Fragments, Run-ons, and Commas OH MY!
In this installment of Writing 101, I want to focus on really common mistakes that can happen when writing sentences. Given that writing is centered around sentences and cannot exist without them, getting them right is important. In the creative genre, a lot of rules are more akin to guidelines. The line that defines the difference is whether or not using the rule makes the sentence harder to understand. Clarity in writing is key. If your reader is struggling, then they’ll probably put your book down within the first few chapters (if not paragraphs).
Many people write in the same way that they speak. This can be a great way to get ideas written, but it might not translate as well when reading. Keeping a few things in mind when writing can speed up the editing process later on, either for you or an editor.
Sentence fragments are one of the easiest things to catch when writing because they don’t sound quite right. More often than not, fragments are either missing a subject or begin with ‘when’ or ‘because’.
Examples:
Because they went to the store.
Flying through the sky.
The first example is a dependent clause and can be made into a full sentence by attaching it to an independent clause. The second example needs a subject to be a full sentence. So:
Because they went to the store, Mary got her favorite cereal.
The plane is flying through the sky.
OR
Flying through the sky, the plane neared its destination.
The reason the second example can be solved in two ways is by choosing whether to use ‘flying through the sky’ as a nonessential modifier or not. The only thing to keep in mind with modifiers is to keep them close to the noun they modify. With fragments, the rule becomes more of a guideline when using emphasis.
For Example:
Tyler didn’t know how his family would feel about getting a dog. Especially his father!
In a narrative setting, this is extremely common. As long as the flow of the sentences is clear and makes sense, you should be good to go.
Run-on sentences are basically the opposite of fragments because they have too many subjects and verbs. Often, they are simply two independent clauses being squished together.
For Example:
Koda likes the color yellow Amy likes the color purple.
These are two separate thoughts that got squished together, but there’s multiple ways to fix it. You can add a comma and coordinating conjunction, add a period to make two sentences, rearrange the sentence with one subordinate clause, or add a semicolon.
Koda likes the color yellow, and Amy likes the color purple.
Koda likes the color yellow. Amy likes the color purple.
While Koda likes the color yellow, Amy likes the color purple.
Koda likes the color yellow; Amy likes the color purple.
All of the new sentences work, so it’s up to your personal preference! The most common type of run-on is a comma splice. This usually occurs when two independent clauses are combined with only a comma and not the needed coordinating conjunction. This problem is solved by using the above solutions as well.
From my observation, every writer has a sort-of unhealthy attachment to a certain punctuation mark. Mine is the em dash, but I’ve seen commas, semicolons, ellipses, etc. While there’s no harm in using these, there is such a thing as too much of a good thing. Variety in writing is important because it makes the content feel more complex and inviting. Readers might not notice too many ‘thans’ or ‘thats’, but they’ll definitely notice three em dashes or semicolons in the same paragraph.
How do you combat that? Well, the first step is figuring out which mark is your preferred. If you know what it is, you’ll be more likely to notice when you overuse it. My go-to method of resistance is by mixing up my sentence variety. I find that when I’m focusing on using sentences like in a piece of music, the flow comes easier and I’m not as reliant on the em dash. As I said, variety adds complexity to your writing.
There’s a give and take with sentences. Long, detailed paragraphs of exposition can bog down the story you’re trying to tell. By mixing in shorter sentences and fragments for emphasis, you can better the flow of your writing.
The same can also be said if your writing is trending towards having too short of sentences. The staccato beat can be jarring and risk the immersion of the reader. If used sparingly or in certain contexts, it can add tension. Always think of your writing as a piece of music. Your tone and rhythm are determined by your words and the make up of your sentences. Rising tension is merely a crescendo. This will probably resonate more with music folks, but it can be applied to everyone.
Think about the music you listen to when you’re writing. A lot of writers generate certain playlists for different stories. This can be a great way to get into the minds of your characters while you write. Personally, I have a more general playlist that contains emotional songs to help get the writing gears turning. If you’re struggling with a certain scene or character, find a song that reminds you of them or that evokes the tone of the scene. Writing is art, and music is also art. It makes sense for them to overlap. Use this to your advantage!
Originally published under R.L. Martin
Originally Published Apr. 28th, 2023
Updated Aug. 24th, 2025
