{"id":6017,"date":"2019-08-16T08:54:08","date_gmt":"2019-08-16T07:54:08","guid":{"rendered":"https:\/\/jerichowriters.com\/townhouse\/articles\/when-to-break-the-rules-in-writing\/"},"modified":"2019-08-16T08:54:08","modified_gmt":"2019-08-16T07:54:08","slug":"when-to-break-the-rules-in-writing","status":"publish","type":"post","link":"https:\/\/jerichowriters.com\/when-to-break-the-rules-in-writing\/","title":{"rendered":"When to break the rules in writing"},"content":{"rendered":"

The first time one of my Fiona Griffiths novels went to a copyeditor, no one had thought to check with me what I actually wanted from the process. (Which, ahem, is not absolutely unheard of in trad publishing.)<\/p>\n

My FG novels are voiced by my heroine herself. She sounds like this:<\/p>\n

We find signs to Porthgain, the vi<\/em>llage, but a small white sign points us further up the coast. \u2018Porthgain Secure Hospital\u2019.<\/em><\/p>\n

A one way track, unhedged.<\/em><\/p>\n

A pale sea rising on the horizon.<\/em><\/p>\n

We drive for a mile or two. Then, at a turn in the road, a gleam of white buildings occupying their own narrow headland. A jut of rock.<\/em><\/p>\n

Now, as you may notice, Fiona Griffiths doesn\u2019t write the way you were taught to write at school. She uses sentence fragments, a lot. (A sentence fragment lacks a main verb, as for example, \u201cA one way track, unhedged.\u201d) She uses some extremely short paragraphs including plenty of one-worders. She never uses a semi-colon. She\u2019ll often make a list where items are separated by full stops (= Brit-speak for period) instead of commas and so on.<\/p>\n

In short, she offends the instinct of every good copyeditor<\/a> everywhere in the world.<\/p>\n

Now, it turned out that my friends at Orion had, in their goodness, decided to unfreeze a cryogenically preserved librarian from the 1950s. They\u2019d thawed off the tweed, recurled the hair, and had her spectacles specially reframed to be extra scary. They then asked this fine lady to copy-edit the work of Detective Sergeant Fiona Griffiths.<\/p>\n

And \u2013<\/p>\n

The result was not a happy one. Sentence fragments got resentenced. Those lists-with-full-stops got remade into regular comma-style lists. Semi-colons entered the manuscript in their swarms.<\/p>\n

My nice clean prose turned from stuff like this:<\/p>\n

A one way track, unhe<\/em>dged.<\/em><\/p>\n

A pale sea rising on the horizon.<\/em><\/p>\n

We drive for a mile or<\/em> two. [\u2026]<\/em><\/p>\n

To stuff like this:<\/p>\n

The track is one way and unhedged. On the horizon, a pale sea rises up and we drive on for a mile or two. [\u2026]<\/em><\/p>\n

And, you know, that kind of writing is really fine. Most people write with plenty of main verbs. I use em myself. I\u2019ve got nothing against them.<\/p>\n

But \u2013<\/p>\n

That\u2019s not how Fiona Griffiths writes or sounds or is. So when I got the completed revised manuscript back again, I just said no.<\/p>\n

No, that wasn\u2019t how I wanted it. No, that wasn\u2019t the voice of Fiona Griffiths that I\u2019d so carefully contrived. And, in short, just no, no, no. (There was a swearier version too, but I kept that to myself.)<\/p>\n

So Orion, bless em, said, \u201cYou\u2019re quite right. We were wrong. We\u2019ll put it all back.\u201d And they did, except that they cleaned up any actual typos and the rest.<\/p>\n

So good. That sounds like a win for common sense and late-blooming editorial tact.<\/p>\n

But what I want to say is this:<\/p>\n

There are no rules that matter except those of clarity and expressive force. If you are clear and expressive, your writing just is fine, and phooey to anyone who says different.<\/p>\n

It\u2019s fine to repeat yourself. There\u2019s TS Eliot\u2019s much-quoted repetition about \u201cTime past and time present are both perhaps present in time future\u201d and yes, that\u2019s repetitive, but it\u2019s also poetry, so maybe doesn\u2019t count.<\/p>\n

Except you don\u2019t need to be one of the greatest poets of all time to get away with a spot of repetition. Here, in a rather humbler context, is Fiona Griffiths doing the exact same thing:<\/p>\n

Is Jared Coad the man we snapped in that kebab shop?<\/em><\/p>\n

I don\u2019t know. Just going on the facial resemblance alone, I\u2019d have to say definitely possible. Throw in Coad\u2019s combat training and psychological profile, and you\u2019d have to say definitely yes. But throw in the \u2018oh, but he\u2019s in a supermax secure psychiatric facility,\u2019 and you\u2019re left with \u2013 I don\u2019t know. The definite yes and the definite no both seem emphatic.<\/em><\/p>\n

That\u2019s four versions of \u2018definite\u2019 in one short paragraph. But is the repetition annoying? I don\u2019t think so. To my ear, that paragraph sounds fine and I\u2019d happily defend it from any tweedy librarian.<\/p>\n

You may note as well that that paragraph has plenty of contractions (\u201cI\u2019d\u201d for \u201cI would\u201d, for example), which you\u2019re not really meant to do. It also makes a noun of the entire phrase \u201coh, but he\u2019s in a supermax secure psychiatric facility\u201d, which is so wrong I don\u2019t even know the name for what kind of wrong it is.<\/p>\n

But so what?<\/p>\n

Clarity, right? And expressive force. That paragraph has both.<\/p>\n

You can even (sometimes, not often) make good use of outright clumsiness. In one of the books, Fiona\u2019s dad gives her mother a giant silver trophy for the \u201cWorld\u2019s Best Mam\u201d. It\u2019s awful and her mother hates it, but her father, undeterred, fixes it over the kitchen door. Fiona says, \u201cOn the way through into the kitchen, we had to stop to admire the trophy, which now looms over the kitchen door like something about to collapse.\u201d<\/p>\n

And that last phrase \u201clike something about to collapse\u201d doesn\u2019t offend against old-fashioned grammar exactly, but it does break good writing guidelines on specificity and elegance. \u201cLike a tumbledown shed\u201d is what you\u2019re meant to say. Or \u201clike a motorway carwreck.\u201d Or something you can actually put a picture to.<\/p>\n

Except that \u2013 the phrase itself is clumsy and somehow jury-rigged. Like the shelf which holds the trophy, the actual description feels like a thing on the point of collapse. In other words, I doubt if I could find a better phrase, no matter how long I thought about it.<\/p>\n

So in short, in short, in short \u2013<\/p>\n

Do what you want.<\/p>\n

Yes, you need to develop and good and sensitive ear and a keen sense of the kind of prose you want to hear yourself writing. But do all those good things, then write however the hell you want. Clarity and expressive force. Those two things, forever and always. You don\u2019t need to worry about anything else.<\/p>\n

Till soon<\/p>\n

How about you? What are your examples of rule-breaking prose that you don’t intend to give up on? Or what things are you plain unsure about. Leave a comment below and speak to The Librarian.<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

The first time one of my Fiona Griffiths novels went to a copyeditor, no one had thought to check with me what I actually wanted from the process. (Which, ahem, is not absolutely unheard of in trad publishing.) My FG novels are voiced by my heroine herself. She sounds like this: We find signs to<\/p>\n","protected":false},"author":32,"featured_media":6018,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[29292],"tags":[],"class_list":["post-6017","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-harrys-friday-email"],"acf":[],"yoast_head":"\nJericho Writers<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jerichowriters.com\/when-to-break-the-rules-in-writing\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"When to break the rules in writing – Jericho Writers\" \/>\n<meta property=\"og:description\" content=\"The first time one of my Fiona Griffiths novels went to a copyeditor, no one had thought to check with me what I actually wanted from the process. 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