the structure, flow and mood of your sentences, embrace them!

• Start Crime Fiction Editing: multimedia course
• Editing Fiction at Sentence Level: book
• Fiction editing line craft: books
• How to Line Edit for Suspense: multimedia course
• How to Write the Perfect Editorial Report: multimedia course
• Narrative Distance: multimedia course
• Resource library
• Switching to Fiction: multimedia course​

Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.

• Get in touch: Louise Harnby | Crime Fiction & Thriller Editor
• Connect: X @LouiseHarnby, Facebook and LinkedIn
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Words are the professional editor’s business, yet the ones we use in the course of discussing how we apply our craft are all too often prescriptive.
​
This post looks at problematic language, the messages it might unintentionally convey, and how we can talk about the editorial conundrums we come across without judgement.

Most editors, however experienced, encounter conundrums in their work that lead to their seeking advice from colleagues. Too often, the language of prescription is used to frame questions:

• ‘What’s the correct way to punctuate this sentence?’
• ‘Is the grammar in this sentence right?’
• ‘What’s APA’s rule for hyphenating [...]?’

The problem with notions such as ‘right’, ‘correct’ and ‘rule’ is that they’re loaded. The implication is that there’s one way – a best way – to write and to edit.

In reality, there are multiple ways to punctuate a sentence, each of which could alter its flow and rhythm in nuanced ways.
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There are multiple Englishes, too, each with grammatical and syntactical structures that vary from region to region within nations as well as from country to country.

And there are multiple style guides that express particular preferences.

All of which means there is no ‘correct’ way to punctuate a sentence, no ‘right’ grammar, and no ‘rule’ on hyphenation. What there are instead are conventions and choices that that can be implemented or ignored.

Instead, we could ask:
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• ‘How can I punctuate this sentence to convey urgency? The author’s used commas but I’m wondering if spaced en dashes would be effective.’
• ‘Is the grammar in this sentence distracting or is the sense clear? The narrator is from [...] but I’m not.’
• ‘What’s APA’s preference for hyphenating [...]?’

The artistry of editing lies in helping the client craft prose in which the meaning is clear and interpreted as intended by readers. Embedding that principle – rather than the language of rights and rules – ​in the way we talk about our work means we’re more likely to think descriptively rather than prescriptively.

There are myriad standards and conventions in language, ones that determine the following for example:

• How words are spelled in various Englishes 
• How dialogue is punctuated 
• Whether a term is hyphenated
• How apostrophes convey possession or omission 
• Whether to place full points after contracted forms 
• Whether the first paragraph in a section is indented or not
• The grammatical structure of a sentence
• How verbs are conjugated

When we come across writing that doesn’t conform to these standards and conventions, some of us choose to refer instead to ‘non-standard’ language and ‘breaking from convention’ so as to avoid the judgement embodied in terms such as ‘right’, ‘best’, ‘correct’ and ‘rule’. 

It’s been my preference because I felt it was more neutral and framed the issue around reader expectation rather than my own lived experience of language. 

And that’s something I’ve been thinking about.

Why? Because these terms, too, need to be used with caution. We need to be aware that while standards and conventions help readers make sense of the written and spoken word, they are created and enforced by those with advantage, those who have the power to deem them as standard and conventional in the first place, and to assert their primacy. 

That doesn’t make those standards and conventions better; it just means those who define them are in a position to do so. It also means that prose can be just as rich when those standards and conventions are ignored or flexed.

Individuals and organizations have preferences. For example, the Chartered Institute of Editing and Proofreading (CIEP), the University of Chicago Press and the American Psychological Association each have style guides that record their preferences for myriad stylistic decisions.
​
Mindful editing means remembering that these preferences aren’t ‘right’ or ‘better’. They’re certainly not rules. Even Oxford’s New Hart’s Rules isn’t a rulebook! Rather, these are useful guides that help editors and authors bring clarity and consistency to writing.

However, editors – particularly those working on creative texts – need to be ready to bend when character and narrative voice would be damaged by prescriptive application of a style guide.

As for those of us working on texts that deal with identity and representation, we need to be ready to question the advice in a published style guide; it might be behind the curve.

If we use the language of ‘right/’wrong’, ‘correct’/’incorrect’ and even ‘standard’/’non-standard’ when we talk to other editors about our work, there’s a risk that this will leak into the way we convey solutions to our clients, even into the way we edit their work.

An author might not write in sentences that follow grammar, spelling and punctuation conventions, but that in no way means they’re a poor crafter of prose. Perhaps the way they lay down words is because they haven’t learned our conventions. Or perhaps they’ve actively chosen to ignore those conventions because that style of language doesn’t suit their character and narrative voices.
​
The mindful editor needs to recognize and respect both scenarios. Understanding which one is in play is critical because it will determine whether and which amendments are suggested, and why.

Here’s an example that demonstrates how an author has chosen to craft a narrative that favours voice over ‘standard’ English now and then in order to reduce the distance between the narrator-protagonist and the reader.
​
These excerpts are from the opening chapter of Imran Mahmood’s You Don’t Know Me (pp 4–5; Penguin, 2017).

Are the words I placed in bold ‘incorrect’ or ‘wrong’? That’s a judgemental approach that implies there’s a single perfect, right way to write and speak English. There isn’t.

Are the terms ‘non-standard’? To my ear, yes, some of them are, but that’s because I’m a 54-year-old middle-class white woman raised in Buckinghamshire, England, who was taught how to write and speak according to a standard dreamt up by … actually, I’m not sure who dreamt up the standard but it was probably someone who looked, spoke and was educated quite a lot like me and had the advantages I have.

Rather than thinking about these excerpts in terms of whether some of the words are non-standard or standard, instead we can evaluate them in terms of voice. Rich, evocative voice.

Our first-person narrator has been accused of murder and has elected to defend himself. As the blurb on the back cover says: ‘He now stands in the dock and wants to tell you the truth. He needs you to believe him. Will you?’

Actually, it’s his authentic voice that draws me – a 54-year-old middle-class white woman raised in Buckinghamshire, England – deep into his psyche so that I can see and hear him as if we are one. And that means I can root for him, invest in him, care about him, believe him.

Thinking about that narrative in terms of whether it’s ‘correct’ or ‘right’ would be butchery. To apply a digital red pen to it would be a crime.

And even those of us who might apply the term ‘non-standard’ to the emboldened words must acknowledge that such prescription is based purely on our own lived experience of English – how we write, how we speak, and what we were taught. That doesn’t make our way of speaking and writing better or worthier.

When story and characters drive language, readers will come along for the ride, regardless of their lived experience. When prescriptivism is behind the wheel, readers will disengage and find a different journey to take.

An error is a mistake. We all make them when we’re writing – because we don’t know what the conventions are, because we’re focusing on meaning rather than mechanics, or because our fingers are typing so fast.

Regardless, the focus here is on intention, and for that reason there are times when it’s appropriate for the editor to use the term ‘error’.

When editors are tasked with finding errors, they’re looking for what wasn’t intended in that particular project. Take a look at these four examples:

• “Are the autopsy results in yet?’ Milburn asked.
• Xe put xyr pen on the table and frowned. No way was he letting that one pass.
• She hears him clearly – banging on again about how their from out of town and don’t know their way around.
• ‘I wanted to call the police but Johnny ‘One Sock’ Swainston wasn’t having any of it.’

We can say without judgement that there are four ‘errors’ in the above examples because in each case the author likely made a mistake – they meant to use a consistent style of speech marks in the first example, meant the pronouns to be consistent in the second, meant to use ‘they’re' in the third, and meant to use an alternative style for the nested quotation marks in the fourth.

When we’re querying potential errors, however, we can still use the language of intention and reader expectation in our comments, thereby avoiding a more critical tone:
​

• Did you mean to write […] here or is this a typo?
• How about [...] instead? This would be less likely to distract the reader, who might be more used to seeing [...] and therefore misinterpret what you've written.
• The grammar in this section doesn’t align with your usual narrative voice, and reads more like something Character Y would say. Is this intentional? If not, how about trying [...]?

As professional editors, we need to think about the language we use about language!
​

• Saying something’s ‘right’ might imply that all alternatives are wrong when they aren’t.
• Defining something as a ‘rule’ might imply that breaking it is non-conformist, eccentric, non-compliant, even disobedient.
• Referring to something as ‘standard’ normalizes the preferences of those who have the power to make that decision in the first place.​

Instead, we can frame our discussions and queries around meaning, author intention and reader experience. That way, we’re putting the prose where it belongs – front and centre.

Louise Harnby and Denise Cowle talk about two more zombie rules that have no place in a professional editor's toolbox.

• What a zombie rule is
• The power of a double negative in rich narrative and dialogue
• Why singular 'they' is a grammatically correct gender-neutral pronoun

• Welcome, singular “they”: Lee, C. (2019, October 31). Welcome, singular “they”. APA Style. http://apastyle.apa.org/blog/singular-they

‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/

Your novel features characters from different countries. Should their dialogue, thoughts or narration be spelled differently just because their voices are regionally distinct and they come from different places? The answer’s no. Here’s why.

In this post, I explore the following:
​

• How there are multiple Englishes with different spellings
• The difference between spelling style and voice
• A case study from the 007 files
• Overcoming ‘But it looks wrong’
• Adding regional flavour to voice
• 3 examples of when spelling inconsistency works
• A note on suffixes, dashes and quotation marks

​

There are multiple Englishes each with their own spelling conventions: British, Indian, Canadian, American and Australian are just five examples of English.

Most words are spelled the same regardless of which English is in play, though there are many that aren’t, for example ‘color’/’colour’, ‘judgment’/‘judgement’, ‘harmonize’/‘harmonise’, ‘behavior’/‘behaviour’, ‘gray’/‘grey’, 'liter'/'litre'.

None are right or wrong, better or worse, or correct or incorrect. Rather, the way each version of English is spelled is about convention and style.

This post uses examples of American English (AmE) and British English (BrE) style to explain how to approach spelling/voice conundrums in fiction.
​

Strive for a mindset that separates style and character voice.

• How the words in a novel are spelled is for the most part a question of style.
• What a character says, thinks, feels, and the words used to report this on the page, is a question of voice. This is the case for dialogue and narrative.

Voice isn’t something that’s spelled. Rather, it’s something the reader experiences, ‘hears’ with their mind’s ear. It therefore follows the base spelling style, regardless of where the character comes from. With that in mind:

• If you’re writing fiction, decide on your spelling style and stick to it.
• If you’re editing for an author, identify the spelling style and aim for consistency.

​The easiest way to illustrate how spelling consistency works is with a case study. Let’s take a peek into the world of 007!
​

I’ve chosen Jeffery Deaver’s Carte Blanche, a continuation novel featuring Ian’s Fleming’s British MI6 agent, James Bond.

The version from Hodder & Stoughton (part of Hachette UK), published in 2011, is styled as follows:

​Here’s are three snippets from Chapter 2.

The version from Pocket Star Books (a division of Simon and Schuster), published in 2012, is styled as follows:

Bond’s words haven’t changed. Bond’s nationality hasn’t changed. Bond’s job hasn’t changed. Bond’s narrative voice hasn’t changed. All that’s changed is the novel’s styling.

Later in the novel (Chapter 26), Felix Leiter, an American, joins Bond on his mission. Here’s how Leiter’s dialogue is rendered in the AmE version:

​And here it is in the BrE version. Leiter is still American and still has the same distinct voice, but now the spelling has changed (as has the punctuation; note the spaced en dash and single quotation marks). 

Our brains can mess with us when we associate a particular spelling style with a character’s place of birth or residence, particularly if their voice is regionally distinct.

For example, perhaps they use idiomatic phrases that wedge them firmly in a country, state/province/county or even town/city that we’re from.

The British editor working on a book set in Southern California and written by an American author who writes in AmE might well struggle when a viewpoint character from Norfolk (the UK one where I live) turns up in Santa Barbara and mutters the following on seeing a cluster of huge ladybirds:

“Look at the color o’ them bishy barnabees. And big as a thruppence too!”

The spelling of ‘color’ might jar because ‘thruppence’ is so clearly unAmerican, so very British, while ‘bishy barnabees’ is particular to Norfolk. And yet the spelling is (and should be) AmE if that’s how the novel’s been styled overall.

An editor colleague recently reported this kind of problem in a Facebook group discussion. The novel was set in AmE, but the British viewpoint character spoke, thought and talked to herself in a Yorkshire accent. The first-person narration style deepened the voice still further.

‘The character's voice is really strong,’ the editor said, ‘and the US spelling seems at odds.’

The editor slept on it and the next day announced a simple but clever solution that had enabled her to overcome her resistance.

‘I mentally changed the British voice to a South African one so that I'm not so conscious of spelling variations, et voilà! It's suddenly clear as day.’
​
It’s a neat trick, a way of breaking the false connection between spelling and voice. If you come up against a similar situation, try it!
​

If you’re still worried that a spelling choice looks odd, remember that voice lies not in how the text is spelled but in what the character is saying, the turns of phrase they use, and the emotions and motivations behind their action (whether that action comes through speech, thought, movement or narration).

It’s worth bearing in mind, too, that language is often borrowed to the extent that some words no longer feel like, say, Britishisms, Americanisms, Canadianisms or Indianisms when they roll out of our mouths, regardless of how we identify or where we live.

Would I, a Brit, ever use the terms ‘cell phone’ and ‘movie’ rather than ‘mobile’ and ‘film’? Yes, I would.

How about ‘elevator’ rather than ‘lift’, ‘sidewalk’ rather than ‘pavement’, ‘aluminum’ rather than ‘aluminium’? Would I refer to ‘my mom’ rather than ‘my mum?’ Not while roaming around Norwich, but on a visit to Chicago, possibly, if I wanted to ensure people understood me. And almost definitely if I'd made my home there for some time.

Perhaps, then, the trick is not to be too precious about it, either when we’re writing or editing. Instead, we can consider the character’s environment and the degree to which the ‘local’ language flavour is something they’re likely to have assimilated into their speech, thoughts and narratives.
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Those choices aside, the spelling style will be consistent. Unless …
​

There are instances where inconsistent styling will be called for. Here are 3.

The character is spelling a spelling
Imagine a Bond novel is styled in BrE. Bond and Leiter are speaking to each other on the phone and the line is terrible. Bond thinks Leiter has said ‘dissenter’. Leiter’s dialogue might go like this: ‘Not dissenter. The centre. C-E-N-T-E-R. Move to the centre.’

A proper noun is being referenced
Now imagine Bond’s telling Leiter that he’s received intelligence about a heist in the Rockefeller Center. Even if the novel’s styled in BrE, the AmE spelling of ‘Center’ should be retained because it’s referencing the name of a building.

Excerpts from written materials have been transcribed
Excerpts from diaries, newspaper cuttings, reports, letters, texts and so on can be rendered in the spelling style most likely used by whomever in the novel wrote them because they’re supposed to be authentic transcripts.
​
Imagine that Bond’s reading a document written by an American CIA operative. Even if the novel is styled in BrE, the spelling in the report would be AmE, unless referencing a proper noun that required a BrE spelling.
​

Finally, a quick note on style and how writers and editors need to consider whether they're being overly prescriptive. I recommend thinking in terms of common conventions rather than rules.

Suffixes
In AmE, it’s standard to spell with -iz- suffixes.

In BrE, both -iz- and -is- are standard. Again, it’s a matter of style.

Thus, in the Night Action alert excerpt above, if Hodder had elected to use ‘authorized’ instead of ‘authorised’, this would not have been a slippage into American spelling but a style choice – an accepted BrE variant that’s been around since the sixteenth century.

Dashes
While most US publishers favour closed-up em dashes and most British publishers favour spaced en dashes when used parenthetically (see the Leiter snippet in the case study), it’s not wrong to used unspaced em dashes when writing in BrE style; it’s Oxford’s preference, for example.

Quotation marks
Again, while it’s more common to see single quotation marks in BrE styling and doubles in AmE, this isn’t an unbreakable rule. Indie authors can choose, for example, BrE spelling and double quotation marks if they wish.
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In all three cases, consistency is what counts.
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Voice can be flavoured by what is said, thought and narrated, and it can show us aspects of a character’s personality, emotions, motivations and background – regardless of how the words that convey it are spelled.

Spelling is about style. The goal is consistency in the main, complemented by good-sense deviation when necessary.
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That’s how the mainstream publishing industry approaches it, and editors and writers will do well to follow their lead.
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• Author and editor resources library
• Blog post: How do I find spelling inconsistencies when proofreading and editing?
• Blog post: How to convey accents in fiction writing: Beyond phonetic spelling 
• Blog post: What's the difference between a rule and a preference? Advice for new writers
• Booklet: British English and US English in your fiction, and why you should be consistent
• Podcast: Think it’s American? Think again!
• Podcast: Linguist Rob Drummond on grammar pedantry, peevery and youth language

Visit the grammar and spelling page in my resource library to download a free booklet summarizing suffix variations in American and British English.

In this episode of The Editing Podcast, ​Louise Harnby and Denise Cowle talk about zombie rules, and why they have no place in a professional editor's toolbox.

Listen to find out more about

• What a zombie rule is
• Why split infinitives are not grammatically problematic
• Why it's okay to start a sentence with a conjunction

Dig into these related resources

• Blog post: Fiction grammar: Is it okay to start a sentence with ‘And’ or ‘But’?
• Blog post: What are expletives in the grammar of fiction?
• Blog post: Should I use a comma before coordinating conjunctions and independent clauses in fiction?
• Podcast: How to manage the grammar police
• Resources for proofreading your own writing
• Podcast: Linguist Rob Drummond on grammar pedantry, peevery and youth language
• Blog post: What's the difference between a rule and a preference? Advice for new writers

Music Credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/​

Good news! It is perfectly okay to start a sentence with ‘And’ or ‘But’ in crime fiction writing ... in any fiction writing, in fact. Doing so can enrich the narrative and dialogue, and inflect the prose with voice, mood and intention. The key is to make sure those conjunctions are being used purposefully and logically. This post shows you how.

What the style guides say
Here's what two industry-recognized style guides have to say on the matter.

New Hart’s Rules (Oxford University Press): ‘You might have been taught that it’s not good English to start a sentence with a conjunction such as and or but. It’s not grammatically incorrect to do so, however, and many respected writers use conjunctions at the start of a sentence to create a dramatic or forceful effect.’

Chicago Manual of Style Online, 5.203 (Chicago University Press): ‘There is a widespread belief—one with no historical or grammatical foundation—that it is an error to begin a sentence with a conjunction such as and, but, or so. In fact, a substantial percentage (often as many as 10 percent) of the sentences in first-rate writing begin with conjunctions. It has been so for centuries, and even the most conservative grammarians have followed this practice.'

6 good reasons to start a sentence with ‘And’ or ‘But’
Great! We have the go-ahead from a couple of big hitters to use our two conjunctions at the beginning of a sentence. Now let’s dig a little deeper into why doing so can make fiction more effective. Here are my top six reasons:

• To serve natural speech
• To shorten narrative distance
• To introduce tension and suspense
• To add drama
• To emphasize the unexpected
• To make contrast explicit

Serving natural speech
When we speak in real life, conjunctions are often the first things out of our mouths. So it should be in novels that want to render speech authentically.

Fictional dialogue doesn’t replicate real-life speech completely – that would mean including a lot of boring stuff that one might hear at the bus stop. Rather, it’s a sort of hybrid that has the essence of reality but with the mundanity judiciously removed. It might sound like a cheat but readers thank authors who don’t bore them!

Small nudges towards reality help with the authenticity goal, which is where our conjunctions come in handy. Here are a few examples for you:

Shortening narrative distance
Dialogue gives us the character’s speech; narrative gives us the character’s experience. When that’s a first-person narrative, it’s easy to feel close to the narrator. With a third-person narration, the reader can feel separated from the character, as if they’re on the outside looking in.

Authors who want to reduce that space between the reader and the character – called narrative distance or psychic distance – can experiment with a narration style that sounds like natural speech even though it’s not dialogue.
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Here’s a lovely example from Blake Crouch’s Recursion (p. 182). 

Notice how the narration style is third person, though it doesn’t feel like it. Instead, we’re right inside the viewpoint character’s head.
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The position of the conjunction in this example isn’t the sole reason why the narrative distance feels short – the free indirect speech above and beneath plays a huge part – but it certainly helps to give us a sense of the character’s mentally working out a problem.

Introducing tension and suspense
Take a look at this excerpt from p. 21 of The Matlock Paper by Robert Ludlum.

With that one word – the conjunction – Ludlum stops us in our tracks. Yes, we’re thinking, the town’s neat, it’s clean. All well and good. But then we realize that there’s more to it, for beneath the pruned trees lies a dark underbelly.

The ‘And’, positioned right up front, forces us to pay attention to it. It’s not any old conjunction. Rather, it’s loaded with suspense that drives the reader to ask a question that isn’t explicitly answered: What else is that ‘something’?

Adding drama and modifying rhythm
In this excerpt from Parting Shot (p. 433), the author uses the conjunction at the beginning of the sentence to inject drama into a scene.

The new line makes the rhythm of the prose more staccato, but the ‘And’ at the beginning of the final line is what really packs a punch.

The viewpoint character, Cory, is a killer. He ponders almost matter-of-factly who the threats are, and reaches his conclusion as he closes in on the cabin.

If Linwood Barclay had omitted the conjunction, he’d have introduced a separation between two ideas: realizing what needs to be done, and when the killer is going to do it. Yet these two ideas are very much connected. The ‘And’ therefore fulfils its purpose as a conjunction – a joining word.

But there’s more. If he’d run the two ideas together with a conjunction between (‘It seemed clear what he had to do, and he'd have to do it fast.’), the line would have lost its wallop. The staccato rhythm (one that mirrors the cold calculation taking place in Cory’s head) is gone. Instead, the prose has flatlined; it seems almost mundane, like a stroll in the park rather than the planning of a murder.

However, the ‘And’ reinforces this extra information – the deed must be done fast. The emphasis adds drama to the line. The final line is still connected to the clause it’s related to, but the mood-rich rhythm, and the drama that comes with it, is intact.

Emphasizing the unexpected
An up-front ‘But’ is perfect for the author who want to emphasize the unexpected, surprise or absurdity. Take a look at this excerpt from Terry Pratchett’s Dodger (p. 170).

It’s true that omitting the ‘But’ would leave the meaning intact. However, adding the conjunction reinforces the Dodger’s emotional response to the boy’s suggestion – he’s taken by surprise because in times past, asking a peeler was exactly what he’d have done, without question, without fear.

And so that ‘But’ does more than act as a conjunction. With just three letters, we’re shown character mood.

Making contrast explicit and suspenseful
David Rosenfelt’s New Tricks (p. 92) includes a smashing example how the conjunction at the beginning of the sentence reinforces a contrast with what’s gone before.

That contrast is explicit because the ‘But’ acts as an interrupter. We’re deep in the POV character’s head regarding the murder victim, ruminating with our protagonist. The conjunction then shoves us out of that rumination. It’s not gentle; the ‘But’ is a big one – something’s up with Laurie.

Not that we know what. Rosenfelt doesn’t tell us yet. Instead, he makes us ask the question: Why? And with that question, just as with the Ludlum example above, we have suspense.

Summing up
Feel free to pepper your prose with sentences that begin with ‘And’ and ‘But’. Anyone who tells you you’re on shaky ground grammatically knows less about grammar than you do!

It’s likely that the myth around positioning these conjunctions came about in a bid to nudge people away from stringing together clauses and sentences with no thought to creativity. And while such an intention makes sense, we have to recognize that imposing this zombie rule on writing can actually destroy the magic of prose.

And on that note, I will sign off! (See what I did there?)

More fiction editing guidance

• 3 reasons to use free indirect speech
• Author resources library: Booklets, videos, podcasts and articles for authors
• Commas, conjunctions and rhythm
• Coordinating conjunctions
• Editing Fiction at Sentence Level: My flagship line-editing book
• How to write suspenseful chapter endings
• Rules versus preferences
• Sentence length, pace and tension
• Switching to Fiction: Course for new fiction editors
• Transform Your Fiction guides: My fiction editing series for editors and authors

Cited sources

• At Risk, Stella Rimington, Arrow Books, 2004
• Don’t Let Go, Harlan Coben, Arrow Books, 2017
• Dodger, Terry Pratchett, Corgi, 2012
• Recursion, Blake Crouch, Pan Macmillan, 2019
• The Matlock Paper, Robert Ludlum, Orion, 2010
• The Dream Archipelago, Christopher Priest, Gollancz, 2009
• Parting Shot, Linwood Barclay, Orion, 2017
• New Tricks, David Rosenfelt, Grand Central Publishing, 2009

Want to use grammatical expletives in your crime, mystery and thriller fiction? These words serve as place holders or fillers in a sentence. They shift emphasis and can affect rhythm. Used injudiciously, however, they can be cluttering tension-wreckers. Here's how to strike a balance.

Because expletives shift emphasis, they have a syntactic function. However, they don’t in themselves contribute anything to our understanding of the sentence. In other words, they don't have a semantic role. You might also see them called syntactic expletives.

Common examples are:

• there are/is/was/were
• it is/was

Take a look at the following pair. The first sentence is introduced by an expletive.
​

• There was a car parked outside the house.
• A car was parked outside the house.

When used well, expletives are enrichment tools that allow an author to play with a narrative voice’s register and the rhythm of sentences. 

When prose is overloaded with them, it can feel cluttered with filler words that add nothing but ink on the page. At best, they widen the narrative distance between the reader and the POV character; at worst, they flatten a sentence and destroy suspense and tension.

Flat expletives that merit fixing
Too much telling of what there is or was can rip the immediacy from a scene and encourage skimming. That’s a problem – it means the reader isn’t engaged and risks missing something.

Furthermore, if they’re not performing their rhythmic or emphasis role, expletives make sentence navigation more difficult because all they're doing is cluttering the prose.

Here's an example. Think I've overworked it? There are published books from mainstream presses with passages just like this made-up one.

The problem with the expletives in the passage above is that readers are bogged down in what there was rather than the viewpoint character's experience of discovery. Let's revise it to fix the problem.

Notice how the narrative distance has been reduced in the revised passage. Now it's as if we're in the viewpoint character's head, moving with her second by second. We can focus on the room, the dried-blood fingermarks, the whimper, and the scream rather than the being of those things – their was-ness. 

Removing the expletives and swapping in stronger verbs (smudged, shattered) enables us to tighten up the prose and introduce immediacy. And now there's no need for the told 'suddenly' – we experience the suddenness through the in-the-moment shattering. 

Expletives that pack a punch
As is always the case, obliterating expletives from a novel would be inappropriate because sometimes they're the perfect tool to help out with rhythm and emphasis.

The opening paragraph of Charles Dickens’s A Tale of Two Cities (p. 1) uses expletives galore, and masterfully at that. The repetition (anaphora) brings a steady rhythm to the passage that ensures the reader gives equal weight to the contrasting extremes – from best and worst to hope and despair. 

​The expletives introduce a detached sense of reportage that forces us forward rather than allowing us to dwell on any of the heavens or hells on offer. It’s simultaneously mundane and monstrous, and that's why it's magical.

​And here’s an example from Dog Tags (p. 1) where omission of the expletive would rip the energy from the opening first line of the chapter and interfere with our understanding of which words we’re supposed to emphasize.

​Summing up
​Grammatical expletives are a normal part of language and have every right to be in a novel. Overloading can destroy tension and make for a laboured narrative, but a purposeful peppering can amplify character emotion, moderate rhythm, and make space for the introduction of big themes in small spaces without sensory clutter.

Cited works and further reading

• Author resource library (includes links to free webinars)
• A Tale of Two Cities, Charles Dickens, W. W. Norton & Company; Critical edition, 2020
• Dog Tags, David Rosenfelt, Grand Central Publishing, Reprint edition, 2011 ​
• Editing Fiction at Sentence Level: A Guide for Beginner and Developing Writers
• Making Sense of Punctuation: Transform Your Fiction 2
• ‘Playing with sentence length in crime fiction. Is it time to trim the fat?’
• ‘Playing with the rhythm of fiction: commas and conjunctions’
• 'Should I use a comma before coordinating conjunctions and independent clauses in fiction?'
• ‘What is anaphora and how can you use it in fiction writing?’
• 'Why "suddenly" can spoil your crime fiction'

Are you confused about when to add commas before coordinating conjunctions linking independent clauses? This post offers guidance and a few examples to show you the way.

Rules, convention and meaning
Some writers and editors love a rule. I’m not so keen on the language of ‘rules’ because it sets up a binary mindset that’s focused on ‘wrong’ versus ‘right’ rather than clarity of meaning. Instead, I prefer to think in terms of convention.

Grammatical conventions are useful and purposeful. They provide us with a common frame of reference that helps us communicate clearly through the written word. We can start by at least acknowledging the following:

• Breaking with convention requires understanding convention’s intent.

• However, ignoring convention doesn’t always render a sentence unreadable or misunderstood.
• And adhering to convention doesn’t always mean a sentence is as powerful as it could be.

Balancing convention and meaning
Writing and editing fiction requires deciding when to break with convention. But how do we work out what works and what doesn’t? Here’s how I frame the balancing act:

• Punctuation should serve meaning as long as that doesn’t butcher rhythm.
• Rhythm should serve emotion as long as that doesn’t butcher understanding.
• Both should serve the reader and the story rather than the style manual and the grammar book.

So how does that apply to commas, coordinating conjunctions and independent clauses?

What are coordinating conjunctions?
Coordinating conjunctions are words that join other words or groups of words of equal weight. You might see them referred to in short as FANBOYS: 

What are independent clauses?
Independent clauses are groups of words that can stand as a sentence on their own and still make sense. They include a subject and a predicate.

Subjects are people/things that are doing something or being something – the noun (the thing) and the adjectival information describing that noun. The four examples given below are all subjects.

• Louise
• That fiction editor Louise Harnby
• The dog
• The Labrador in the corner

Predicates are what they’re doing – the verb (the doing word) and the thing the verb’s acting on. The four examples below are all predicates.

• slumped over the desk.
• loves working on thrillers.
• licked its paws.
• is pale yellow.

Joining subjects and predicates gives us independent clauses. Here are two simple examples (subject in bold; predicate underlined).
​

• The dog is pale yellow.
• It is licking its paws.

​The comma convention
If two or more independent clauses in a sentence are joined by a coordinating conjunction, it’s conventional to place a comma before that conjunction.

EXAMPLE AND EVALUATION #1
In the following example, the independent clauses are in bold.

The independent clauses could stand on their own as complete sentences and be understood perfectly well. Let’s revisit our balancing act and assess the impact of the comma.
​
The degree to which the comma serves meaning here is, I think, debatable. This is what it looks like without the comma:

There’s no ambiguity there, and so one could argue that insisting on a comma would be grammatical pedantry. An editor would struggle to justify adding a comma for any other reason than ‘that’s the rule’ or 'I think it looks better' because the meaning is perfectly clear.

Could someone argue that the comma enforces the equal weighting of the independent clauses lying either side of the coordinating conjunction?

Yes in that it acts as a separator of two ideas: the dog’s colour and what it’s doing to its paws; the one isn't related to the other. And so I certainly wouldn’t remove it if it were already in place; there’s no justification for such an action.

MORE COMPLEX CONSTRUCTIONS
Many sentences in fiction are more complex. If our example looked like this, we might have a sounder justification for adding the comma:

​In the revised example below, I think applying the conventional punctuation helps. The rhythm is moderated – we take a little breath when we reach the comma – and experience (through our viewpoint character’s eyes) first the colour of the dog and then what it’s doing and why.

The two ideas have a starker separation, and the punctuation convention supports that meaning. 

EXAMPLE AND EVALUATION #2
Here’s an excerpt from Robert Ludlum’s The Janson Directive (Orion, 2003, p. 355). Once more, both independent clauses are in bold.

The independent clauses could stand on their own as complete sentences and be understood perfectly well. Again, let’s revisit our balancing act and assess the impact of the comma.

I think the comma serves meaning and is necessary. Without it, we might start to read the sentence as if the slug would shatter not just a skull but another life too. That’s not what Ludlum is saying. Instead, we’re alerted that another idea is coming into play.

A trip-up here means the reader would have to fix the grammar in their head and reread the sentence to make sense of it. That’s a momentary distraction no writer wants.

Breaking with convention in fiction
Let’s have a look at when we might ignore grammatical convention.

Below is a short scene I’ve made up. Our protagonist is a forty-year-old woman having a nightmare about a past event.

There are three independent clauses (and the start of a fourth) linked by a coordinating conjunction. The ‘rule’ says there should be a comma before all those ‘and’s.
​
EVALUATION
A pro fiction editor would want to think twice before they start adding in commas because of some rule or other.

• First of all, we need to recognize the literary device in play here – anaphora: deliberate repetition for the purpose of emphasis or meaning – in this case ‘and it’s’.
• Notice, too, how the beats in those independent clauses are similar: dee-dum-da-dum, dee-dumdum-da-dum, dee-dumdum-dada-dum.

Using anaphora doesn’t mean we have to ignore commas, far from it. But what would introducing them do to rhythm and mood?

I think the lack of commas helps us to feel our way under the skin of that dream-child because young children in a panic don’t introduce pauses or moderate their speech according to a style manual or a grammar guide. Instead, words fly from their mouths like tiny storms.

What we have instead is the sense of terrified disorientation being experienced by the dreamer, one that’s shown rather than told.

Commas would moderate the pace and separate the ideas contained in each independent clause; omitting them means we’re offered a stream of terrified consciousness.

More exceptions
Some grammarians do allow for an exception when the independent clauses are short and closely related.

In the examples that follow, the coordinating conjunctions are underlined; notice the absence of the preceding comma. Sense isn’t marred because of the missing punctuation.

​It’s an eminently sensible exception – one that allows for decluttering but also avoids a separation of ideas that isn’t appropriate.

• In the first example, ‘no one seemed keen to leave’ is an independent clause, but the reason for telling us this rests on the gig being finished. No comma required.
• In the fifth example, Aisha’s fury is standalone, too, but it’s a result of Mara’s tardiness. No comma required.

Summing up
The grammatical convention of placing a comma before a coordinating conjunction linking independent clauses is helpful and useful. However, sometimes we can omit those commas:

• Because the comma interrupts rhythm and emotion, and therefore shown meaning.
• Because the meaning is clear, and a comma would be unnecessarily cluttering.
• Because the comma introduces an inappropriate separation of ideas.

Style and grammar resources offer guidance, and we should use them, but only in so far as they serve the reader and the story, not because we are rule enforcers. That’s nothing more than a road to literary butchery.

More resources to help you line edit with confidence

• Author resource library (includes links to free webinars)
• Editing Fiction at Sentence Level: A Guide for Beginner and Developing Writers
• Making Sense of Punctuation: Transform Your Fiction 2
• ‘Playing with sentence length in crime fiction. Is it time to trim the fat?’
• ‘Playing with the rhythm of fiction: commas and conjunctions’
• ‘What is anaphora and how can you use it in fiction writing?’

Himself, herself, myself, themself ... check the usage of pronouns in your fiction. You might just be overworking them, such that you’re stating the obvious, modifying the pace, and reducing tension.

Questionable usage
Reflexive pronouns can act as double tells by stating the obvious, and mar pace and tension.

Stating the obvious

• Max grabbed a fistful of dandelion leaves and shoved them into his mouth. Needs garlic, he thought to himself.
• Jenny wondered to herself about the dream – it had been so real, as if she’d had full control. And yet …

When it comes to internal musings, authors can ditch the reflexive pronouns. Thoughts take place inside a person’s head and, by definition, are offered only for the thinker – unless there’s telepathy going on in the novel!

Moderating pace and reducing tension

• Max ducked, rolled himself over the floor and grabbed the Browning. Fired out two shots. Both hit home.
• Ali sprinted down the street and swung herself into the shadows.

These are high-tension scenes. Max is in a shoot-out; Ali’s escaping danger. Every word stretches out the sentence. And as the sentence length loosens, so does the tension.

Look what happens when we remove the pronouns:

• Max ducked, rolled over the floor and grabbed the Browning. Fired out two shots. Both hit home.
• Ali sprinted down the street and swung into the shadows.

​The sentences shorten, the pace increases – and so does the tension.

Usage that works
We shouldn’t omit all -self pronouns. There are occasions when a sentence works better with them. Sometimes they’re essential.

Clarity
In some cases, the pronoun is necessary for clarity. The reader can’t be sure of what the verb’s object is without it. In the examples below, removing the pronouns could leave the reader with questions: Ashamed of what? A promise to whom? Stop what? Consider whom an expert?

• Ordinarily, she’d have been ashamed of herself, but there was no guilt – not this time.
• I made a promise to myself never again to lose my rag over something so inconsequential.
• He couldn’t stop himself; it took five minutes to demolish the chocolate egg.
• I consider myself an expert, and no one will convince me otherwise.

Emphasis
The pronoun can be used to emphasize the person being discussed. Omission would leave the sentence grammatically intact but change the mood and pacing. In this case, it’s a judgement call on the author’s part.

• Sarah told me so herself.
• The queen herself told me.
• John hadn’t been the only one having a hard time. I myself had been suffering from anxiety at the time.

Sense
Some sentences don’t make grammatical sense without a reflexive pronoun. Remove them and the writing leaves more than questions: it’s unreadable.

• She had to defend herself from that monster – no two ways about it.
• Cass doused themself in perfume.
• Why shouldn’t he call himself the King of Hearts? Who cares if it sounds daft? Daft is good.
• He dragged himself to the top of the stairs.

Reflexive pronouns: mood versus clutter
At the top of this post, I offered examples of how -self pronouns can reduce tension. There will be occasions when an author wants to do exactly that.

• I was trying to make a new life for myself. That’s all there was to it.
• I was trying to make a new life. That’s all there was to it.

There’s a more staccato feel to the second version above that might jar if the author’s seeking a contemplative mood.

Still, too much self-ing can make even a stress-free scene overly wordy so it’s always worth thinking about whether a leaner version would be more immersive and get the reader from A to B faster.

In the first version of the triplets that follow, the pronouns introduce a chilled-out sense of laissez-faire to the movement. In the second I’ve omitted them. And in the third, I’ve ditched the mundane movement and focused on the essential beat.

• He found himself a chair and sat down.
  
• He found a chair and sat down.
  
• He sat down.

• Maxie busied themself with the coffee machine and settled down to read the letter.
  
• Maxie made a coffee and settled down to read the letter.
  
• Maxie read the letter.

• She got herself up and called Mel.
  
• She got up and called Mel.
  
• She called Mel.

It’s always worth an author spending a little time on thinking about how much micromanagement of a scene is necessary.

Will the reader care about the chair discovery, or that Maxie had a hot drink while they were reading the letter, or that the protagonist was no longer on the sofa when she called Mel?

Perhaps. If that stuff’s central to driving the novel forward, to reflecting mood, to grounding the character in the environment, the pronoun and the stage direction might be necessary. If it’s clutter that can be removed without damaging reader engagement, lean up the scene!

Summing up
Use reflexive pronouns when they’re necessary for clarity, sense and emphasis. Otherwise, consider leaner prose that focuses on what the reader needs to know to move forward in the story.

In this episode of The Editing Podcast, Louise and Denise discuss the grammar police, how to manage them, and why they're nothing to do with professional editing.

​Click to listen to Season 4, Episode 1

Listen to find out more about:

• Who are the grammar police?
• Social media and the grammar police
• Pedantry versus professional editing for style, preference and flow
• Writing style: Business, academia, web copy, creative non-fiction, fiction
• Conventions and standards versus rules and errors
• How and when to tell a writer about an error
• Dealing with the grammar police

Editing bites

• Blue Book of Grammar and Punctuation, by Jane Straus
• TextExpander

Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License.

In this episode of The Editing Podcast, Denise and Louise explain what a comma splice is, why you should usually avoid it, and how it can add clarity.

​Click to listen to Season 3, Episode 8

Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License.

​What is a comma splice?
When two independent clauses – which could stand on their own as sentences and make perfect sense – are separated by a comma, the sentence is said to contain a comma splice. For example:

• I love tomatoes.
• Red and yellow ones are my favourites.

Those two sentence above could be separated by a semi-colon, a dash, or a full stop and no one would be breathing grammar rules down your neck:

Standard punctuation 

• I love tomatoes; red and yellow ones are my favourites.
• I love tomatoes – red and yellow ones are my favourites.
• I love tomatoes—red and yellow ones are my favourites.
• I love tomatoes. Red and yellow ones are my favourites.

However, if you use a comma to separate them, that heavy breathing will come from some quarters:

Non-standard: comma splice

• I love tomatoes, red and yellow ones are my favourites.

Why comma splices trip up readers
Some people don’t know what a comma splice is and don’t care. But plenty do, and even if they don’t know what’s it called, they trip up. For those in the know, comma spliced sentences (sometimes) scream off the page for precisely that reason.

That's because when readers see a comma they're inclined to think, This is the start of a list.

A standard method for showing a reader that they’re coming to the end of a list is to incorporate a coordinating conjunction such as ‘and’, ‘but’, ‘though’ and ‘or’. It acts as  shorthand for One more item’s coming. Then there’ll be a full stop.

And so when only two items are separated by a comma, the reader’s expecting at least one more item in that list. When that third item doesn’t appear and the sentence finishes, the reader is jolted because they've placed the emphasis in the wrong place. Try reading these examples out loud:

• Let me tell you about fruit: I like apples, I hate pears but I think oranges are okay. Are we clear now?
• Let me tell you about fruit: I like apples, I hate pears. Are we clear now?

Your intonation likely changed as you read the words 'but I think oranges are okay' because you knew you were finishing a sentence. In the second example, you were left hanging after 'hate pears' and likely hadn't placed the stress correctly.

These kinds of stumbles are a distraction that, even if only for a split second, pulls the reader out of the writing. Now they’re thinking about where they placed the emphasis, not about our fabulous learning tool, enthralling plot line or groundbreaking academic research.

When comma splices can work: fiction
Comma splices are probably more prevalent in published fiction, and more acceptable. Sometimes, and with good reason. The comma doesn't always trip up readers.

The key is to allow splices to stand when they serve a purpose.

Narrative and rhythm
Take this example from A Tale of Two Cities by Charles Dickens: ‘It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity’ and so on.

This prose is an experiment in rhythm. The splices work. But something else is going on too – the anaphora.

Anaphora is a literary device that uses repetition for rhythmic effect. In the Dickens example, the repetition of 'it was' pulls us along on a beautiful booky wave. Editing in semi-colons or full points would destroy the rhythm and would qualify as an example of editorial hypercorrection.

For a more detailed examination of anaphora, read: What is anaphora and how can you use it in fiction writing?​

Dialogue and mood
While a comma splice will stick out like a sore thumb in a piece of academic research or an education textbook, that’s not always the case in dialogue. 

If the speech is truncated, or there's anaphora in play, a comma might well work. Imagine this scenario in a novel: two characters are having an argument. One says, ‘It’s not me, it’s you’.

Strictly speaking, that's a comma splice. There are two independent clauses with a comma. Would it bother you? Probably not. The speech looks and sounds natural to the mind's ear. Changing the comma to a full stop would slow down the rhythm of the character’s speech and affect the emotionality in the dialogue.

But most important, readers won't trip up; they'll place the emphasis correctly. And so while emotion and mood have been respected, this hasn't been at the expense of clarity. 

Summing up

• Understand what a comma splice is. Only then can you make an informed decision about whether to let it stand or fix it.
• Read the sentence aloud, tor ask someone else to. If you or they stumble over what you’ve written, so might your reader.
• Just because Woolf, McCarthy and Dickens use comma splices doesn't mean every writer should. There may be other literary devices in play or narrative motivations affecting their choices.
• There is a grammatical standard for how commas are handled between two independent clauses, but even so, we can’t prescribe for always right or always wrong. Sometimes it’s about style, rhythm and flow.

In this episode of The Editing Podcast, Denise and Louise talk with linguist Rob Drummond about grammar pedantry, peevery, youth language, and non-standard language in context.

Listen here ...

Find out more about ...

• Correct or conventional – a linguist’s perspective
• Better versus standard
• Zombie rules, and what we can ditch
• Youth language – dumbing down English or enriching it?
• Young people's language in relation to identity and language change
• Varieties of English in written communication: globalization, national and cultural identities
• The internet’s impact on pedantry and peevery
• The relationship between knowledge and pedantry
• The difference between preferences and judgements
• Recognizing our own pedantry and respecting contextually appropriate style
• Stepping outside our linguistic comfort zones

Mentioned in the show

• Radical Copyeditor blog
• ‘The Business of Being a Writer, with Jane Friedman’
• Rob Drummond Linguistics
• TED Talk: 'John McWhorter: Txtng is killing language. JK!!!'
• Rob's graph: Linguistic knowledge versus linguistic pedantry

Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License.

You have a choice when it comes to tense in your fiction’s narrative. Here’s an overview of the tenses you’ll most likely be working with, and some guidance on the benefits and challenges of each.

The present tense
Here’s an overview of the present tense, with basic examples:

• Simple present: I write a novel; he writes a novel
• Present progressive (also called present continuous): I am writing a novel; he is writing a novel
• Present perfect: I have written a novel; he has written a novel
• Present perfect progressive: I have been writing a novel; he has been writing a novel

The present is immediate, and that right-nowness forces the reader to stick close to the viewpoint character. We’re in the moment with them. That’s why it appeals to some fiction authors, and why others find it restrictive.
​
With second-person viewpoints, the present tense is intensely voyeuristic, invasive even. Here’s an excerpt from Iain Banks’s Complicity (p. 60). This is a transgressor narrative with a difference – the narrator is anonymous, at least until later in the novel:

And in this example from a later chapter (p. 90), we’re back with the protagonist. Here, the main narrative tense is present. The viewpoint is first-person:

RECOMMENDATION
​The present tense is great if you want to shorten the distance between the reader and the viewpoint character. 

Present tense works particularly well for short fiction because space is limited. I use it often in my own shorts and flashes because it enables me to pack an immersive punch quickly. 

However, it’s tricky to manage if there are multiple viewpoint-character chapters or sections, all operating in the present tense. You’ll need to keep a close eye on the timelines so that the reader’s clear on what ‘now’ really means. If your plot twist hinges on deliberately duping them via your use of tense rather than story craft, you’ll break their trust.

The present tense can also be tiring for readers because it’s emotionally immersive. If you’re writing a novel, you might consider using it only for certain viewpoint characters – your transgressor or victim, for example.

In Let Me Lie, Clare Mackintosh mixes it up: the Anna-viewpoint chapters are set in first-person present; the Murray-viewpoint chapters are third-person past. 

The past tense
Now let’s turn to the past tense, starting with some basic examples:

• Simple past: I wrote a novel; he wrote a novel
• Past progressive: I was writing a novel; he was writing a novel
• Past perfect: I had written a novel; he had written a novel
• Past perfect progressive: I had been writing a novel; he had been writing a novel
• Habitual past: I would write a chapter every week; he would write a chapter every week; I used to write a chapter every week; he used to write a chapter every week

The past tense is the choice of most contemporary commercial fiction writers. What’s interesting is that readers are so used to this style that they can still immerse themselves in a past-tense narrative as though the story is unfolding now.

Here’s an excerpt from T. M. Logan’s 29 Seconds (p. 73). We’re given a past-tense narrative with a third-person limited viewpoint (Sarah’s):

WHEN PAST TENSE FLOPS – UNDERSTANDING PAST PERFECT​
​Less experienced writers can end up in a pickle when referencing events that happened earlier than their novel’s now.

The crucial thing to remember is that when we set a novel in the past tense, anything that happens in the story’s past will likely need the past perfect, at least when the action is introduced.

Here’s an excerpt from The Wife Between Us (p. 57) by Greer Hendricks and Sarah Pekkanen. This chapter’s primary narrative tense is past (see underlined verb):

When we’re told that ‘She stood’, that’s the novel’s now. But when the narrator recalls events that happened further back in time (bold) – Samantha’s decorating her bed, and the two women’s procuring a rug – these need to be anchored in the past-perfect tense: had, had been.

When authors fail to anchor past events in a novel whose now is already set in the past tense, the reader will be confused.

RENDERING BYGONE ROUTINE – UNDERSTANDING HABITUAL PAST
Now and then, you might want to reference events from your novel’s past that happened routinely or habitually. This is where the habitual past tense comes into play, and the tools are would and used to.

This excerpt from The Templar's Garden by Catherine Clover illustrates the usage. The narrative is set in third-person past but the viewpoint character is recalling regular journeys taken earlier in her life:

And in Time To Win (p. 62), Harry Brett uses the simple past and past progressive for the most part, but then Frank, the viewpoint character, recalls something he’d done habitually in former times:

Like the past perfect, the habitual past acts as an anchor, so that readers don’t mix up the reminiscence of a routine event with the novel’s now. 

To see that confusion in action, replace ‘used to enjoy’ with the simple past: ‘enjoyed’. It reads as if Frank is enjoying driving down South Denes Road right now. 

If you don’t want to use the habitual past, then an alternative anchor is necessary. Here I’ve added an anchoring clause and changed the tense to past perfect (he’d, or he had):
​

• Back in the day, he’d enjoyed driving down [...]

RECOMMENDATION
The past tense is flexible; it’s easier to shift narrative distance (the distance between the reader and the narrator) than is the case with the present tense, though this does increase the risk of flatter writing. Dramatic scenes – fights, escapes, arguments – could end up laboured if the writing isn’t lean and rich.

Still, it’s traditional and readers are used to it. No one will get tired of reading in the past as long as the line craft is strong.

Do take care, however, with rendering events that have taken place in your novel’s past. Use the past perfect or the habitual past when necessary to ensure your readers know what happened when. 

Summing up
Write in the tense you feel most comfortable with, and that you think readers of your genre will be most comfortable reading. The past and the present both have their challenges and their advantages. The most important thing is that readers know where and when they are in the story. 

Cited sources 

• 29 Seconds, T. M. Logan, Zaffre, 2018
• Complicity, Iain Banks, Abacus, 1994
• The Templar’s Garden, Catherine Clover, The Holywell Press, 2017
• The Wife Between Us, Greer Hendricks and Sarah Pekkanen, Pan, 2018
• Time to Win, Harry Brett, Corsair, 2017

Adverbs and adverbial phrases sometimes get a bit of a pummelling, and yet they needn’t intrude and shouldn’t be removed indiscriminately. An adverb is no more likely to spoil a sentence than a poorly chosen adjective or noun.
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Use them purposefully in your writing when they bring clarity, but remove them when they create clunk.

Are there rules? You won’t find any in this article, just common-sense guidance to help beginner writers make informed decisions.

The fiction writer – and the fiction editor – who takes a formulaic approach to the treatment of adverbs is heading for trouble.

A note on form
Not all adverbs end in –ly (e.g. backwards, inside) and not all words ending in –ly are adverbs (e.g. deadly is an adjective and anomaly is a noun).

That’s one good reason not to eradicate all –ly words from your writing.

To work out whether a word or phrase is behaving adverbially, focus on what it’s modifying not on how it’s spelled.

Verb and adverbs – a quick refresher
A verb is a doing word; it describes a physical or mental action or state of being.

An adverb is a word that describes a verb (just as an adjective describes a noun).

​An adverbial phrase behaves in the same way but uses two or more words to describe the verb (or verb phrase).

Clunk: Telling us what we already know from dialogue
Here are four examples where the adverb (in bold) attached to the speech tag is redundant because the information in the dialogue does the same job:

These aren’t rules but guidelines. Test it. Remove the adverb and read the sentence aloud. Is the intention still clear from the dialogue you’ve written? If so, great – you can lose the adverb. If it’s not, can you recast the dialogue? Consider the following:

In (1), dialogue and supporting speech tag seem a little flat. In (2), the adverb helps us to understand John’s mood. In (3), we lose the adverb but the mood intention is supplied by the additional dialogue. In (4), the adverb repeats the mood intention.

None of above four examples is grammatically incorrect, but (1) is possibly underwritten and (4) is definitely overwritten.

Context is everything though. If you’re writing a high-octane crime-thriller scene in which the pace is fast and furious, (1) might just be perfect, (2) and (3) would slow the reader down, and (4) would still be a non-starter.

Clunk: Telling us what we already know from the speech tag
Here are three examples where the adverb (in bold) is redundant because the verb (in italic) provides the same information:

Beginner writers sometimes trip up with double tells in speech tags because they’re trying not to overuse ‘said’. A replacement verb is introduced but the clarifying adverb (which served to give intention to ‘said’) is left intact even though it’s no longer needed.

‘Said’ is a rather delicious speech tag because it’s almost invisible. (For an examination of tagging, read: ‘Dialogue tags and how to use them in fiction writing’.)

Readers are so used to seeing ‘said’ that they slide over it without a glance. And that means they stay immersed in the conversation on the page, which if you’re writing dialogue is exactly where you want them.

Clunk: Telling us what we already know from the verb
Here are three examples where the adverb or adverbial phrase (in bold) is redundant because the verb (in italic) provides similar information in the narrative:

Slips like these can occur because the writer is still learning to trust their reader. They fear there are too few words or that the description isn’t rich enough. And sometimes writers just run away with themselves, so deeply are they immersed in the world they’ve created and what their characters are experiencing.

This is why drafting and redrafting are so important, and why a fresh set of professional eyes can give the writer courage. I hire people to check most of my own writing because I know that even when I’m writing educational non-fiction I’m so desperate to get my point across that I can sometimes end up in a right old tangle!

Self-editing is hard – professional editors know this. Don’t beat yourself up if you’re prone to double tells – you’re only human. Instead, cross-check your adverbs against your verbs to make sure you’re not repeating yourself.

Clunk: Dragging us away from immediacy
Some adverbs like suddenly, immediately and instantly can do the opposite of what's intended. Overuse can make the action less sudden, less instant. I cover this in detail in Why ‘suddenly’ can spoil your crime fiction: Advice for new writers.

In brief, these adverbs can act like taps on the shoulder that prevent the reader from moving through a story at the same pace as the character. The suddenness of the action is told to us first instead of being experienced by us.

Compare these examples. They demonstrate how removing the adverbs can leave the immediacy of events intact.

​Purposeful adverbs
Adverbs, used well, can show motivation, indicate mood, and enrich our imagining of a scene.

I love books that tell it straight because every word pushes me forward. David Rosenfelt is a writer who never disappoints. His Andy Carpenter series features a tenacious lawyer with a dry wit.

The author’s prose is sharp as a knife. Does he use adverbs? Absolutely, though sparingly and they’re always purpose-filled.

Summing up
Use adverbs when they help your reader understand more than they would have without them. A well-placed adverb or adverbial phrase will help you keep your prose leaner because it will nudge a reader towards imagining the action, the mood of the characters and what their intentions are.

If they’re repetitive clutter that add nothing we couldn’t have guessed, get rid of them. If the narrative or dialogue feels flat, head for a thesaurus and find alternative verbs that will bring your prose to life.

Sentence length can affect tension. This post looks at how overwriting can mar the pace of a novel and frustrate a reader, and how less can sometimes be more.

Around eighty per cent of the books that end up in my editing studio are in the crime fiction genre.

One of the most common problems I encounter is overwriting. That’s not because the authors are poor writers. It’s because they’re nervous writers.

It takes a lot of hard graft to put enough words on a page to make a book. Yet it takes an equal amount of courage to remove them ... or some of them.

‘What if the reader just doesn’t get it?’
‘What if they’ve forgotten what I told them above?’
‘What if I haven’t provided enough detail?’
‘What if I just love both ways I’ve said that?’

These are the kinds of questions that result in anxious authors bulking up their prose.

In a bid to help you trim the fat, I’m going to explore the following:

• Trusting your reader
• Feisty fragments and snappy shorties
• Damage by dilution
• Letting go of what you love

​Trusting your reader
The issue is sometimes one of trust – in the author’s own writing and in the reader’s ability to fill in the gaps. Some genres of fiction lend themselves well to more flowery prose that goes off at a tangent for a moment, a little narrative indulgence for the purpose of artistry or even titillation.

Crime fiction, however, is all about the page turn. That doesn’t mean that the description isn’t rich, but there is an expectation of forward momentum. Avid readers of the genre love it for the thrill of the ride.

Great characterization is key, of course. We want the protagonist to draw us in, the antagonist to pique our curiosity, and the supporting cast to deepen the picture, but ultimately we want to know whodunnit.

And that means we want words that help us understand what’s happening, why, where, who’s doing it, whom it’s being done to, why it’s being done, and how it feels.

And we only need to be told once. We might need a little clarifying nudge here and there but we’re capable of extracting a lot with less than you might think.

Feisty fragments and snappy shorties
If you’re trying to evoke tension in your reader, short sentences and fragments can be very effective.
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Look at the following examples and notice how the authors keep their narratives lean.

Here’s an excerpt from Gone Bad by JB Turner:

Turner gives us just enough to set the scene – when, where, who and what – but no more. He trusts us to fill in the gaps.

He might have given a more detailed description of the forest – its sounds and smells. He might have delved deeper into Cain’s emotions, or helped us to picture the backpack by detailing the colour, make, number of pockets and zips, and where the ammo was being held. He could have told us, word for word, how Cain loaded the gun, how careful he was, which bullets he used.

But he doesn’t. Turner leaves it to us to imagine the woods, to see in our mind’s eye the loading of the rifle, and to sense the cold hard determination of the shooter. And the backpack gets no more than a passing mention, because to do more would slow the pace and act as a distraction.

And the result is just right – Goldilocks would approve.
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Now consider the choppy fragments in Jens Lapidus’s Life Deluxe:

Lapidus loves the colon more than any other author I’ve come across! It’s a hard piece of punctuation but it works because the characters we’re being introduced to lead hard lives. They’re always looking over their shoulders, thinking in short snaps, weighing up what’s in front of them ... and what might be behind.

Lapidus dares to trust us, dares not bore us. And because of, rather than despite, the short sentences and fragmented prose, reading the scene is an immersive experience for the reader. I recall a sense of taut fatigue as I read this book, like I was right there, ever watchful, on my guard.

This author’s deliberate punctuation choices and choppy style mean the word count is reduced but the tension is heightened. He doesn’t pad his narrative with purple prose and stage direction. Like Turner, he trusts us to do the work.

Damage by dilution
Consider your own writing. Leave your draft alone for a few days. Then return to it and see what happens if you take a more reductive approach to a scene.
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​It's all about balance at the end of the day. Not too much but not too little. Howard Mittelmark & Sandra Newman write:

I’m not suggesting you remove information the reader needs to know, but asking you whether there is material your reader doesn’t need to know, material that might bore them or hold them back.

Neither am I suggesting you avoid creating emotive scenes that are high on tension.
Rather, might you build this tension with shorter, tighter sentences that demand your reader do some of the work?

And I’m not suggesting you should limit every sentence in your book to five words – not at all. I’m suggesting that you might use this technique when you think it would work, when it would push your reader forward, when fewer words – the right words – would work as well or better than more, especially if you know you tend to overwrite.

​Letting go of what you love
For some authors it’s not about trust, but about not wanting to let go. Perhaps you found two delicious ways to say the same thing and now you can’t bear to cut either. Or you constructed a stunning paragraph but it’s interrupting the conflict or the action.
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In The Magic of Fiction, veteran editor Beth Hill says:

Hill asks authors to grab ‘the liberty to cut words as freely as you added them’ and then to enrich what’s left.

1. Precision: Use specific descriptive nouns and verbs that are appropriate to the scene and to the character’s voice.
2. Finesse: Eradicate waffle from phrases so that they’re 'pitch perfect' – use punctuation and words that match the mood: harsh scenes could benefit from words that are pronounced harshly and contain hard consonants.
3. Length: Play with ‘short and punchy words and short, hard-hitting phrases and incomplete sentences’.

It’s tricky for some beginner writers, I know, but repetition and interruption mean there are redundant words in your writing. And to make your novel sparkle, you need to let go of them because they’re not adding something new, they’re not in the right place, or they’re in the way.

Take courage. Try it with and without. You might be surprised.

Cited works and further reading

• Gone Bad. JB Turner. No Way Back Press, 2015
• How Not to Write a Novel. Howard Mittelmark and Sandra Newman. Penguin, 2009
• Life Deluxe. Jens Lapidus. Pan, 2015
• The Magic of Fiction, 2nd edition. Beth Hill. Title Page Books, 2016

If you'd like to access more tips and resources for self-publishers, visit the Self-publishers page on my website. Try these in particular:
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• 5 tips for writing about physical pain in fiction
• 11 things that helped me succeed as a self-published author
• Crime fiction subgenres: Where does your novel fit?
• How to be a better writer: Using a growth mindset to hone your craft
• Slipping into character – understanding the impact of narrative point of view
• What's the difference between a rule and a preference?​​