A curious thing seems to be happening in MFA workshops and critique groups. Criticism regarding spelling, grammar, and punctuation is considered hypercritical and offered only with considerable apologies for nitpicking. “Your editor will catch and correct those problems” seems to be the widespread assumption, which disregards entirely the fact that, as unpublished, amateur writers, we don’t yet have editors. Moreover, we have less chance of ever having one if our query letters and submissions reflect a bungling of or indifference to the fundamental rules of writing.
Personally, I think relying on others to tidy up our work is a slippery slope. More often than not, a seemingly minor punctuation edit such as the addition or elimination of a comma or an ellipsis will change the carefully wrought tone of a passage entirely. Further, many of these “petty” edits are stylistic. Will my editor know, for instance, that I intended to capitalize “It” when referring to a personified Fate? The portrait of the resplendent but doomed Dorian Gray might have been inelegantly smeared rather than excruciatingly seared “with the lines of suffering” had Oscar himself not corrected his typist’s error.
Writing well is more than the generation of an engaging plot and well-developed characters and the correction of inadvertent POV shifts; it is the ability to inspire, evoke, engage, and transform through words and syntax and rhythm. But none of that can be achieved if the passage is a distracting, irreverent jumble of comma splices, dangling participles, improperly used apostrophes, and misplaced semicolons. Such blatant disregard for the fundamental mechanics of writing would destroy any stylistic or substantive merits of the piece and undermine the credibility of the author.
As both a Christian and a writer, I feel a heightened responsibility to write well and to confront and overcome any prevailing issue of ordinariness at all costs. The standards for writing that is divine or inspirational should never be compromised for the sake of the enterprise or message. “Christians,” according to screenwriter and script consultant Barbara Nicolosi in The Making of a Christian Bestseller by Ann Byle, “tend to allow mediocrity because of our penchant for looking at the heart, not the art.” She goes on to criticize some of the “slop” in Christian literary art that is justified by the market because of the artist’s good intentions. “We’re ending up giving a false witness to what our faith is. It’s devastating.”
I agree wholeheartedly with this assertion, having encountered faith-based writing that is both technically inadequate and thematically trite, and I deem the deficiencies even more objectionable than I would if I came across them in the secular realm, considering what is at stake. My intention as a Christian writer is not only to support an unfettered approach to genuine and controversial subject matter but also to advocate the highest standards of technical imperatives and artistic excellence in Christian fiction and nonfiction.
So let’s master the semicolon and colon and solve the lay/lie/laid/lain mystery once and for all. Consult grammar manuals in relentless pursuit of accuracy, and find a critique partner or group that isn’t reluctant to point out grammatical errors or other weaknesses. Let’s eliminate our beloved adverbs where possible, and murder our darlings. And, for heaven’s sake, please tell me if I mean “sow” rather than “sew.” Let’s utilize our talents in a way that exalts unabashedly the One who bestowed them. If that means revising and editing ad nauseam, so be it. After all, as William Zinsser reminds us in On Writing Well, “a good editor likes nothing better than a piece of copy he hardly has to touch.”
This post appeared on the American Christian Fiction Writers website on November 19, 2015.