If you're a writer who rigorously edits your own work, would like to rid yourself of some of your grammar gremlins, or simply want to reduce the time your hired editor will spend on your manuscript, then this article is for you.
While the rules of grammar can sometimes be bent in fiction writing to suit voice, style or rhythm, there are certain errors that disrupt the reader's immersion, spoiling their enjoyment of your work.
With the understanding that clarity and consistency are key above all else, let's take a look at the top ten most common grammar errors I see when editing a fiction manuscript, and some tips on how you can avoid them.
Download the PDF version here if you'd like to keep it handy as you work:
1. Misplaced modifiers
Starting with one of the trickiest, a misplaced modifier is easy to do and not always easy to spot. It's a modifying word, phrase or clause that is not placed near enough to the word it's meant to modify, thus leading to confusion.
Example of a misplaced modifier:
She handed out cookies to the children wrapped in foil.
This suggests "the children" were wrapped in foil, or maybe even that "she" was wrapped in foil as she handed out cookies.
Correct:
She handed out cookies wrapped in foil to the children.
This clarifies that the phrase "wrapped in foil" modifies (further describes) the word "cookies".
Tip: Place modifiers close to the words they are describing.
2. Dangling modifiers
The misplaced modifier's close cousin is the dangling modifier (also known as dangling participle), whereby the subject being modified is unclear or entirely absent.
Example of a dangling modifier:
Skipping to the park, the sun warmed Alice's face.
There is confusion here over the subject, suggesting it was the sun skipping to the park while warming Alice's face.
Correct:
Skipping to the park, Alice revelled in the sun warming her face.
This immediately clarifies it is Alice who is the subject, skipping to the park while the sun (object) warms her face.
Example of a dangling modifier:
Reaching the station, the train pulled away.
In the absence of any other subject, we might assume the subject is the train, and therefore the train pulls away as it reaches the station.
Correct:
Reaching the station, Jack saw the train pull away.
This clarifies it is Jack who reaches the station, in time to see the train pull away.
Tip: Where a participle word, phrase or clause begins a sentence, place the subject directly after it to avoid leaving it dangling.
3. Dialogue construction errors
Mistakes here include omitting either an opening or closing quotation mark, or incorrect punctuation and capitalization of the dialogue tags. These errors tend to be a result of rushing during the writing stages, then the eye and brain skipping over them during self-editing - both easily done.
Examples of dialogue tag errors:
“I love this book.” She said.
"Are you ready?" He asked.
Correct:
“I love this book,” she said.
"Are you ready?" he asked.
Tip: To clarify, we use a comma before the closing quotation mark if the dialogue is followed by a tag, and only capitalize the first letter of the dialogue, not the tag (the tag is part of the dialogue sentence). If you regularly make these kinds of errors, consider using writing software such as Grammarly or ProWritingAid (affiliate link) to help you catch your mistakes.
4. Comma splices
A comma splice occurs when two independent clauses are joined with just a comma. Independent, meaning they are standalone, complete sentences.
Example of a comma splice:
He ran to the pharmacy, he forgot his wallet.
Correct:
He ran to the pharmacy. He forgot his wallet.
He ran to the pharmacy, but he forgot his wallet.
Tip: This is one of those "rules" where we can be flexible if it serves the style, rhythm or pace of the narrative. If we purposefully use a comma splice, we want to make sure the sentence and meaning are clear and the use of the splice purposeful.
For example: He ran to the pharmacy, he forgot his wallet, he had to run all the way home, he twisted his ankle on the return journey, he got caught in a rain shower, he cursed his bad luck when he almost got run over by a crazed cyclist, and finally he fell upon the pharmacy door and sobbed with pent-up frustration and despair to find it closed and bolted for the night. (I'll leave the reader to ponder what he may have so desperately wanted from the pharmacy...)
Where we're not using a comma splice purposefully, then use instead a full stop, semicolon, colon or conjunction to separate the independent clauses.
5. Subject-verb disagreement
This happens when the subject of a sentence doesn’t match the verb in number (singular or plural). While it appears to be straightforward, it's one that catches many writers out, and sometimes even has us editors scratching our heads.
Example of subject-verb disagreement:
There's multiple issues with this sentence.
"There's" (there is) is singular, but the phrase "multiple issues" is plural.
Correct:
There are multiple issues with this sentence.
There's an issue with this sentence.
Tip: Be particularly wary of "there's/there are" and "here's/here are"). In all cases, identify the true subject of the sentence (in the example above the subject is multiple issues), and ensure the verb (i.e. is/are) matches its number.
Collective nouns, such as group, team, family, get a little messier. In American English, they're mostly treated as singular when the collective noun acts as one unit, e.g. the team was ready for the presentation; while in British English, we sometimes regard collective nouns as plural, e.g. the team were ready for the presentation.
My advice is to first consider your audience, and then choose a style and remain consistent with it.
6. Overuse of adverbs
Adverbs have their place in fiction writing, and you won't see me wielding a red pen at them in scorn anytime soon (for the record, I don't even own a red pen). But there is something to be said for an excessive use of adverbs weakening your prose, whilst alternatives could have the opposite effect entirely.
Examples of unnecessary adverbs:
He ran quickly to the door.
"And then what?" she asked lazily.
He laughed brutally.
Alternatives:
He sprinted to the door.
"And then what?" she drawled.
He laughed, low and brutal.
Tip: Replace weak verb-adverb combinations with stronger, more precise verbs and watch your narrative come alive.
7. Homophones and commonly confused words
Homophones are words that sound the same or very similar but have different meanings and/or spellings. Incorrect use of a homophone can slip past spell checkers and confuse readers.
Examples:
Their/There/They’re
Your/You’re
Affect/Effect
Tip: Keep a list of commonly confused words handy for reference, and perhaps run a search on them when you're editing (i.e. using the Find command in Word). You'll find one such list at 10 Commonly Confused Words.
8. Tense shifts
While some tense shifts are intentional (Marion was hit by a car as a child and can't bear to be in one), jumping tenses indiscriminately - from past to present or vice versa - can make a narrative feel disjointed.
Example of tense shifts:
She runs to the door and knocked.
Jess washes the dishes and Julia dried them.
Correct:
She ran to the door and knocked. Or: She runs to the door and knocks.
Jess washes the dishes and Julia dries them. Or: Jess washed the dishes and Julia dried them.
Tip: Decide on a primary tense for your story and bear it in mind as you work, only shifting for stylistic reasons. Again, the editing stages are a good time to look out for these types of inconsistencies.
9. Overloaded sentences
Voice, rhythm and pacing can all dictate the length of your sentences. And whilst longer sentences with multiple clauses are sometimes fitting or necessary, they can become grammatically incorrect or lose clarity if not handled carefully.
Example of an overloaded sentence:
The cat that sat on the mat which was near the window that overlooked the garden purred.
Correct:
The cat sat on the mat near the window overlooking the garden and purred.
Tip: Look out for filler words that don't add anything to the sentence (e.g. just, very, like, really), and also words that aren't essential for the sentence to retain its meaning (in the example above: that, which was, that). Again, be guided by your narrative; in dialogue, one character may be long-winded (and even confusing) in their diction while another is abrupt.
10. Incorrect use of apostrophes
Apostrophes are sometimes misused in contractions and possessives; and while your readers may still infer the correct meaning, it can be enough of a distraction to throw them out of the story.
Examples of incorrect apostrophe use:
Its a beautiful day.
The dog's are barking.
Cars engines are temperamental.
Correct:
It’s a beautiful day.
The dogs are barking. Plural. Or: The dog's barking. Singular, contraction (dog is).
Cars' engines are temperamental.
Tip: Remember, contractions require an apostrophe (that is = that's), and plural possessive nouns require an apostrophe after the s (cats' baskets).
Finally...
As fiction writers, you get to play with language and push up against the rules; which means there is room for flexibility. Your story's tone, voice, style and pacing will dictate how you present your story, but with the caveat of prioritizing clarity and consistency. So long as readers can comprehend your narrative's meaning and purpose, then you needn't stifle your creativity with the form.
Mastering grammar in the first instance, however, ensures that when you do choose to break the rules, it’s a deliberate choice, and not a mistake.
Further reading
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Tina Williams of Fiction Yogi is a copyeditor and proofreader who works with writers at all stages, giving them the tools to improve their manuscript and level up their writing so they can meet their publishing goals.
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