I’ve been seeing comma issues lately and I need to write about them.
Up there in the title, “long” and “cold” are what’s called “coordinate adjectives.” They modify the same noun (“winter,” in this case), so they’re coordinating their work. (Make sense? Good. Onward.) Continue reading “the long, cold winter (see? only one comma)”
Some of you already know what I’m about to say, just from reading that phrase. And you might be surprised to see what I’m about to say on the subject, because it’s not a terribly popular opinion. Still, it’s mine, and I’m airing it. Because I can. Continue reading “Toast and orange juice”
I’ve written before about how I am no longer a teacher. How editors aren’t teachers. Perhaps I was hasty in making that statement (over the years–hasty like a tortoise). Continue reading “The editor as teacher”
First, know that it caused me psychological pain to type that title. It’s a run-on sentence, you see. There are two complete thoughts (“Let’s talk about run-on sentences” and “how do you know one when you see one?”), but they run together without any visual cue, without proper mechanics. The grammar is just fine. It’s the mechanics that are missing–except for that question mark at the end, and the apostrophe for the contraction of “let us.” (You knew that’s what “let’s” means, right? Good.)
Second, here’s why I want to talk about them: people don’t understand what they are. Oh, when they’re short, like the one in this title, they get it right. But when a sentence goes on for what the average reader considers “paragraph length,” that reader assumes it HAS to be a run-on. And many times, that reader is wrong. Continue reading “Let’s talk about run-on sentences how do you know one when you see one?”
Earlier this morning I had reason to look for this post from December, 2016, in which I talked about dialogue and reactions. In it, I said I’d be writing another one “soon(ish)” about when dialogue needs to start on a new line.
It’s soon(ish) now. (Hey, it hasn’t been a year yet. That has to count for something, right?)
I’m still seeing the thing that caused me to say this post was needed. No surprise there; the way teachers address dialogue in standard English classes (from, let’s say, middle school on through college) is sorely lacking in nuance and clarity, from my experience. They drill this information into students’ heads: “Always begin dialogue on a new line.” The missing part is “from a new speaker.” The way dialogue appears on the page is a cue to the readers about who’s talking. Every new line indicates a change of speaker.
At least that’s how it’s supposed to work. Continue reading “Formatting dialogue: when do you need a new line?”
I’ll bet I scared someone already with the last word in that title.
Let’s start at the beginning. This post came about because of a conversation on Twitter, begun by this tweet from Andy Bechtel (@andybechtel):
I’m not agreeing with that decision, either. Nor are many folks. But there are a few who don’t understand why it’s wrong. This post is for them. (Maybe it’s for you. I don’t know.) Continue reading “Back to basics: commas and appositives”
I have an inordinate fondness for–some might say obsession with–intrusions.
Not physical ones. I don’t get into breaking down doors or smashing windows. I’m not talking B&E here. I mean written ones, like the one in the first sentence in this post. That clause in the parentheses is an intrusion. Why did I choose em dashes over parentheses? Continue reading “Intrusions: ems or parens?”