Balancing Your Sentences

Grammar can sometimes be a balancing act. This is especially true when trying to express two or more ideas in the one sentence. Balancing your sentence structure will improve your writing style and improve the clarity of the sentence.

Writing a well balanced sentence is often referred to as parallelism or parallel construction. Essentially you are trying to make each part of the sentence similar in a small way so it does not become confusing for your reader.

Are your parallelisms faulty? An easy way to tell if your sentence suffers from faulty parallelisms is to read the sentence out loud. Listen for any awkwardness or confusion when trying to associate each idea to one another.

In The Elements of Style, Strunk refers to parallel construction as expressing co-ordinate ideas in similar form, and gives the following examples:

Unparallel –

Formerly, science was taught by the textbook method, while now the laboratory method is employed.

Parallel –

Formerly, science was taught by the textbook method; now it is taught by the laboratory method.

Unparallel –

The French, the Italians, Spanish, and Portuguese.

Parallel –

The French, the Italians, the Spanish, and the Portuguese.

Unparallel –

In spring, summer, or in winter.
Parallel –

In spring, summer, or winter (In spring, in summer, or in winter).

As you read through the above examples given by Strunk it is easy to see how each sentence has been improved. In most cases the addition of a preposition is all that is needed to add balance and clarity to each sentence.

Strunk says ‘The likeness of form enables the reader to recognize more readily the likeness of content and function’. In essence, the balancing of a sentence could be compared to a traditional poem. The balance and rhyme of each line aids in the perception of the poem, as the balance and similarity of the sentence fragments aids in the perception of the sentence.

The following examples from Strunk show how correlative expressions should be followed by the same grammatical construction to ensure balance (parallelism):

Unparallel –

It was both a long ceremony and very tedious.

Parallel –

The ceremony was both long and tedious.

Unparallel –

A time not for words, but action.

Parallel –

A time not for words, but for action.

Unparallel –

Either you must grant his request or incur his ill will.

Parallel –

You must either grant his request or incur his ill will.

When looking at these sentences one can clearly see how these small changes make a huge difference in clarity. These simple changes can make any sentence easier to understand.

Effective parallelism creates balance in sentences and adds power to writing. Strunk says that the unskilful writer often violates this principle under the mistaken belief that constantly varying the form of expression is necessary. But if done right, parallel constructions can actually enhance the writer’s voice, and help the writer finish on a nicely balanced piece of writing.

Kristy Taylor is a syndicated freelance journalist with articles and short stories strewn across all forms of media. She has written and published numerous books, and is the executive editor of KT Publishing, which encompasses several web sites. For free listings of short story competitions visit http://www.shortstorycompetitions.com

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Writing Numbers

How do you write numbers? This is a common question asked by many writers. The answer depends on what field you’re working in or what style guide you need to follow. Arabic numerals are generally used in commercial, mathematics, statistics, science, or technical fields. Other works like literary or humanistic mostly use numbers written out in words.

Some types of numbers are always written as figures. This is to avoid confusion, and to assist the reader with comprehension. These include:

• Dates
• Percentages
• Decimal fractions
• Currency
• Measurements
• Weights
• Tables
• Times of day
• In related series of numbers provided for comparison.

If a number is used to start a sentence, it should always be written out:

• Seventy-five of the buttons were blue.
• One hundred pencils need to be sharpened.

But what about other writing like fiction or correspondence? The general convention is to write out numbers as words when writing from one through nine, and to use figures from 10 onwards. Below are some examples:

• We need four eggs for the omelette.
• The car yard had 14 yellow sedans.

Though, the Australian Style manual for authors, editors and printers says to write out numbers from one to one hundred if the document is primarily text. It also suggests the use of numerals in only some sections is acceptable if needed to emphasise precision, or to avoid clumsiness, in a document that is scattered with statistics or similar. For a document that is heavy with statistics, the style manual says to use numerals throughout.

With the various rules concerning whether to write out numbers or not being so different, it’s no wonder we sometimes get confused. Whatever style you decide to use, if you’re not following a style guide, make sure you stay consistent.

Kristy Taylor is a syndicated freelance journalist with articles and short stories strewn across all forms of media. She has written and published numerous books, and is the executive editor of KT Publishing, which encompasses several web sites. For free listings of short story competitions visit http://www.shortstorycompetitions.com

To contact Kristy, email her at This email address is being protected from spambots. You need JavaScript enabled to view it.

This piece may NOT be freely reprinted. Please contact editor @ howtotellagreatstory.com for reprint rights.

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Affect or Effect?

These two words can confuse the best of writers. They look almost the same but they have different meanings. So what’s the difference between the two?

Affect is mostly used as a verb; it is used to show how something is being influenced.

Example:

Drinking alcohol affects my asthma. (My asthma is being influenced by the alcohol.)

How to remember: the a in affect could stand for active, as in, a doing word or verb.

Effect is mostly used as a noun; it is used to show a result.

Example:

Drinking alcohol has an effect on my asthma. (The effect is a result of the alcohol.)

How to remember: the e in effect could stand for existing, as in, a thing or noun.

There are some instances where affect and effect swap roles and are used in different ways to those shown above.

When used in a psychology context, affect can be used as a noun, meaning ‘the emotion a person attaches to a particular idea or set of ideas’.

When used in a formal context, effect can be used as a verb, meaning ‘bring about’.

So when in doubt, use the mnemonics as shown above earlier:

Affect = a for an active verb

Effect = e for an existing noun

Hopefully this will help keep your affects and effects straight, and have a good effect on your writing efforts, so your career is affected in a positive way.

Kristy Taylor is a syndicated freelance journalist with articles and short stories strewn across all forms of media. She has written and published numerous books, and is the executive editor of KT Publishing, which encompasses several web sites. For free listings of short story competitions visit http://www.shortstorycompetitions.com

To contact Kristy, email her at This email address is being protected from spambots. You need JavaScript enabled to view it.

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Than or Then?

Surprisingly these two words are very easy to distinguish between, yet many writers get them mixed up. So when should than be used and when should then be used? Let’s look at some examples below.

Than is used to make a comparison between things, usually after a comparative adjective or adverb, to introduce a second clause or element that is not equal.

Examples:

• John is shorter than Jenny.
• His singing was louder than hers.
• The kidney operation was more urgent than the facelift.

Then is used to differentiate time, usually to indicate when something occurs in a particular timeframe or sequence.

Examples:

• Finish your dinner and then brush your teeth.
• I’ll jog to the bench and then I’ll sprint to the fence.
• The invoice was for $100.00, but then there was tax added as well.

A good mnemonic to use could be:

Than = a for comparing an apple to an orange.

Then = e for an event in time.

Remember, than is only used to make a comparison. So if you are comparing something, use than, and if you are not comparing something, use then. I told you it was easy!

Kristy Taylor is a syndicated freelance journalist with articles and short stories strewn across all forms of media. She has written and published numerous books, and is the executive editor of KT Publishing, which encompasses several web sites. For free listings of short story competitions visit http://www.shortstorycompetitions.com

To contact Kristy, email her at This email address is being protected from spambots. You need JavaScript enabled to view it.

This piece may NOT be freely reprinted. Please contact editor @ howtotellagreatstory.com for reprint rights.

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That or Which?

The usage of that or which can confuse the best of writers, and often leaves the grammarians scratching their heads. Below we will look at both words and try to find a solution.

That can be used as a demonstrative pronoun, an adjective, a conjunction and sometimes as an adverb. But the most confused use of that occurs when the writer is not sure if they should use that or which.

That is often omitted when it is used to introduce a noun clause or after a verb that expresses a process.

Example:

The book that he read was Oliver Twist.

The book he read was Oliver Twist.

The second example reads fine without the that. This is quite common in modern writing and is in line with The Elements of Style: A Style Guide for Writers* ‘omit needless words’ mantra.

That is also used after a restrictive clause; meaning that it restricts the clause that it follows so no confusion is made.

Example:

He picked up the books that were on the bedroom floor.

In this example that restricts the books being referred to and serves to avoid confusion as to which books are being picked up.

Which can be used to introduce direct or indirect questions, as well as in relative clauses.

Which is usually preferred after a non-restrictive clause; meaning the information after which does not have to refer directly to the clause it follows as it is only adding extra information.

Example:

He got the job, which lead to his improved finances.

In this example which is only adding some extra information, it is not restrictive in that it is not referring directly to him getting the job.

It’s no wonder we get confused with these two words, especially when it is possible to sometimes swap the two. Which can also be used in place of that in a relative clause, though this is usually as a style choice.

To try and keep their usage straight in your mind, remember the following:

That is used to clarify. Which is used to add extra information.

(* Strunk – The Elements of Style: A Style Guide for Writers)

Kristy Taylor is a syndicated freelance journalist with articles and short stories strewn across all forms of media. She has written and published numerous books, and is the executive editor of KT Publishing, which encompasses several web sites. For free listings of short story competitions visit http://www.shortstorycompetitions.com

To contact Kristy, email her at This email address is being protected from spambots. You need JavaScript enabled to view it.

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Homophones: Two, Too & To

Why do these three little words cause so much confusion for writers? Most likely because they sound the same, and so writers think that these words are interchangeable. Unfortunately that is not the case as these words have their own distinct meanings.

When words sound the same but have different meanings they are called homophones. These three words all sound the same but look different. So let’s have a look at these differences between two, too and to:

Two – the number 2. Other words that signify the number 2 generally start with or include the letters tw, e.g. twenty, twins, twice, between.

Too – also, as well, in excess, excessively. Too is an adverb (modifies a verb).

To – everything else that the first two don’t apply to. To usually begins a prepositional phrase or an infinitive (because it’s a preposition).

To make it a little easier to see and hear the differences, let’s look at the examples below:

• He held two cards in his hand.
• He drank too much alcohol that night.
• He went to the bathroom many times that night.

With the first sentence ask yourself ‘how many cards,’ and see if a number is needed. With the second sentence ask yourself ‘how much alcohol,’ and if you can replace it with ‘excess alcohol,’ you most likely need the word too. And with the last sentence ask yourself if either a number or a reference to ‘also/excess’ is needed—if not, you need to.

Kristy Taylor is a syndicated freelance journalist with articles and short stories strewn across all forms of media. She has written and published numerous books, and is the executive editor of KT Publishing, which encompasses several web sites. For free listings of short story competitions visit http://www.shortstorycompetitions.com

To contact Kristy, email her at This email address is being protected from spambots. You need JavaScript enabled to view it.

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Controlling Your Commas

Confused about when to use commas? Here are 5 tips that you may find helpful when trying to control your commas.

1. Use commas between the clauses in compound sentences. This is where you join two sentences together with a conjunction – a word like and, but, so.

Example: The cat leapt, but the mouse escaped.

The two clauses could form two separate, simple sentences.

2. Put commas around words that you can leave out and still have a sentence that makes sense. The words inside the commas will be clauses or phrases that give additional meaning.

Example: As the cat leapt from the garden wall, the mouse, which had been snuffling around the flower bed, scuttled back into its hole.

This simple advice is particularly helpful because you don’t have to recognise a phrase, or know the difference between an adjectival or an adverbial clause, or a dependent or independent clause, and you can still get it right.

The clause about the mouse in example 2 above is adjectival. It is also a dependent clause, because if we read it on its own, we don’t know what it refers to. But none of that really matters when you’re writing, because you know it gives extra meaning and you have to put commas around it.

3. About the exception for clauses or phrases after conjunctions.

In the middle sentence of the paragraph above, there is a comma before the word because, but not after it to separate the clause, if we read it on its own. That is an exception to the rule we’ve just been discussing. If it follows a conjunction like and, so, but, or because, there is no need for a comma before the clause. This is an important one to note, because, if, as I am deliberately doing here, you include these commas, your work reads in a stilted, difficult way, and you could be accused of overuse of commas.

4. Adverbial clauses are clauses which tell more of the why, where or when of the activity of the sentence – the verb. Sometimes they are crucial to the meaning of the sentence. If that is the case, there is another rule exception; they don’t have to follow a comma.

Example: The cat leapt from the garden wall when it saw the mouse snuffling around the flower bed.

However, if you make that last clause an introductory one, you must include the comma.

Example: When it saw the mouse snuffling around the flower bed, the cat leapt from the garden wall.

5. With clarity of meaning the comma changes the meaning in the examples below.

Example: Alice thought the mouse had been snuffling around the flower bed.

Example: Alice, thought the mouse, had been snuffling around the flower bed.

These are not the only uses for commas, but they are often the ones writers get wrong. With a little extra knowledge about sentence structure that includes phrases and clauses, they are less likely to make mistakes with commas.

Kristy Taylor is a syndicated freelance journalist with articles and short stories strewn across all forms of media. She has written and published numerous books, and is the executive editor of KT Publishing, which encompasses several web sites. For free listings of short story competitions visit http://www.shortstorycompetitions.com

To contact Kristy, email her at This email address is being protected from spambots. You need JavaScript enabled to view it.

This piece may NOT be freely reprinted. Please contact editor @ howtotellagreatstory.com for reprint rights.

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Varying Your Sentence Lengths

New writers often make the mistake of assuming the best pieces of writing are filled with long, complex, jumbled sentences. Not true. If you want to keep your readers’ attention, try varying your sentence lengths. Otherwise you could bore or even intimidate your readers.

Effective writers understand the importance of varying between shorter and longer sentences. Like a musician, or well-versed public speaker, you must understand how to use words and sounds to add emphasis where needed.

The short sentence adds stress or speed. It gets to the point. It punches the reader in the lip, so to speak. For example:

I love you. I feel things with you. I haven’t felt that before.

With this passage readers know exactly what the writer or character is saying. Every word matters in the short sentence. Take another example:

I love you because I feel things with you, and I haven’t felt that before in my life.

It doesn’t resonate as deeply as the first passage, does it? The chopped up sentences are more effective. The length makes the difference.

The complex, compound sentence has its rightful place as well. It conveys a stream of consciousness or intense emotion in fiction. For example:

That dog has found my last nerve, and do you know what that means? It means that from here on out, you’ll be walking that mutt, and you’ll be fetching its water and nasty canned food and cleaning up the pee stains all over the house while I nap or watch Kath & Kim while sipping on some plonk with my sister. That’s what it means!

The anger and authenticity of this passage is highlighted by the free-flowing length. Readers feel the words pouring from the character’s mouth. (Notice the last sentence, which is considerably shorter than the rest of the passage, is where the emphasis falls.)

After taking into account sentence length and purpose, remember: the key is balance. Too many short sentences make the writer seem childish or immature. The reader gets bored. Overuse of lengthy sentences creates the same results. Essentially, you don’t want monotony in your writing.

If you’re wondering which sentence type you lean toward, there’s a simple formula many English professors teach their students. Find an essay you’ve recently written, and highlight 25 random lines. Count the number of words in each sentence. Add those together. Next, divide the number by 25. This is your average number of words per sentence. If you’re below 14, consider using longer sentences in your writing. Anything over 22 indicates you’re using too many compound or complex sentences. Chop them up. If you’re between 14 and 22, take an overall look at your sentences. Are you presenting a variety of lengths and structures? Read the paper out loud. Does it flow? If you believe something sounds out of place, then it probably is.

Learning the ‘rhythm of writing’ isn’t something you’ll learn overnight, but with practice you’ll catch areas in your writing that lack variety and you’ll learn how to transform your sentences into memorable prose.

Kristy Taylor is a syndicated freelance journalist with articles and short stories strewn across all forms of media. She has written and published numerous books, and is the executive editor of KT Publishing, which encompasses several web sites. For free listings of short story competitions visit http://www.shortstorycompetitions.com

To contact Kristy, email her at This email address is being protected from spambots. You need JavaScript enabled to view it.

This piece may NOT be freely reprinted. Please contact editor @ howtotellagreatstory.com for reprint rights.

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A Quick Start to Grammar Basics

Grammar is a part of writing that can intimidate many people, but becoming familiar with a few simple grammar rules can help tremendously as you learn to become a better writer.  Here is a quick start to a few grammar basics.

Who, Which and That

Usually, the word who is used for mentioning people (or animals, if they have names.)  The words that and which are normally used when mentioning things.  For example, you could write, “I need the frying pan that I bought yesterday.”  Or, you could write, “I need the frying pan, which I bought yesterday.” If you choose to use the word which, make sure there is always a comma before it.  (This does not apply if you are using the word which to make a distinction between two things, such as “which sweater should I wear?”)

This

Whenever you use the word this, make sure there is a noun after it to describe what you are writing about.  (A noun is a person, place, thing or idea: like mother, St. Louis, table or love.)  For instance, instead of writing, “This is an outrage,” you should write, “This mistreatment is an outrage.”  Always describe the thing to which this is referring.

Than or As with Me and I

When comparing two things that end with a pronoun (such as me, I, she, her, etc.) it can be tricky to know which word to use.  For instance, in the sentence, “Sarah likes Becky more than me,” is it correct to use the word me, or should the word I be used?  There is a very easy solution to this problem. When you are writing sentences like these, complete the sentences in your head.  “Sarah likes Becky more than I do.”  Therefore, in this case, the word to use would be I.  In the sentence, Sarah likes Becky more than me,” you could complete the sentence in your head by saying, “Sarah likes Becky more than she likes me.”  Therefore, in this case, the correct word to use would be me.

We and Us

Often the usage of the words we and us can be confusing.  Usually this happens when the words we or us come before a noun in a sentence, like this: “We girls are going to beat you boys.”  Many people are unsure if the words we girls or us girls should be used.  If you would like to take a shortcut with the more complicated grammar rules, there is a very easy way to remember which word should be used.  Simply remove the noun and think about what the sentence should sound like.  For instance, saying “Us are going to beat you boys” sounds wrong to most people (and it isincorrect.)  Therefore the correct word to use in that particular sentence is we.

Proper use of the English language can be complicated at times.  However, getting a quick head start with your grammar skills will take your writing a long way.

Kristy Taylor is a syndicated freelance journalist with articles and short stories strewn across all forms of media. She has written and published numerous books, and is the executive editor of KT Publishing, which encompasses several web sites. For free listings of short story competitions visit http://www.shortstorycompetitions.com

To contact Kristy, email her at This email address is being protected from spambots. You need JavaScript enabled to view it.

This piece may NOT be freely reprinted. Please contact editor @ howtotellagreatstory.com for reprint rights.

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