Can we split infinitives?

Along with Singular They and End of Sentence Prepositions, this is one of the ‘rules’ of English Grammar that needs some discussion. As we’ve discovered, many grammar ‘rules’ aren’t just invalid, they are also misleading to new writers. Many began as misinformation and just got passed on—this time we’re going to take close look at one of them: Split Infinitives.

So, what is a split infinitive? An infinitive is a verb of the form ‘to go’, and splitting it involves adding words between the ‘to’ and the verb in question. A famous example is “To boldly go…” where the word ‘boldly’ splits the infinitive ‘to go’. Some infinitives are split by more than one word: “We expect the population to more than double in the next ten years.”

History

Many claim that Robert Lowth mentioned it in A Short Introduction to English Grammar in 1762, but no such comment can be found in any of his writing. In fact, there is nothing in print until 1803, when John Comly said, “An adverb should not be placed between the verb of the infinitive mood and the preposition to, which governs it; as Patiently to wait—not To patiently wait.” Others echoed this new ‘rule’ throughout the rest of the 1800s and into the early 1900s as part of a movement to transfer Latin rules to English. (In Latin, infinitives can’t be split because they are single words e.g., “amare, cantare, audire”.)

Is English Latin?

Some linguists disagreed with this Latinisation of English. (Even Robert Lowth objected to “forcing the English under the rules of a foreign Language.”) Otto Jespersen said “‘To’ is no more an essential part of an infinitive than the definite article is an essential part of a nominative, and no one would think of calling ‘the good man’ a split nominative.” Unfortunately, the 1907 edition of The King’s English concluded: “The ‘split’ infinitive has taken such hold upon the consciences of journalists that, instead of warning the novice against splitting his infinitives, we must warn him against the curious superstition that the splitting or not splitting makes the difference between a good and a bad writer.”

Things might have been easier if English had had a controlling body…akin to the:

  • Euskaltzaindia for Basque
  • Académie française for French
  • Foras na Gaeilge for Irish
  • Pontificia Academia Latinitatis for Latin
  • Ve’e Tu’un Sávi for Mixtec
  • Rada Języka Polskiego for Polish
  • Bwrdd yr Iaith Gymraeg for Welsh
  • or even the Logical Language Group for Loglan.

Unfortunately, English has never had any kind of regulation, so we just have to do with authorities who often disagree.

Currently

Most modern English usage guides have stopped objecting to the split infinitive.

  • Oxford Guide: “no such rule” and “never wrong to split.”
  • Phillip Howard: “most remembered rule from school” and “great Shibboleth of English.”
  • University of Chicago Writing Program: “linguists snickering at it for decades, yet still this false ‘rule’ is taught.”

Our only conclusion can be that this problem is a part of the English language and arguments will continue. As long as you present your ideas clearly, we feel that there is no need to change.

BISAC Codes

There are a lot of terms that authors should know, but two of the most confusing are ISBN and BISAC codes. Most authors have at least heard of ISBNs, but BISAC codes are just as important, if not more so. Where an ISBN will allow readers to buy your book, it may be the BISAC code and category that will help them find your book, so that’s the one we’ll tackle in this post. (ISBNs were covered in a previous post.)

BISAC is a list maintained by the Book Industry Study Group (BISG) and is an acronym for Book Industry Standards and Communications. Basically a detailed list of genres, BISACs make it possible for book sellers to place your book on the right shelves in the store and for book buyers to find the books that interest them. Currently, there are 53 major headings, only one of which is Fiction, but under the Fiction heading, there are 65 subheadings, with additional sub-subheadings totalling over 200 individual categories, so you’re more than likely to find the right one for your book. (I find it helpful to identify the BISAC code early on in the writing process, so as I’m writing, I can refer to it…thus keeping me on the right track.)

As the genre is often printed on the back cover in the upper left corner, that’s a good place to put the actual BISAC descriptor (but not the numeric code itself).

BISAC code examples:

  • CGN004210 COMICS & GRAPHIC NOVELS / Manga / Yaoi
  • CKB040000 COOKING / Specific Ingredients / Herbs, Spices, Condiments
  • EDU029080 EDUCATION / Teaching Methods & Materials / Language Arts
  • FIC042120 FICTION / Christian / Romance / Suspense
  • FIC009070 FICTION / Fantasy / Dark Fantasy
  • FIC014070 FICTION / Historical / Colonial America & Revolution (new in 2019)
  • FIC022110 FICTION / Mystery & Detective / Cozy / Cats & Dogs
  • FIC027460 FICTION / Romance / Historical / Gilded Age (new in 2019)
    (almost 50 other Romance categories!)
  • FIC028010 FICTION / Science Fiction / Action & Adventure
  • FIC031060 FICTION / Thrillers / Political
  • HOM012000 HOUSE & HOME / Do-It-Yourself / Masonry
  • JNF013070 JUVENILE NONFICTION / Concepts / Size & Shape
  • MAT007020 MATHEMATICS / Differential Equations / Partial
  • SPO043000 SPORTS & RECREATION / Swimming & Diving

As you can see, there are plenty to choose from and more than enough detail to identify your specific book.

Windows key

In a previous post, we introduced the Menu key. Now we’re going to cover the Windows Key. As expected, it interacts with the entire Windows operating system, rather than any particular program. Similar to the Ctrl, Alt, and Shift keys, it is pressed along with another key to accomplish various tasks, but pressing it by itself will open the Start menu (or screen). Here are a few useful actions:

Windows Key

  • Win-M – Minimize all windows (clear the screen and relax)
  • Win-Shift-M – Restore minimized windows (put it all back)
  • Win-Space – Hold to preview the desktop, release to return (take a quick look)
  • Win-E – Open File Manager, starting at the top: Computer
  • Win-L – Lock your computer (in case you need to walk away) or switch users (if you share)
  • Win-Up Arrow – Maximize
  • Win-Down Arrow – Restore from maximize, Minimize from non-full screen

If you have a single monitor, here’s a good way to tile two windows side by side:

  • Win-Left Arrow – Snap window to left half of screen
  • Win-Right Arrow – Snap window to right half of screen

If you have multiple monitors, you may have had to un-maximize a window, drag it to the other monitor, then re maximize it, but here’s a quicker way:

  • Win-Shift-Left Arrow or Right Arrow – Move a window from one monitor to another

When you’re doing a presentation to a group, here’s a quick way to access the external display:

  • Win-P – Choose a presentation display mode

Best Windows Key Shortcut

Using Alt-Tab to cycle through programs, or even Ctrl-Alt-Tab, forces you to go through a bunch of non-related programs until you get to the one you want, BUT here’s a fix for that: use the Windows Key and a number to get directly to the programs you need. For example, in my case, with nothing running, the Task Bar looks like this:

You may have other programs in a different order, but the concept is the same.

Here’s how it works: hit Win-1 and File Manager opens, Win-3 opens OutLook, and Win-8 brings up NotePad. That’s pretty neat, but it gets better. If NotePad is already open, to get a new one, use Shift-Win-8. Same with the others—Shift-Win-1 opens a new File Manager.

All right, so now with multiple instances of a program running, how do you pick the one you want? Easy enough: hold Win and keep typing the appropriate number until the instance is highlighted, then release Win. In other words, if I have a bunch of Word documents open, I can choose the one I want with Win-444… No need to use Alt-Tab and go past all the Excel sheets or File Managers or NotePads I have open. I get to pick from ONLY the Word docs!

But wait, that’s not all! Instead of right-clicking a program on the Task Bar to get the Jump List, just use Alt-Win-number.

That Windows Key can be helpful…you just need pin your Task Bar in an order that makes sense to you.

Writing and Editing Terms #2

We’re going to continue our listing of various terms used in the writing, editing, and publishing industry. If you missed last month’s entry (Writing and Editing Terms #1) or are more interested in Printing Terms or Grammar Terms, you might want to check out those posts. Here we’re going to continue listing expressions that may be new to some writers, this time with addressing how writers write, then a few expressions that focus on story internals, finally finishing off with a few more items to avoid. As the list seems to be even longer yet, we’ll have to save the last few for next month (Writing and Editing Terms #3).

Writing Approach

  • Style—Author’s manner of expression including word choice, grammar structures, literary devices, and language use
  • Tone—Attitude of author to reader, characters, or events in the story, may be sarcastic, pessimistic, cheerful, etc.
  • Voice—Persona author adopts to tell story
  • Plotter—Writer who creates a story in a general outline form before filling in the details
  • Pantser—Writer who creates a story without pre-thinking (by the seat of the pants)
  • Outline—Short bullet points summarising content of story, often used to create TOC

Story Flow

  • Beat—Important event or turning point in story, also pause in speech or action
  • Action Beat—Description of movement by speaker of dialogue, included in the same paragraph as the dialogue
  • Dialogue—Spoken conversation between characters, denoted by quotation marks
  • Internal Dialogue—Thoughts of POV character, denoted by Italics
  • Dialogue Tags—Indication of who is speaking, may also include Action Beats (also Speaker Tags or just Tags)
  • Transitions—Control of flow through story, no action happens without reason

Problems to Avoid

  • Mary Sue or Marty-Stu—A character who is able to do everything with unrealistic abilities, usually a stand in for the author (autobiographical, ha!)
  • Burly Detective—Over use of reference to characters by description (“the burly detective”) in a futile attempt to avoid using character’s name or pronoun, involves the use of multiple different terms to refer to the same character: Frank, he, her boyfriend, the driver, the sergeant, or the tall, slim man
  • On The Nose—Writing style that is too straightforward, also characters that reveal in dialogue exactly what they are thinking or feeling
  • Cliché—Over used and trite term or phrase that has lost its power
  • Dead Metaphor—Similar to cliché, a metaphor that has lost its intensity due to over use

That’s quite a list, but there’s more to follow. See you next month!