In the U.K., the standard convention for introducing apposed sentence content with a less formal appearance than a colon and for presenting internal sentence content in a more emphatic way than parentheses is the open en dash. For the same purposes here in the U.S., we use the closed em dash.
U.K., open en dash
I don’t know – I don’t think anybody does.
I don’t know – I don’t think anybody does – but I can find out.
U.S., closed em dash
I don’t know—I don’t think anybody does.
I don’t know—I don’t think anybody does—but I can find out.
The open en dash is, not unexpectedly, endorsed by no less than the big gun of British English usage, the University of Oxford Style Guide, but the American em dash is nevertheless widely used in the U.K. because of the increasing adoption of American-style punctuation in general. Conversely, here in the U.S., there is essentially no reciprocal affection for the U.K.’s spaced en dash: it’s eschewed by every U.S. style guide in favor of the closed em dash, so it draws attention when encountered in written American English. It’s a free country, of course, and you’re welcome to use it if you want to and don’t mind that it will usually be unfamiliar and therefore offputting to American readers, as will be U.K.-style dialog punctuation.
If you're writing for an American readership, use American-style punctuation, including, for the love of God, dialog.
Last Editor Standing
Wednesday, November 6, 2024
U.K. and U.S. Dashes . . . Don't Mix Them Up
Sunday, October 27, 2024
Does Preordering an eBook Make Any Sense? No, but we do it anyway.
Preordering is what a reader does to
ensure a copy of a book that is expected to quickly be in short
supply after publication, a way to make sure you get yours when
everybody wants one. This is a consideration in offset printing,
where a specific number of copies are printed to satisfy the expected
number of purchases on publication day. If the author is popular and
buyers consider it possible that the currently printed copies might sell out fast on publication day, they might preorder it to have the opportunity to get first dibs on publication day
before vendors run out of the initial run.
This does not apply to eBooks. They are, by definition, never
out of stock.
Publishers never run out of them because they don't exist until they are are ordered. Order an
eBook, and it's on its way to you instantly as a device file with no depletion of inventory for the
publisher. The availability of the book is unlimited on the day of
publication, and it will always be unlimited.
As a practical matter, you, the customer, you have no incentive whatsoever to
preorder an eBook; it won't be available until the official publication day
whether you order it then or preorder it a month earlier. You won't
get it any sooner, and you won't get it any cheaper. You're at no risk of not being able to get
your copy on pub day, just like everybody else. The publisher will
never run out of stock.
The
only benefit that might accrue from this type of preorder is to the
publisher and the author by generating some buzz around perceived
demand for the title, by conveying the notion that it might become
more difficult to get as publication day approaches. It won't be. You
can order it anytime and get it just as quickly as at any other time. If
you want to support a particular eBook author or publisher, preordering might be a good way to do that because preorders count as first-week
sales, so it might cause a boost in initial
reported sales, albeit perhaps not a precisely accurate one, time-wise.
Preordering an eBook won't help you, but it won't hurt you,
either. It's of no use to you as a reader, but it might make some difference in the author's sales ranking if that is of any concern to you. If you want to read a little of the book
at Amazon's bookstore, you cannot do that, because the printer source file of
a preordered eBook typically hasn't been delivered to the publisher yet, so you won't see the usual “Read a Sample” link below the
cover picture on the book's Amazon page until it's officially on sale.
Tuesday, August 16, 2016
Multiple Paragraphs in a Single Instance of Dialogue
“Her sister will probably be there, too. Our best information says she doesn't know about any of the caper, but I've put Julian on her anyway, just in case. [This isn't the last paragraph either, so it likewise doesn't get a closing mark. Opening mark, yes—closing mark, no.]
See how it works? For a single instance of speech by a single speaker that extends for more than one paragraph:
- Each paragraph takes an opening quote mark, but
- Only the last one takes a closing mark.
Monday, March 28, 2016
Do You Write as Well as a Ninth-Grader?
Answers are here.
1. Many streets here doesn't / don't even have names.
2. The committee has / have reached a decision.
3. Who was / were the first settlers in this area?
4. The dog and the horse is / are made of plastic.
5. A number of the nails has / have loosened.
6. Neither Marie nor Earl cooks / cook as well as I do.
7. Many a decision has / have been made in haste.
8. Both of the officers has / have specific duties.
9. Each of the men raised his / their hand to vote for the proposal.
10. The coach, as well as his players, is / are anxious about the game.
11. We couldn't find Louis / Louis's saxophone.
12. Macaroni and cheese is / are popular in school lunches.
13. Kevin sent both Josh and I / me an invitation.
14. We / Us Kramers tend to be on the tall side.
15. He stared at she / her and I / me.
16. Denise was depending upon Sheila and they / them.
17. Shannon told us who / whom the police were looking for.
18. Give the envelope to whoever / whomever shows up first.
19. Carlos has already lain / laid the groundwork for the operation.
20. Remember, we're having dinner with the Williams' / Williamses tonight.
21. Lexington is fewer / less than thirty miles from here.
22. We hid behind the barn til / till sundown.
23. Exercising has had a positive affect / effect on my blood pressure.
24. My grandmother / Grandmother is taking me to the museum.
25. She remembered the conductor from a previous performance of The barber / Barber of Seville.
26. According to grandmother / Grandmother, Dr. Kournikova had immigrated to Milltown from Bosnia.
27. I've finally finished reading "The Grapes of Wrath" / The Grapes of Wrath.
28. The article was titled "Yesterday is Gone" / Yesterday is Gone.
29. Which one of you said, "Charlie did it?" / it"?
30. "Ouch" / "Ouch!" she yelled. / yelled!
31. Which is correct?
Harold will conduct the interviews Francine will meet the managers and Charles will guide the plant tour.
or
Harold will conduct the interviews, Francine will meet the managers, and Charles will guide the plant tour.
or
Harold will conduct the interviews, Francine will meet the managers and, Charles will guide the plant tour.
32. Which is correct?
Her low soft whisper could not be heard in the big noisy room.
or
Her low soft whisper could not be heard in the big, noisy room.
or
Her low, soft whisper could not be heard in the big, noisy room.
33. Which is correct?
The witch doctor wore a mask, of which this is a copy, only during special ceremonies.
or
The witch doctor wore a mask of which this is a copy, only during special ceremonies.
or
The witch doctor, wore a mask of which this is a copy, only during special ceremonies.
34. Which is correct?
Please try to arrive before dark; otherwise call ahead.
or
Please try to arrive before dark; otherwise, call ahead.
or
Please try to arrive before dark, otherwise, call ahead.
35. They hurried to finish their / they're song.
36. Its / It's a remarkable day!
37. The children's / childrens' toys were everywhere.
38. Your / You’re welcome.
39. Even though I was tired.
Fragment
Run-on
Complete Sentence
40. He asked for a raise she got it.
Fragment
Run-on
Complete Sentence
41. She is a good mother she pays attention to her children.
Fragment
Run-on
Complete Sentence
42. When Alex calls.
Fragment
Run-on
Complete Sentence
43. He laughed.
Fragment
Run-on
Complete Sentence
44. Craig likes cars more than her.
The sentence directly above means
Craig likes cars more than he likes Sheila.
or
Craig likes cars more than Sheila likes cars.
or
Impossible to know from the sentence’s form.
45. Craig likes cars more than Sheila.
The sentence above means
Craig likes cars more than he likes Sheila.
or
Craig likes cars more than Sheila likes cars.
or
Impossible to know from this sentence alone.
46. Craig likes cars more than she.
The sentence above means
Craig likes cars more than he likes Sheila.
or
Craig likes cars more than Sheila likes cars.
or
Impossible to know from this sentence alone.
47. Neither the students nor the teacher seems / seem to care much for Jude the Obscure.
48. He’s one of those superior types who always needs / need to have the last word.
49. Henry lay / laid around the house all day yesterday.
50. Which is correct?
We arrived at the McNameras house at seven.
or
We arrived at the McNamera's house at seven.
or
We arrived at the McNameras' house at seven.
----------------------------------------
Thursday, September 17, 2015
WHO and WHOM
Most of us routinely ignore the object pronoun “whom” and use the subject pronoun “who” for both object and subject uses in our speech. This pervades all educational levels and is regarded as perfectly acceptable colloquial English. In your written work intended for publication, the way your characters speak determines how closely the prescribed who/whom uses are observed in dialogue and in first-person narrative that reflects the speech habits of the narrating character. But virtually all publishers will expect you to know the proper uses of these two pronouns and to apply those uses when appropriate, and you’d better believe it. So get over any lurking notions that using “whom” is archaic and silly and that your publisher won’t care if you don’t do it. Writers have been debating the need for the use of “whom” for an awful long time now, but it has managed to endure through the centuries as an element of standard grammar and is not going anywhere anytime soon; you can set your mind to that.
Who is a subject pronoun. It executes a verb; it does something. Therefore, if the pronoun is in the subject role—is doing something—use “who”:
Who showed up last?
I don’t know who broke the door.
Whom is an object pronoun. It has something done to it. If the who/whom pronoun is playing the part of the object, use “whom”:
Whom did you email about this? “Whom” is the object of the verb “email.”
A who-or-whom pronoun that is the object of a preposition is usually “whom.” However, when the object of the preposition is not only the pronoun itself but, in effect, an entire relative clause containing the pronoun, make your who-or-whom decision based on the pronoun’s function within that relative clause. If that sounds screwy, here’s how it shakes out in practice:
Give the envelope to whoever arrives first.“whoever arrives first” is a clause that is the object of the preposition “to.” Within that clause, “whoever” is the subject executing the verb “arrives.”
Give the envelope to whomever you like. “whomever you like” is the object clause. Within it, “whomever” is the receiver of the action, i.e., the object, of the verb “like.”
Here are a couple of shortcuts that can help you in certain situations without the necessity of figuring anything out:
First, if any verb immediately follows the pronoun, the right pronoun is who:
Who is that pecking at the window?
I don’t care who said it. I don’t believe it.
Whoever knows about the merger will be there tonight.
Second, if any quantifier (many of, some of, all of, a few of, etc.) comes just before the pronoun, use “whom”:
The cowboys, many of whom had seen the shooting, weren’t talking.
Raquel looked in at the “New Fathers” class students, a few of whom were not men.
Friday, July 3, 2015
Anymore, Any More: Uses in American English
In American English, the one- and two-word forms have different meanings.
Anymore (one word) is an adverb meaning now in one of two slightly different senses:
1. “any longer,” anymore expressed in a negative way that suggests that something that used to be so isn’t so now . . .
The Amtrak doesn’t stop here anymore.
Look, I’m not a kid anymore.
2. “nowadays,” anymore expressed in a positive way that suggests that something that wasn’t so before is so now . . .
Everyone in this town looks so sad anymore.
Whenever we go skiing anymore, somebody gets hurt.
Any more (two words) is:
1. an adjective phrase that means “some more,” “an additional amount or number of” . . .
I don’t want any more ice cream.
If any more ants show up, I’m out of here.
2. an adverb phrase, meaning “to any greater degree or extent,” that can be used to modify either a verb or an adjective . . .
I don’t like this any more than you do. Modifying a verb.
This car doesn’t look any more dependable than the other one. Modifying an adjective.
I don't want to hear any more about it.
Could they even possibly be any more annoying?
Think of anymore in time contexts and any more for quantity, degree, or extent. One word for “when,” two words for “how much,” like that.
Now, UK folks, who use only any more, two words, might look at this discussion with some amusement and wonder why we think we need a one-word version in the first place. Fair enough. But at least we don't say silly stuff like VITT-a-min and SHED-ule.
Merriam-Webster's Collegiate, American Heritage, Random House Webster's, Oxford American, Fowler's Dictionary of Modern English Usage, et al.
Text Support:
Little Brown Handbook, Harper Collins . . . New Century Handbook, Longman . . . Garner's Modern American Usage, Oxford University Press . . . et al.
Friday, January 9, 2015
Commas with Coordinate Adjectives
size \
shape \
age \ old
color blue \
origin German \
made of \
qualifier sports \
the noun car \ codger
What Are Coordinate Adjectives?
Saturday, August 9, 2014
How to Insert Action Narrative Into Dialogue Using Em Dashes
Okay, most readers would be looking for a dialogue tag where the narrative is, but the writer never intended that. The writer has instead placed some amplifying narrative inside the dialogue to relate some action during the the speech. Now, inserting some straight narrative without a tag into dialogue is a good way to indicate action that occurs during the speech, but you can't do it with commas. When you do, you end up with something like a comma splice between dialogue and narrative and another one from narrative back to dialogue. I guess. Well, anyway.
You imbed action narrative into dialogue with a pair of em dashes. The information below is covered in more detail in my little eBook, but a continuing curiosity among writers is that many of them will pay an uncredentialed "book doctor" a thousand dollars to tell them they didn't develop the transvestite's character enough, but will flinch at the thought of paying much less to have their grammar and usage—the things that cause manuscripts to be rejected more often than for any other reason—checked and fixed. Those writers would probably also balk at shelling out ten bucks for Writers' Devils to learn things they would say shouldn't matter to true literary artists anyway, so here might be the only place those folks will ever get this information, where they can have it free and benefit from it with the anonymity that doesn't require them to openly attach any importance to it.
Let's say you want Tom to say something to Dick, and you want him to begin to get up and walk toward Dick at some specific moment as he says it.
Not before he says it:
Not after he says it:
Not at some indeterminate point during the speech:
If you want to pick a particular moment when the simultaneous action begins, action that doesn't interrupt or cause a pause in the speech but simply begins at some specific point during the speech, use a pair of hyphens to imbed the descriptive narrative:
Here's another one:
Saturday, July 27, 2013
choosing a or an as your indefinite article
a hippopotamus
a historic event (not an historic event, as you've probably heard or read sometime)
an hour-long show
a one-night stand
an IRS form
an FBI agent
a PTA meeting
a UPS driver
Saturday, March 16, 2013
The author pondered that and finally replied, "Well, I'd like to see my parents in Hawaii more often, but I can't afford to go by cruise ship and I'm afraid to fly. I think I want an ocean highway from California to Oahu so I can drive over any time I like."
The genie thought about it a minute and blew out his breath in consternation. "That's three thousand miles. The enormous amounts of concrete and asphalt and the engineering challenges by themselves would strain even my ability to use magic in its construction. Nothing approaching this has ever been asked of me."
After some thought, the writer said, "All right, then, I'll settle for a publisher who won't fictionalize my royalty statements and will treat me fairly and won't try to change my book into something different from what I wrote."
The genie instantly answered: "So, do you want two or four lanes on this highway?"
Office workers used to keep more cute signs on their desks than they do nowadays. I recall one that said, “There's no reason for it. It's just our policy.” This pretty much covers the attitude of the grammar “authorities” who like to badmouth split infinitives and split compound verbs. As everybody who's ever asked the question knows, nobody can tell you why you shouldn't use them. There's a good reason for that. These “rules” are not rules at all, but stylistic choices that gained the unmerited status of prescriptive pseudo-rules for no good reason whatsoever. Nevertheless, few things will make a tightly wound Language Arts teacher go zombie on your ass faster than splitting an infinitive, and not much will draw a bad look from some journalism professors quicker than squeezing an adverb between the auxiliary and main parts of a compound verb. As a fiction writer, ignore these people; if you listen to them you'll needlessly limit your writing by trying to “fix” something there was nothing wrong with in the first place.
Split Infinitives
The injunction against the split infinitive is based on the specious argument that the English infinitive is a single unit and should not, therefore, be split. This misguided notion probably arrived in our language as a stowaway in the back pocket of verbs of other languages, primarily Latin and Romance languages, as they were adopted into English. In such languages, “to” is a part of the root verb—in Spanish, for example, “ir” literally means “to go,” so it's impossible “to boldly go” anywhere. You'll have to settle for going boldly. The un-splittable infinitive is part and parcel of these languages and somehow came to be expected by many English grammarians who figured that if it was good enough for Latin it was good enough for them and didn't take the couple seconds needed to look at an English infinitive form and see that it's not chained to a single expression, that it is comprised not of one word but two—the introducer and the verb. Far from being a weakness of our language, this ability to convey more nuances of meaning by inserting an adverb or a modal between “to” and the root verb has always been a strength, one more thing that separates and elevates English from less powerful languages like Spanish and French where such possibilities don't even exist.
Everybody knew what Harvey was going to do. He was going to flatly refuse the offer.
Of course, this could be rewritten as
He was going to refuse the offer flatly.
Alternatively, the infinitive issue could be sidestepped entirely by rephrasing it as
He would flatly refuse.
But you don't have to do either thing, see, because you are a user of English, the world's most powerful language. The English infinitive form—which is, in a very real way, already split—allows its users to express narrower shades of meaning than are available to writers of more limited languages.
“. . . there has never been a rational basis for the objection to the split infinitive . . . .”
Merriam-Webster's Eleventh Collegiate Dictionary
So, is there anything grammatically incorrect about the split infinitive? Of course not. There never was.
Split Compound Verbs
What, you're still here? Split something. Go.
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Wednesday, March 6, 2013
Common Uses of the
Comma, Colon, and Em Dash
in Fiction
"Sweet mother of pearl!" she said. "Let me see heaven now."
A few moments later, as she ascended into heaven, she saw more rows of writers, likewise chained to their desks in a steam-filled room where they, too, were whipped continuously as they worked.
"Wait a minute, wait a minute!" the writer said. "This is just as bad as hell!"
"Not so," replied St. Peter. "Here, your work gets published."
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Saturday, September 29, 2012
More Than You Ever Wanted to Know About the Indefinite Articles A and An
All of the above examples are straight abbreviations, meaning you speak every letter individually: F-B-I, I-R-S, like that. An abbreviation that's spoken as a word--called an acronym--is treated like a word. And this can make a difference in your selection of article.
For instance, if FEMA were treated as a straight abbreviation, its individual letters would be pronounced and it would take an as its article because the initial sound would be the vowel sound (ef) of an individually pronounced letter f:
an FEMA (each letter pronounced separately: ef ee em a) announcement
But FEMA isn't treated as an abbreviation, is it? It's universally treated as an acronym--it's pronounced as a word: FEMA (FEE-muh). Now, when f functions as the first letter of a word it has the firm consonant sound, so, while FEMA would take an if it were treated as an abbreviation, which it isn't, FEMA the word, which is the way it's always used, takes a as its article:
a FEMA announcement.
Another example: MASH (Mobile Army Surgical Hospital) would take an as its article if it were pronounced as a straight abbreviation because the m would be individually pronounced with the beginning vowel sound (em). It is, however, always spoken as a word, so the m has the consonant sound and a is the article:
a MASH unit, not an em-a-ess-h unit
Wednesday, September 5, 2012
The Practical Benefits of Grammar for the Professional Fiction Writer in Telling Effective Stories
This blog entry was adapted from the Introduction of Writers' Devils: The Grammar Guide for Fiction Writers, by Dan Persinger, available in Kindle eBook format at Amazon
Friday, August 31, 2012
Punctuation Inside Dialogue
You can use a comma, a colon ( : ), an em dash (—), or an ellipsis ( . . . ) to help readers infer nuances of how a speaker is saying something.
Use commas as you do in narrative: lists, related thoughts with a conjunction between them, etc.
“We went to the drugstore and the post office and then to the market, and that's where we ran into Harvey.”
“Yeah, Ted told me he saw him there, too. He said Harvey was acting nervous, looking at his watch every two seconds, talking fast, things like that.”
A colon or an em dash represents an anticipatory pause that sets off and draws attention to what follows it in the sentence of dialogue.
“I'll tell you one thing: he'd better be waiting for us when we get there.”
“I'll tell you one thing—he'd better be waiting for us when we get there.”
The em dash and the colon are identical in function when used in dialogue, so your choice of which to use is more of a stylistic than a grammatical one. Most fiction writers use the em dash in dialogue, but some do use the colon, and nobody's going to have a breakdown if you do. And possibly, the copy staff at a publication you submit to might change your em dash to a colon or your colon to an em dash. Doesn't matter. You lose nothing in what you communicate to your readers. The two punctuations mean the same thing in dialogue.
A single em dash can also be used to indicate an abrupt end to speech through interruption. The interruption can be self-induced:
Lance was sure Pritchett knew where Nora was. He had to know. He walked across to where Pritchett was seated and stood over him.
“Where's Nor—” The rest of the word froze in his throat as he saw Pritchett bring up an ugly-looking knife into the space between them.
The speaker can be interrupted by someone else:
“Oh, sure, and did Grayson explain how a salt water creature happened to be thirty miles inland living in clear water?”
“Stranger things have happened. I know—”
“Look here, Ben,” the sheriff broke in, “you work for the state. Now, why don't you keep your nose out of county business, is that clear enough for you?”
You can use two em dashes to set off an internal part of the dialogue from what's around it, presumably with abrupt, momentary pauses.
“I don't know where he is—nobody does—so I'm going without him.”
The ellipsis ( . . . ) indicates a pause, and is handy for stop-and-go or disjointed speech or thought such as thinking out loud, pausing for effect, and the trailing off of speech. (Remember, the soft pause or fade of the ellipse is different from the abrupt break of the em dash.)
“Hurricane coming?” he said softly and mostly to himself as he adjusted and centered his glasses. “Well, I don't suppose . . . there's much we can do about that, with . . . .” His tenuous interest in the conversation dissolved, and he was once again lost in the artifacts from the day's dig.
Note that the second ellipse, the one at the end of the quote indicating the final trailing off of the speaker's words, apparently consists of four dots, not three. This is not the case. What you actually have here is the ellipsis—three dots—and a concluding period. The closing quotation mark is outside both. Over the years, I've seen a fair occurrence of ellipsis/closing quote/period, like this: . . .”. That's incorrect—don't do it. . . . .” is the correct order.
Here's some dialogue that uses several different punctuations to convey how something might be vocalized. Notice the use of the em dash to introduce and set off the final part of a sentence, the placement of commas between items in a list, and the pause for effect between the next-to-last and last items in the spoken list, facilitated by the ellipsis.
“When we came here a few hours ago, the only thing we had in common was the ten thousand dollars we'd get. Now, however, we share something else—the death of Mrs. Loren.
“So far tonight, one of us was almost killed by a falling chandelier, one of us was mysteriously slugged, one of us has been driven to the brink of absolute hysteria . . . and one of us is dead.”
You probably noticed that there's no closing quotation mark in the passage above at the end of the first paragraph, after Mrs. Loren. This is how dialogue with more than one paragraph is handled: place an opening quotation mark at the beginning of each paragraph, but a closing quotation at the end of only the final paragraph.
Here's another bit of dialogue with more than one paragraph. Notice that there's an opening quotation mark at the beginning of all three paragraphs, but a closing quotation mark at the end of only the final one:
“Before we go in here, I want all of you to keep two things in mind if you don't remember anything else I've said.
“First, Edgar James has broken no laws, and you will respect his home and property. If I see any of you disrespect either, I will personally make sure your life changes for the worse.
“Second, Parker James is absolutely no good to me if he's dead. If we find him here, he goes back to Prestonsburg, and he goes back alive.”
This blog entry is reprinted from the section "Dialogue: Forms, Tags, and Punctuation" in Writers' Devils: The Grammar Guide for Fiction Writers, by Dan Persinger, available in Kindle eBook format at Amazon
Tuesday, August 28, 2012
Serial Comma or No Serial Comma?
The serial comma, also called the Oxford comma or the Harvard comma, is the comma before the conjunction that comes in front of the last item in a series of items.