four grammar myths that you could ignore
You just want to tell a story the way you can. You work hard to express yourself, following the grammar rules that you have been taught. But what if those rules aren't really rules?
Sometimes well-meaning teachers and mentors pass on scientific wisdom based on misconceptions. Often times we try to follow these rules when breaking these rules actually improves and strengthens our writing.
Think of these grammar myths like the urban legends of the literary world. Like the hooked escaped prisoner who drifts around a lot or the crazy killer who calls the babysitter from another room in the same dark house.
They came into being somehow and are passed down through generations, often with great enthusiasm, but are they valid?
I'm by no means suggesting that you toss all grammar rules out the window, but let's examine four myths that you can ignore if this leads to a better story.
4 devious grammar myths
In his book Sizzling Style, William Bernhardt points out that none of these four myths can be found on the pages of the Chicago Manual of Style. That's because they aren't grammar rules and never have been.
Trying to adhere to these nonexistent rules can make your writing feel stiff and unnatural. We write stories. Our goal is to attract and entice readers, and sometimes it is not conducive to that goal to form sentences that conform to grammar rules.
The best way to get a feel for what is appropriate is to read plenty of books in the genre you choose. I highly recommend this approach. In the meantime, let's look at four myths to ignore if necessary.
1. Never start a sentence with a conjunction
If you're not sure what the conjunctions are, consider FANBOYS: F.or, And, N.or, B.ut, Ör, Y.et and S.Ö. This doesn't cover all conjunctions, but it will get you off to a good start. A more comprehensive list can be found here.
Many of us have been taught that using these words is a bad start to any sentence. But that's not correct. (Do you see what i did there?)
Sometimes starting a sentence with a conjunction makes the best sense and it feels most natural. To illustrate the point, I add some quotes from widely admired authors:
"To the I've tried for a long time just to write the best I can. Sometimes I am very lucky and write better than I can. "
-Ernest Hemingway
"But You will remember in the soft, lost, slumbering moments between waking and real sleep … "
– Neil Gaiman, The Wake
“The forest is beautiful, dark and deep.
But I have promises to keep
And Miles before bed
And Miles before bed. "
– Robert Frost from "Stopping by the Forest on a Snowy Evening"
Of course, one could argue that this last example is poetry and depends on the conjunction for the rhythm. And that would help me get my point across. Good rhythm is just as important as clarity is an important part of good prose.
2. Never end a sentence with a preposition
You know prepositions – in, on, over, over, um, etc. There are far too many to list but you got the idea. Prepositions are words that express the relationship between elements in your sentence. The Chicago Manual of Style does not contain an injunction against ending a sentence with a preposition, and you should do so when prompted.
When not required, it often gives lines of dialogue a certain Yokel quality. Fine – if that's what you want. For fun, I'm including a clip of one of my favorite comedians, Brian Regan. Two minutes later, you hear him use a sentence that ends with a preposition to illustrate how not to do it.
Skewing a sentence so as not to end in a preposition can lead to ridiculous results. Consider it:
"What's your story about?" versus "What is your story about?"
Which sounds more natural? What draws attention to the words themselves and from their meaning?
You may not know that Winston Churchill won a Nobel Prize in Literature. He was a wonderful writer. Back to Bernhardt's book Sizzling Style, he tells an anecdote about Churchill. The story goes that once, when an editor had the gall to correct one of his sentences that ended in a preposition, Churchill changed it back and remarked, "This is a terrible interference that I will not deal with."
Point made.
Here are a few more examples from experienced writers who have disregarded this non-rule:
“I think there has to be an empathic strike between the reader and the protagonist. There must be something said or known that connects the reader with this person you are about to ride through the story With. ”
– Michael Connelly
“Getting knocked out doesn't mean what it seems. A boxer doesn't have to get above. ”
– Joyce Carol Oates
“Nobody wants to read about the honest lawyer on the street who makes real estate loans and wills. If you want to sell books, you have to write about the interesting lawyers – the people who steal and take all the money out. That is fun. "
– John Grisham
3. Never split infinitives
An infinitive is the most basic form of a verb. When we talk about infinitives, we usually talk about the infinitive phrase "to + verb": be, run, eat, cuddle. That should – supposedly – never be shared.
Let's look at the most famous long-standing example of a divided infinitive. Gene Roddenberry wrote the narrative that opens every episode of Star Trek, but it took several drafts to get it right. When he finally made it, William Shatner was called off set while filming The Dagger of The Mind to do the voice-over. Here is the original text:
"Space, the final frontier. These are the journeys of the Starship Enterprise. Its five-year mission: to explore strange new worlds; to seek new life and new civilizations; go brave where no one has gone yet. "
It has been changed twice over the years. The five year mission is now her continuing mission. And "nobody" has become "nobody".
But the divided infinitive has stood the test of time. "Courageous" still divides the infinitive "to go". This is because it best expresses the spirit of the mission and balances the rhythm of the sentence.
If dividing the infinitive strengthens the script, adds clarity, or adds style, by all means, divide it.
"
"Never divide infinitives" is not a rule, but a grammar myth. Feel free to boldly share infinitives as you do to improve your writing.
4. Never use double negatives
A double negative is a statement that contains two negative terms that cancel each other out like a mathematical equation. For example, "I didn't say anything" literally means "I said something". But the implicit meaning is "I didn't say anything."
Sometimes we use double negatives in dialogue this way when a character speaks like that. This is an acceptable use of this improper design. However, there are times when the correct use of a double negative will convey the nuance of your meaning and make it an ideal choice. Consider these two examples:
"I can not love you."
The speaker seems to be saying that you are super adorable, or maybe I am being forced to love you whether I want to or not.
Andrea: Did you like my story?
Brad: "I didn't like it."
Brad's answer is a lukewarm rating of Andrea & # 39; s story that gives us a pretty good idea of what he's really thinking.
A license to break
When writing your story, your first goal should be to get it across to readers. This means using words and sentence constructions that get your message across and draw your reader into the story without drawing attention to yourself.
To do this, you need to properly know and apply the grammar rules. You also need to have a sense of when to break a rule. Or when there isn't a rule that could be broken.
Remember these four myths of grammar and consider this your license to break these pseudo-rules if this way you can tell the best story you know.
Were you taught these four “grammar rules” in school? Do you feel freer now because you know you can break them when prompted? Tell us about it in the comments.
WORK OUT
Write a scene from your work in progress or use a command prompt below. As you write, look for ways to start a sentence with a conjunction, end a sentence with a preposition, split an infinitive, or use a double negative. Put this part in bold.
Consider whether following the "rule" or breaking it is best for your story. If necessary, rewrite to improve your design.
Marla opens her mailbox and finds something surprising in it.
Bob plans a trip with his son Tad.
Jenna is waiting for her date and he's very late.
Write for fifteen minutes. When you're done, post your work in the comments. And be sure to provide feedback for your co-authors!
Joslyn Chase
