There are a thousand things that can be mentioned when talking about the "rules of writing." Where to break a paragraph, when it's okay to use incomplete sentences, etc. I won't be able to get into everything--and I'm by no means an expert--but I am a writer.
I think that most writers do these things based on instinct. We don't know the technical terms for sentence structures or syntax. We're probably not the best person to ask for specific grammar tips and diction notes. But you could pick up our writing and see that there are very intentional decisions being made in how the story is written.
Many of these things are closely related to voice and pacing. Today, I'll simply be giving the basics on how the way you chose to write your story impacts how someone reads it. We'll touch on the following categories:
Paragraph breaks (when to make a new paragraph)
Sentence structure (the 4 types and variations)
Flow (how paragraph breaks and sentence structure impacts the read)
Paragraph breaks.
There are many, many rules on when to make a new paragraph. In fiction, these rules are less concrete than non-fiction. We're taught in school that a paragraph should have a few key things: a topic sentence, support for that topic, and a closing/transition. This is specifically for essay writing and, while that might remain true for non-fiction, it looks a little different in stories.
One thing that is agreed upon in both fiction and non-fiction: a paragraph should contain only one idea or central theme. If your paragraph starts to transition in scene, character, dialogue, action, etc., it generally warrants a new paragraph.
Think of it this way, anytime something "new" comes up, it means a "new" paragraph.
For example, if you start your idea talking about escaping the dungeon and somewhere in that paragraph you transition to a memory from the character's childhood, that should be its own paragraph.
The cold worms its way up through the soles of my feet, causing me to shiver. I wrap my arms tighter around myself in an attempt to preserve some of my warmth. It doesn't work. The shivers wrack my body until my teeth are chattering and my very bones feel like they might shatter. // It reminds me of another night, long ago, when I sat around simmering coals with Sam. He laughed at the cold, enrobing himself in furs, while I desperately tried to prod the fire back to life.
Those two slashes mark the start of where a new paragraph should be, but isn't. Breaking up this section keeps the action moving forward. It also makes it easier to follow. Look at the difference between that clump of text compared to:
The cold worms its way up through the soles of my feet, causing me to shiver. I wrap my arms tighter around myself in an attempt to preserve some of my warmth. It doesn't work. The shivers wrack my body until my teeth are chattering and my very bones feel like they might shatter.
It reminds me of another night, long ago, when I sat around simmering coals with Sam. He laughed at the cold, enrobing himself in furs, while I desperately tried to prod the fire back to life.
One simple change and that chunk of text looks easier to read.
So, what are some other specific times when a paragraph break is recommended?
When a new character reacts.
This is true when only action is involved, but also in the case of dialogue tags. If a new character reacts to something someone said, that should be its own paragraph.
When a new event occurs.
When there's a new setting description.
Note: The character's reaction to the setting and the description should generally be kept separate, unless they're reacting to the setting as they see it.
When a change in emphasis/tone is needed.
When a new character thinks/speaks.
This doesn't encompass everything, but it's a good place to start. If you can remember "new" means "new," you'll have a good feel of when to make those paragraph breaks.
To note a specific error I've seen in a lot of work (and one that I did frequently when I started out) is connecting reactions from different characters to dialogue.
"There isn't enough time," Mary said. Jim gave her a pointed look.
"Just because you like to take an hour to get ready doesn't mean that you have to."
OR
"You can't tell me that you like the chicken dance." Lara crossed her arms.
"What? You don't?" Cliff smiled, flapping his arms and stomping in a circle. Lara rolled her eyes.
"You look like an idiot." Cliff's smile dropped along with his arms. He glared at her as she walked out of the room.
In both of these examples, the reaction of the second character is attached to the first character's action. This can make things confusing and hard to follow. Any time a new character thinks/speaks/reacts, make a new paragraph.
"There isn't enough time," Mary said.
Jim gave her a pointed look. "Just because you like to take an hour to get ready doesn't mean that you have to."
OR
"You can't tell me that you like the chicken dance." Lara crossed her arms.
"What? You don't?" Cliff smiled, flapping his arms and stomping in a circle.
Lara rolled her eyes. "You look like an idiot."
Cliff's smile dropped along with his arms. He glared at her as she walked out of the room.
(One exception to the "new" rule: When noting a reaction in the midst of dialogue, if the focus remains on what's being said as opposed to the action, it can stay in the same paragraph. I've seen this particular rule broken intentionally time and time again.
This is mostly left up to your discretion and understanding of your story. If it feels confusing, like you can't follow who is speaking and who is reacting, it's safer to start a new paragraph.
Example--the exception:
"I can't believe you did that!" Brie yelled. Tony opened his mouth to speak but Brie continued, "You told him the exact location of my treasure. Mine, Tony.")
Sentence structure.
There are four types of sentence structures used in English:
Simple
Compound
Complex
Compound-Complex
Let's some review some terminology.
Independent clause: This is a sentence that can stand on its own. It typically follows a basic structure of subject + verb + possibly an object. Something like, I ran to the store.
Dependent clause: This is an incomplete thought. It still has a subject + verb, but it's often accompanied by a marker word of some sort. Words like when, after, before, because, etc. You might see one like this, because Joey liked to play. We have the question of Why? Why did Joey like to play? What did it influence?
Conjunction: Connecting words. Examples include and, but, or, for, nor, so, yet.
Simple sentences are independent clauses. They stand on their own and they don't need anything other than themselves to make sense. I ran to the store.
Compound sentences are two independent clauses joined by a conjunction. He didn't like his dinner and she didn't like his attitude.
Complex sentences are an independent clause with at least one dependent clause. In formal language, these will be joined with a subordinating marker like we saw above. She wanted to visit the theatre because it had a lovely atmosphere.
Compound-complex sentences are just what they sound like, more than one independent clause and at least one dependent clause. Traditionally they will have conjunctions and subordinating markers--but not always. When Meryll brought twenty chickens home, she was delighted at the amount of feathers they had and she couldn't believe Marley said he didn't want them.
These are very basic examples of sentence structures used in formal writing. In literature, these change a bit. There, it is deemed "okay" to use incomplete sentences when the subject can be easily implied from context.
Elly ran to the window, looking for her guests.
The subject--being Elly--is clear even though it isn't restated in the second half of the sentence.
The whole family wanted to go to the legendary canyon. Swim in the waters. Dance in the moonlight. Maybe experience some of that mystical youth the town only spoke of in hushed tones.
Here, we can tell that we're talking about the whole family. Even though each thought is made into its own sentence, we know what the subject is.
That being said, one has to be careful with this usage. It's very easy to get swept away and not realize the implied subject has gotten lost somewhere along the way. Be vigilant when revising to check for areas where sentence fragments may not be clear.
Flow.
So, what does this mean for writing though? Why is it important for us to know when to break a paragraph and how to use proper sentence structure?
Well, because we have the power to direct our reader where we want them. To make them feel and laugh and gasp. But only if we're using these factors in the most impactful ways.
Breaking paragraphs in the right places help to direct the reader forward. By changing paragraphs whenever anything "new" shows up, you're telling the reader to expect something different.
It can add emphasis. If there's a point that needs to be driven home, have a single sentence as your paragraph. This will make it stand out amongst blocks of text. It's also highly impactful in scenes of high tension or action.
Keeping paragraphs short (2-4 sentences) also makes it easier to read. As noted above in the paragraph example, breaking it into two sections instead of one tells the brain that these ideas are in digestible sections. The reader is less likely to skim (or skip) entire sections.
Now let's combine this with sentence structures.
Have you ever looked at your writing and thought, "This sounds really repetitive." or "The pacing/flow feels off." If so, you might have fallen into a pattern of using the same types of sentences over and over. If you're only ever using simple sentences or compound-complex, your writing is probably going to start feeling stunted and hard to immerse yourself in.
I ran to the store to grab a bottle of shampoo. It was on sale. The cashier gave me an extra discount at the register. I saved $25 in total!
See how the flow feels like it lags after each sentence? It doesn't really pull me forward or make me want to keep reading. Compare it to the varied structures below:
I ran to the store to grab a bottle of shampoo and, when I got there, I found that it was on sale. To my surprise, when the cashier rang it up she gave me another discount! I saved $25 in total.
Another way that sentence structure could impact pacing is if you're starting sentences and/or clauses with the same/similar pronouns.
I spent twenty years studying microbiology. My research led me to the discovery of nano-particles. I presented my findings to the Board and I was asked to give a presentation.
If you're noticing this repetition, try flipping your sentences around or combining sentences.
While studying microbiology for twenty years, I was led to the discovery of nano-particles. The Board, delighted by the findings, invited me to give a presentation.
There are times when using a specific structure will make your story more immersive. For example, in times of high tension or action, using more short sentences helps keep the pacing up. If you're writing a slower scene--one you want to drag on--using longer, drawn out sentences will slow the pace.
This may also tie into the voice that you're using. If your character is young, they might not think or speak in complete sentences. The structures might not make as much sense.
If your character is a soldier, they may be drawn towards shorter, clipped sentences. They think in clear, concise detail and, therefore, don't use the most poetic language.
Unfortunately, for a lot of these "writing rules," using or breaking them is a case-by-case decision. You have to know the voice that you're trying to portray, the pace you want to set, the things that you can afford to leave out.
These rules aren't hard and fast. Even the exceptions aren't hard and fast. But I hope that you'll look at your manuscript in a new way as you go about drafting and editing!
If you have any questions, feel free to shoot me a message via my contact form.
Happy writing,
Erin
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