“Rules are meant to be broken.” The person who makes that statement usually intends to break some rules or has already done so. But rules, in whatever context they occur, were created for a purpose and breaking them will likely carry consequences that the rulebreaker may regret. The same holds true with the rules of grammar. These rules were established to achieve stability and consistency in the use and structure of language so as to make it possible for people to communicate. Thus, breaking these rules brings the risk of causing confusion and chaos, which in turn causes a breakdown in communication. And when communication breaks down, the results can be disastrous, even tragic. To illustrate this fact, English teachers sometimes cite humorous examples like the one below:
“Let’s eat grandma.”
“Let’s eat, grandma.”
The words in each sentence are the same, but the comma saves grandma from potentially being cannibalized by her grandchildren. In my blog post “How Commas Could Get You into a Fight” (6-11-23), I pointed out other examples of how a sentence’s meaning could be changed by the addition or absence of a comma. The point being made there is the same as it is here: breaking the rules of grammar can bring harmful consequences.
That said, there are occasions when a writer can break the rules of grammar, but it can’t be done out of carelessness or ignorance. There has to be a sound reason for taking that risk.
Creating realistic dialogue is one such reason. No one I know speaks in clear sentences that are properly punctuated and organized into well-structured paragraphs. Sometimes we ramble with little regard to the words we are stringing together. Sometimes we clip off pronouns at the start of a sentence, assuming the listener will know who we mean. Sometimes we speak in fragments, uttering just one or two words to ask a question or express surprise, fear, or some other emotion. Since we do this in real life, there is no reason our characters can’t do the same thing in our writing. Consider the following passage:
“Where did John go?” asked Jill.
“Went to the high school a few minutes ago,” answered Bill.
“What for? School isn’t back in session ’til the end of August.”
Bill shrugged. “Said he was going to try out for the football team.”
“What?”
“Said he wanted to try out for the football team They’re having their first practice this morning.”
Jill crunched over and quivered in shock. “No, no, he can’t. He can’t do that. What about concussions and knee injuries and broken bones and did he even think about how much a helmet, pads, and equipment will cost, did he, did he, no you can bet he didn’t because he’s not the one who pays the bills around here or buys the groceries, or makes sure the electricity isn’t turned off or takes Lisa to the babysitter, that’s right, with him, it’s just play, play, play from dawn ’til dusk ’til he’s just to…” Jill’s voice trailed off. more because of exhaustion than because her anger lessened.
“Yikes!” said Bill. “Double yikes! Didn’t know you felt that way about football.”
Jill took a deep breath and stared at her husband through narrowed eyes. “You. Sure. Do. Now.”
Dialogue like this between two characters works because it resembles the kind of dialogue we frequently hear around the dinner table, across our work desk, or at the shopping mall.
Creating a work in stream of consciousness also allows a writer to break the rules of grammar. This is because thoughts are often not fully formed, or they alter course abruptly, or they are interrupted by another thought. Be warned, however. It takes a highly skilled writer to do this effectively.
Virginia Woolf was one such writer. She offers a good example of stream of consciousness in this passage from her novel, Mrs. Dalloway.
“She had a perpetual sense, as she watched the taxi cabs, of being out, out, far out to sea and alone; she always had the feeling that it was very, very dangerous to live even one day. Not that she thought herself clever, or much out of the ordinary. How she had got through life on the few twigs of knowledge Fraulein Daniels gave them she could not think. She knew nothing; no language, no history; she scarcely read a book now, except memoirs in bed; and yet to her it was absolutely absorbing; all this; the cabs passing; and she would not say of Peter, she would not say of herself, I am this, I am that.”
A third sound reason for breaking the rules of grammar is to create a dramatic effect or to emphasize an idea. Fragments, in particular, can serve this purpose. Consider these sentences.
John was right about the gun being loaded. Dead right.
David Bowie was an amazing performer. Truly one of a kind.
Where do we go from here? Nowhere.
So be open to breaking the rules of grammar in your writing, You can add drama to your plots and make your characters’ dialogue more realistic. But be cautious and careful. Now and always.