Wrong is Wrong

I am currently enrolled in a graduate certificate program which involves a formal study of grammar and mechanics. In this endeavor, I am reminded of a story my wife tells about her first week in school after moving from California to Louisiana. In her old school, students were expected to diagram sentences of ever increasing complexity. After a week in Louisiana, my wife had figured out that the material was not on her level, so she stayed after class one day to ask the teacher when they would start diagramming. He told her they would not be doing so, and when she protested, he cut her off. “These students can’t handle diagramming.” he said. The truth, of course, is that the students very well could have—should have—handled it and more, but they would have complained to their parents who would have complained to the principal who…well you get the idea.
I think of this now because I was one of those kids who should have diagrammed sentences but was never taught how. I have since found the exercise instructive and helpful, and as I study advanced grammar, I sometimes regret that I was not afforded the opportunity to master this skill as a child. More to the point, I regret that I was never correctly taught grammar, punctuation, mechanics and a host of related subjects. Oh, we had the lessons—every year for twelve years—and I made A‘s and B‘s. I also read so widely that I was able to get by quite well until I started preparing manuscripts and book proposals. But the fact is, the grammar I learned in school was superficial and, in many key respects, simply wrong. It was wrong because somewhere in the educational system in this country, it was decided that school children can only be taught lessons so watered down as to lose all meaning.
I am reminded of another story, one told by the Nobel Prize-winning physicist Richard Feynman about his experience serving on a text book adoption committee. He was asked to serve and was happy to do so, and so he received a few elementary grade science texts to review. In each, in the first chapter, he found the same words: “Energy is the ability to do work”. “No!” argued Feynman, “It isn’t”. They all had it wrong, and so, being a good citizen, he called them up to explain the three or four ways in which this apparently universal statement was mistaken. The reply was unanimous. “Calm down Mr. Feynman. You can’t expect elementary children to understand college physics. We give them explanations they can understand.” His answer was direct: “How can they understand anything if what you teach them is WRONG.”
Perhaps not everyone need understand physics, but everyone ought to be able to use his own language correctly. Children do, of course, have to be taught at their level, but Feynman had a point. English grammar isn’t quantum mechanics. Diana Hacker managed to cover it pretty well in only five chapters out of her 540 page “Writer’s Reference”. On reading it and similar texts, it quickly becomes clear that most of the sticking points that English speaking adults stumble over—indeed, have come to see as intractable—have less to do with the subject matter, and more to do with the quality of education.
You cannot punctuate a sentence correctly unless you know a subordinate clause when you see one, understand why a preposition is called a preposition, and know the difference between coordinate and cumulative adjectives. When you know that “who” is a subject and “whom” is an object, you don’t need silly rules about prepositions, or to remember lines from Hemingway. There are exceptions, but most of it makes pretty good sense once you understand all the detail and terminology that, in school, was replaced with rote memorization, rules that aren’t really rules, and alternative terms designed to keep us from having to learn the Latin and Greek roots upon which our language is built.
My recollection of college is of discovering that we could easily cover in one quarter the material presented over an entire year of high school. We had twelve years in which to master our language, but wasted much of it wading through twelve repetitions of the same coddling. In life, the only things I really regret are squandered learning opportunities. The only things that really anger me are those ruined through ineffective instruction. I can’t get too riled through, for my schooling taught me one thing very well—something that has served me faithfully and that every child should learn as early as possible: no one is responsible for your education, ultimately, but you.

RegEx for the Writer

As an IT professional, I use regular expressions every day. Regular expression (or RegEx) is a syntax employed by modern programming and web tools to provide sophisticated pattern-matching capabilities. They scare me a little, because I maintain that all non-trivial regular expressions are what John Dykstra used to call “miracle programs”, programs that are wrong and only appear to work because they have not yet met the right input data that will cause them to stumble, embarrassingly, disastrously, into ruin.

Still, they are handy, and let us go way beyond the simple wildcard matches of yesteryear. So it is not surprising that OpenOffice/LibreOffice, the open source replacements for Microsoft Office written by a global community of uber-geeks, support RegEx. As and author, I use this capability quite a lot. When writing a novel, it is not uncommon to realize (or worry) that you have been systematically making some grammatical or mechanical mistake—it happens to the best of us—or simply to decide to make some global change. Simple search-and-replace is a boon, but RegEx takes us further. For example, “^And” will find lines beginning with a conjunction, “ to [:alpha:]*[\.\!\?]” will find sentences ending with (one particular) preposition.

I have also used RegEx when preparing text for on-line submission, where in-line text needs to be readable on a wide variety of clients. I use an online tool (http://www.formatit.com/) to insert linefeeds enough to format my pasted text to the proper width for submission, then past it back into Libre and use a global replace to transform the end of each line (“$”) into a pair of linefeeds (“\n\n”) and so produce text that remains double spaced even when divorced from the text styles of th word processor.

Recently, I noticed a particular sentence in which I had used three “em” dashes. I wanted to come back to it later, but had forgotten where it was. Rather than search through all 300 dashes in my manuscript, I save the file as text and used the following command line to find my quarry:

grep -o -e "[^\.\!?]*—[^\.\!?]*—[^\.\!?]*—[^\.\!?]*[\.\!?\"]" "Doomsday's Wake.txt"

This searches for any string of letters containing three dashes and preceding a sentence-ending punctuation mark. (If you know RegEx, you know that a repetition operator can simplify this, but for some reason, the version of grep I am running won’t accept it).

That solved, I used this to count the total number of sentences in my document:

grep -o -e "[^\.\!?]*[\.\!?\"]" "Doomsday's Wake.txt"

and this to display all those using a pair of dashes for review:

grep -o -n -e "[^\.\!?]*—[^\.\!?]*[\.\!?\"]" "Doomsday's Wake.txt" | more

Powertools: they’re not just for motor-heads.

Colonnade Win

I was just notified that my short story “Frame Zero” won 1st place in the Colonnade Writing Contest. Short stories are harder, in a way, than novels, because they require so much of the world to remain outside the narrative. This one was interesting because it all revolves around a boy at the crossroads of two different kinds of revolution, and his backstory, future, and familial relations are only hinted at. It was a lot of fun.

“Frame Zero”, is about a brilliant boy who learns that his father has been arrested after studying a signal from space that he thinks is a message from God. On the eave of a great religious war, the boy goes over his father’s notes and realizes the signal can only be from a spacecraft launched twelve thousand years ago from earth–from before the accepted creation.

Well if you already knew…

Stephen Covey once said “constructive criticism is the greatest gift one ca hope for”, and he was right. Participating in a critique group is a tricky enterprise. You want to be encouraging, but you want to give constructive criticism–that’s why we’re all here.

It is surprising, then, how frequently a writer will argue with the critique, and even more so, how frequently his argument breaks down — one way or another — to some version of “Yeah, I already knew that was a problem.”

I shouldn’t be surprised of course. This is the natural human desire to save face–even if only in our own eyes, and we ALL are guilty of it at one time or another.

Literary critique, fellow space travelers, should not be that time. You asked for my critique, I give it. I try very, very hard to be constructive (even if the POV shifts eight times in the first paragraph and you mis-spell your own main character’s name in the second) and the only response I need from you is “thanks.” It is, after all, only my opinion; you are free to disagree, or agree, or agree and ignore me anyway for reasons that satisfy only you. It’s your writing after all, and I will think no more or less of you for not writing what I would have written (in fact, I’d just as soon you didn’t!).

But please, please don’t agree with me and tell me “yeah, I knew that was a problem”, because from my end of the transaction, that translates as “yeah, I don’t mind wasting other people’s time and effort.”

Cheers.

Shifting Perspective

Much is made today about “head hopping”, the confusing tendency of some authors to hop omnisciently from one character’s perspective to another, even within the same scene. This is seldom, if ever, effective, but that doesn’t mean that perspective should never shift–even within a scene.

Often, I will begin a scene with sweeping omniscience, and then narrow down to one character’s head:

The taut gray fabric of the lift kite snapped and crackled in the sunlight, three turbines whirring below as they stole power from the wind and sent it down a ribbon to the approaching LCUI. Three kilometers below, Lieutenant Calvin McCaffrey stood at parade rest, boot heels buried in the white sand, hands clasped stiffly behind his back, and waited as the flat nose of the landing ship plowed through the lagoon directly towards him, one outrigger displacing sheets of water in defiance of the kite’s starboard tug.

High on a nearby ridge, Dylan wondered aloud what the hell the man was doing.

Why do I do this? Because it lets me set the scene in a very cinematic way. It creates in the mind a world larger than the characters, and then the sense of panning down into their lives. Here, I start by describing a wider scene, information that all the characters might know because they live in this world while we are only visiting. I then zoom in on a conversation, and in the following lines, I will zoom into one character’s head–and stay there until the end of the scene.

Think of it like the opening pan in cinematography.Used judiciously, it is a very effective tool, and like any tool, it can be used to craft or to butcher.

Goodbye Hitch

Christopher Hitchens has “shuffled off this mortal coil” and we are saddened and impoverished at the news. I had the great good fortune of attending one of his last public appearances, and was as moved by his humility and kindness as by his resolve and wit.

He is gone, but has gone nowhere, and lives on in the only form of immortality that any of us, if we are honest with ourselves, can confidently aspire to, his works and ideas.

His contributions to reason, philosophy, and English literature will remain with us for generations, and as a writer myself, I delight that owing to the human ingenuity he cherished so much, his words will linger in inspiration forever.

Leverage My World

It never ceases to amaze me how willing people are, in this Internet age, to step right in and demonstrate their ignorance when they might just as easily, and with the same exact tool, correct it.

I was called to task a little while ago for using “Leverage” as a verb. Now, I have an MBA, so I honestly never really thought about it–we used it that way all the time in finance. A quick visit to Google found many many posts making the same claim: “Leverage is not a verb you fool! It’s a neologism of the worst sort and a sure sign of a poor education!”

Well, no.

First, language evolves, and English as we know it would not exist without neologisms and other mechanisms of change. But more to the point, leverage is, in fact, a perfectly “acceptable” transitive verb. From Merriam Webster:

Leverage (verb):
1: to provide (as a corporation) or supplement (as money) with leverage; also : to enhance as if by supplying with financial leverage
2: to use for gain : exploit

But even if this were not the case, I would argue in favor of the verb form. I agree with Bill Brohaugh of everythingyouknowaboutenglishiswrong.com:

“And I hear some of you saying . . . you blast conversate when converse is available, yet you defend leverage when lever is available?” I do indeed. Conversate fills no need. It is duplicative, a bizarre “synonym” of converse. On the other hand, leverage is not a precise synonym of lever, neither in noun nor in verb form. It fills a need.”

So there you have it, and on we shall go, leveraging the technology at our fingertips to more clearly converse with our fellow miscreant.

The “Rules” of Grammar

Everyone over on Sodahead is eager to defend “the rules of grammar”, and oh how it does the heart good. The trouble, of course, is that there is not now, nor has there ever been, a definitive authority on “correct” English grammar. You can point to Strunk & White or Brown, but neither are universally adhered to by anyone.

And because people tend to invent rationalizations for their preferences you can find British grammarians who will eloquently and exhaustively explain why the terminal punctuation belongs outside the quotation marks, and American experts who just as eloquently and thoroughly explain why it does not.

The reality is, English is parsed by people, not by CPUs. It needs to be clear, but it needs to be varied and interesting, and it needs to connote and imply. It needs to gamble and flirt and occasionally betray. As in any other artistic endeavor, we must understand the rules, but then we must break them. If we were unwilling to do so, we would all still be speaking Latin (or Aramaic), we would know neither Falkner nor Shakespeare, and we certainly would be impoverished without the tintinnabulation of the bells, bells, bells, bells, Bells, bells, bells.

And who would wish to live in such a world?

And Another Thing . . .

I still see many grammarians warning hapless new writers of the horrors of beginning any sentence with “And” or “But”. Well I am here to tell you, my pedantic friends, that while the product of the hapless masses may well be wrong, SO ARE YOU for claiming this to be a rule.

These constructions have long been been considered solecisms, on par with the double negative (which, when combined with the dialectical “ain’t” is the quintessential modern English incarnation of the solecism, or “gutter speak” corruption of language. But when it comes to actual correctness of the prefatory “and” or “but”, it depends.

On the one hand, it is certainly wrong to begin a sentence with a conjunction. However, it is not wrong to begin a fully independent sentence with a word or phrase that communicates the useful information that it will further develop points made earlier. And so it is that these words can appear at the beginning of a sentences without acting as a solecistic conjunction.

But of course, such words can also signal a change of rhetorical direction clearly and more concisely than a longer phrase such as “On the other hand”. Such a usage clearly is not intended to conjoin two independent clauses into a sloppy construction, and makes the writing more concise and varied.

And so my friends, I do not fear the “And originated sentence”, and I do not accept the authority of any self-appointed grammarian to tell me not to use it. I am, after all, a reader as well as a writer, and the pedantic enforcement of this “rule” has done much, over the last century, to confound and confuse the unwary.