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What’s Going On And The Dreaded Run-On Sentence

It’s been some time since I last posted. I’ve been busy with various things, including doing some writing of course. As stated a couple of posts down, I finished a fourth draft of The Breaks and decided to sit on it for awhile after giving to some readers for feedback. Well, that didn’t last long. I did give it to a couple of readers, and in the mean time I did some line editing on my own. I’m now on what could be easily considered a sixth draft.

Also, I got some very helpful feedback concerning Little Whiskey from someone. That is proving very useful.

Lately, I’ve been thinking about run-on sentences. I have an admittedly nasty habit of spewing out run-on sentences—especially in first or second drafts. I know people who absolutely hate run-on sentences, and I have no problem with them pointing them out to me. That said, I must admit that some of my favorite writers are heavy users of run-on sentences and, like most writers, I’m heavily influenced by writers I admire. The previous sentence is a perfect example of a run-on sentence by the way.

Personally, I don’t have a problem with well done run-on sentences; even heavy use of them. Take Ernest Hemingway for example. That guy could put down a run-sentence with the best of them. The thing that was interesting about Hemingway was that he’d put down a run-on sentence that was bordering on excessive, and then follow it up with a series of short, almost staccato-like, sentences.

Cormac McCarthy, one of the most stunning writers of our time, goes absolutely insane with run-ons. Of course, he’s Cormac McCarthy and can do any damn thing he wants. Read All The Pretty Horses, or No Country For Old Men, and you’ll see what I mean.

Another writer who comes to mind in this regard is Jim Harrison. One of his books—I believe it’s Wolf—starts out with a sentence that goes on for almost two pages.

I suppose the key concerning run-ons is doing it well. I’m not a good enough writer to do them well, but I still find myself drawn to them in certain situations. I think that some stories simply lend themselves to a particular style that includes the use of run-on sentences.

Or something like that.

I’ll tell you, I didn’t realize I was such a fan of run-on sentences until I read through the first draft of my book.  It’s hard not to be influenced by what you’re reading while you’re writing, and I was on a big Tim Powers kick (man, that guy can pack a lot of verbs and subjects between the periods), and you should have SEEN the sentences I wrote while under the influence of “Jonathan Strange and Mr. Norrell.”

When editing, I tend to think of them as I do adverbs—though the rule is to eliminate, I believe that sometimes an adverb is the simplest, most direct way to convey what you want to convey.  If you can just decide which run-ons get to stay, you’re golden.

Of course, I also gorge on classic noir when I’m editing, and that drives my tolerance for run-ons way down.  A little classic Lawrence Block and suddenly all my simple, declarative sentences come out to play.

Daniel,

glad my edits are proving helpful.

as for run-ons, you said it: some of the best writing uses them. but, it’s the judicious use of the run-on that’s key. Chris said the same.

akin to run-ons is the use of stream of consciousness in writing. Faulkner and Virginia Wolf were big proponents of this style. sometimes it works, sometimes not (in my opinion), but the same rule applies. judicious use is always most important.

in my line of writing (poetry) adjectives are important, but most writers tend to over describe; to overuse adjectives. the hallmark of good writing isn’t how many words you can cram into a sentence, or paragraph, or stanza—or how many different ways you can describe something—it’s how well you can describe that thing using as few words as possible.

at least, that’s my not so humble opinion.

Justin,

Everything that you and Chris say is spot on.

Also, as far as your edits are concerned, they are useful.