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Unit 6 · Topic 6.7

6.7 Clear sentences: word choice, coordination and punctuation

Clear essays are built from clear sentences. Coordination joins equal ideas, subordination shows that one idea depends on another, precise words replace vague ones, and punctuation like semicolons, colons and dashes shows how the parts of a sentence relate. These choices make your reasoning easier to follow, which matters on every essay.

Key terms

  • coordination
  • subordination
  • precise word choice
  • semicolon
  • colon
  • dash

Coordination vs. subordination

Coordination joins ideas of equal weight with words like and, but, or, so and yet. Subordination makes one idea depend on another with words like because, although, while, since, unless and whereas. The word you choose tells your reader how your ideas are related.

In literary analysis, subordination usually does more work, because analysis is about relationships: cause, contrast and concession. Compare these two:

Coordination: Nora lies to Torvald, and she does it to save his life.

Subordination: Although Nora lies to Torvald, she does it to save his life, which makes her deception an act of love.

The second sentence tells the reader which idea matters more and adds commentary in the same breath.

Precise word choice

Vague words make readers guess. Replace them with words that name exactly what the writer does and what effect it has.

VagueMore precise
showsexposes, mocks, mourns, questions, undercuts, celebrates
good imageryimages of decay, images of confinement
a lot of emotionrising panic, restrained grief, bitter amusement
the author talks about societythe author criticizes the town's obsession with reputation
it is ironicthe irony is that the safest room is the one that traps her

Punctuation that shows relationships

  • Semicolon (;) joins two complete sentences that are closely related, often a contrast or a cause and its result: Torvald praises Nora's sweetness; he never asks what she thinks.
  • Colon (:) introduces something that explains, lists or completes what came before: The ending leaves one question open: will Nora ever return?
  • Dash (—) adds emphasis or sets off a sharp interruption: Nora leaves everything behind—her home, her husband, even her children.
  • Comma splices are the most common error: two complete sentences joined only by a comma. Fix one with a period, a semicolon, or a joining word.

Embedding short quotations

Clear sentences also handle quotations smoothly. Instead of dropping a full sentence of quotation on its own, blend a few words into your own sentence so your grammar carries the reader through it. Weak: Nora says she was his doll. This is important.

Strong: When Nora calls herself Torvald's "doll-wife," she names the role she has played for eight years and refuses to play it again.

The strong version quotes one word and turns it straight into commentary.

Keep your verbs in the present tense when you describe what happens in a literary work: Nora leaves, Torvald calls after her. This literary present keeps your analysis consistent and easy to follow.

Readable, not fancy

AP readers don't reward big words for their own sake. They reward sentences that make your reasoning visible. A clear sentence with precise verbs beats a long, wordy one every time. Style shows up in scoring in two ways: clear sentences make your commentary easier to credit in the evidence-and-commentary row, and a style that is consistently vivid and persuasive is one way to earn the sophistication point. Long, complicated sentences that don't sharpen your argument won't earn it.

Worked examples

Try each one yourself first, then open the solution.

  1. Example 1

    Revising a choppy paragraph

    Practice paragraph (written for this practice set), about Ibsen's A Doll's House: Nora borrows money in secret. She saves Torvald's life. She hides it from him. This shows a lot about their marriage. Torvald treats Nora like a child. He doesn't know her. Revise for clear relationships between ideas and more precise word choice.

    Show the solution
    1. Step 1: Find the real relationships. Nora borrowed money in secret to save Torvald's life: that's purpose. She hid it because he would have been ashamed: that's cause. Torvald treats her like a child even though she did this: that's contrast.
    2. Step 2: Combine with subordination so the main idea sits in the main clause.
    3. Step 3: Replace "shows a lot about" with a precise verb and a specific idea.
    4. Step 4: Use a semicolon or colon where it sharpens a relationship.

    Answer: Revised paragraph: Although Nora secretly borrows money to save Torvald's life, she hides the loan because she knows his pride could not survive owing her anything. Her secret exposes the imbalance at the center of their marriage: Torvald treats her as a child to be managed, so he never learns what she is capable of. The person he thinks he knows best is the one he understands least. (Annotation: "Although" and "because" make the logic visible; "exposes the imbalance" replaces "shows a lot about"; the colon introduces the explanation.)

Common mistakes

  • Stringing ideas together with "and" when one actually causes, contrasts with or depends on another. Pick the joining word that names the relationship.
  • Writing comma splices. Two complete sentences need a period, a semicolon or a conjunction between them.
  • Using "shows" in every sentence. Swap in verbs that name what the writer is doing, such as exposes, mocks or questions.

On the exam

  • There's no separate grammar score on the AP Lit essays, but the rubric says grammar or mechanics errors that get in the way of communication keep you from the top (fourth) point in the evidence-and-commentary row. Unclear sentences also make your line of reasoning harder to follow.
  • A consistently vivid, precise style is one of the ways to earn the sophistication point, but only if it runs through the whole essay.

Connected topics

Videos

  • Coordination & Subordination

    Vantage LearningWatch on YouTube (opens in a new tab)

  • How to use a semicolon - Emma Bryce

    TED-EdWatch on YouTube (opens in a new tab)

  • Using Precise Words — Everyday Writing with Coach Write

    PBS Western ReserveWatch on YouTube (opens in a new tab)

  • Subordinating conjunctions | The parts of speech | Grammar | Khan Academy

    Khan AcademyWatch on YouTube (opens in a new tab)

  • Semicolons and Colons

    tamuwritingcenterWatch on YouTube (opens in a new tab)

  • How to use Dashes, the best punctuation (+an unintended punctuation tier list)

    Writing with AndrewWatch on YouTube (opens in a new tab)

Check yourself

4 questions on 6.7 Clear sentences: word choice, coordination and punctuation. Pick an answer to see if you got it, and why.

Paragraph 1
NORA. Just fancy, my husband has been made manager of the Bank!
Paragraph 2
MRS LINDE. Your husband? What good luck!
Paragraph 3
NORA. Yes, tremendous! A barrister’s profession is such an uncertain thing, especially if he won’t undertake unsavoury cases; and naturally Torvald has never been willing to do that, and I quite agree with him. You may imagine how pleased we are! He is to take up his work in the Bank at the New Year, and then he will have a big salary and lots of commissions. For the future we can live quite differently—we can do just as we like. I feel so relieved and so happy, Christine! It will be splendid to have heaps of money and not need to have any anxiety, won’t it?
Paragraph 4
MRS LINDE. Yes, anyhow I think it would be delightful to have what one needs.
Paragraph 5
NORA. No, not only what one needs, but heaps and heaps of money.
Paragraph 6
MRS LINDE. [smiling]. Nora, Nora, haven’t you learned sense yet? In our schooldays you were a great spendthrift.
Paragraph 7
NORA. [laughing]. Yes, that is what Torvald says now. [Wags her finger at her.] But “Nora, Nora” is not so silly as you think. We have not been in a position for me to waste money. We have both had to work.
Paragraph 8
MRS LINDE. You too?
Paragraph 9
NORA. Yes; odds and ends, needlework, crotchet-work, embroidery, and that kind of thing. [Dropping her voice.] And other things as well. You know Torvald left his office when we were married? There was no prospect of promotion there, and he had to try and earn more than before. But during the first year he over-worked himself dreadfully. You see, he had to make money every way he could, and he worked early and late; but he couldn’t stand it, and fell dreadfully ill, and the doctors said it was necessary for him to go south.
Paragraph 10
MRS LINDE. You spent a whole year in Italy, didn’t you?
Paragraph 11
NORA. Yes. It was no easy matter to get away, I can tell you. It was just after Ivar was born; but naturally we had to go. It was a wonderfully beautiful journey, and it saved Torvald’s life. But it cost a tremendous lot of money, Christine.
Paragraph 12
MRS LINDE. So I should think.
Paragraph 13
NORA. It cost about two hundred and fifty pounds. That’s a lot, isn’t it?
Paragraph 14
MRS LINDE. Yes, and in emergencies like that it is lucky to have the money.
Paragraph 15
NORA. I ought to tell you that we had it from papa.
Paragraph 16
MRS LINDE. Oh, I see. It was just about that time that he died, wasn’t it?
Paragraph 17
NORA. Yes; and, just think of it, I couldn’t go and nurse him. I was expecting little Ivar’s birth every day and I had my poor sick Torvald to look after. My dear, kind father—I never saw him again, Christine. That was the saddest time I have known since our marriage.
Paragraph 18
MRS LINDE. I know how fond you were of him. And then you went off to Italy?
Paragraph 19
NORA. Yes; you see we had money then, and the doctors insisted on our going, so we started a month later.
Paragraph 20
MRS LINDE. And your husband came back quite well?
Paragraph 21
NORA. As sound as a bell!
Paragraph 22
MRS LINDE. But—the doctor?
Paragraph 23
NORA. What doctor?
Paragraph 24
MRS LINDE. I thought your maid said the gentleman who arrived here just as I did, was the doctor?
Paragraph 25
NORA. Yes, that was Doctor Rank, but he doesn’t come here professionally. He is our greatest friend, and comes in at least once every day. No, Torvald has not had an hour’s illness since then, and our children are strong and healthy and so am I. [Jumps up and claps her hands.] Christine! Christine! it’s good to be alive and happy!—But how horrid of me; I am talking of nothing but my own affairs. [Sits on a stool near her, and rests her arms on her knees.] You mustn’t be angry with me. Tell me, is it really true that you did not love your husband? Why did you marry him?
Paragraph 26
MRS LINDE. My mother was alive then, and was bedridden and helpless, and I had to provide for my two younger brothers; so I did not think I was justified in refusing his offer.
Paragraph 27
NORA. No, perhaps you were quite right. He was rich at that time, then?
Paragraph 28
MRS LINDE. I believe he was quite well off. But his business was a precarious one; and, when he died, it all went to pieces and there was nothing left.
Paragraph 29
NORA. And then?—
Paragraph 30
MRS LINDE. Well, I had to turn my hand to anything I could find—first a small shop, then a small school, and so on. The last three years have seemed like one long working-day, with no rest. Now it is at an end, Nora. My poor mother needs me no more, for she is gone; and the boys do not need me either; they have got situations and can shift for themselves.
Paragraph 31
NORA. What a relief you must feel if—
Paragraph 32
MRS LINDE. No, indeed; I only feel my life unspeakably empty. No one to live for anymore. [Gets up restlessly.] That was why I could not stand the life in my little backwater any longer. I hope it may be easier here to find something which will busy me and occupy my thoughts. If only I could have the good luck to get some regular work—office work of some kind—
Paragraph 33
NORA. But, Christine, that is so frightfully tiring, and you look tired out now. You had far better go away to some watering-place.
Paragraph 34
MRS LINDE. [walking to the window]. I have no father to give me money for a journey, Nora.

Henrik Ibsen, A Doll's House, Act I (1879), translated by R. Farquharson Sharp (1910)

Question 1 of 4

The dashes in paragraphs 29–32 (“And then?—,” “What a relief you must feel if—,” “office work of some kind—”) mainly serve to

Paragraph 1
The Nellie, a cruising yawl, swung to her anchor without a flutter of the sails, and was at rest. The flood had made, the wind was nearly calm, and being bound down the river, the only thing for it was to come to and wait for the turn of the tide.
Paragraph 2
The sea-reach of the Thames stretched before us like the beginning of an interminable waterway. In the offing the sea and the sky were welded together without a joint, and in the luminous space the tanned sails of the barges drifting up with the tide seemed to stand still in red clusters of canvas sharply peaked, with gleams of varnished sprits. A haze rested on the low shores that ran out to sea in vanishing flatness. The air was dark above Gravesend, and farther back still seemed condensed into a mournful gloom, brooding motionless over the biggest, and the greatest, town on earth.
Paragraph 3
The Director of Companies was our captain and our host. We four affectionately watched his back as he stood in the bows looking to seaward. On the whole river there was nothing that looked half so nautical. He resembled a pilot, which to a seaman is trustworthiness personified. It was difficult to realize his work was not out there in the luminous estuary, but behind him, within the brooding gloom.
Paragraph 4
The sun set; the dusk fell on the stream, and lights began to appear along the shore. The Chapman light-house, a three-legged thing erect on a mud-flat, shone strongly. Lights of ships moved in the fairway—a great stir of lights going up and going down. And farther west on the upper reaches the place of the monstrous town was still marked ominously on the sky, a brooding gloom in sunshine, a lurid glare under the stars.
Paragraph 5
“And this also,” said Marlow suddenly, “has been one of the dark places of the earth.”
Paragraph 6
He was the only man of us who still “followed the sea.” The worst that could be said of him was that he did not represent his class. He was a seaman, but he was a wanderer, too, while most seamen lead, if one may so express it, a sedentary life. Their minds are of the stay-at-home order, and their home is always with them—the ship; and so is their country—the sea. One ship is very much like another, and the sea is always the same. In the immutability of their surroundings the foreign shores, the foreign faces, the changing immensity of life, glide past, veiled not by a sense of mystery but by a slightly disdainful ignorance; for there is nothing mysterious to a seaman unless it be the sea itself, which is the mistress of his existence and as inscrutable as Destiny. For the rest, after his hours of work, a casual stroll or a casual spree on shore suffices to unfold for him the secret of a whole continent, and generally he finds the secret not worth knowing. The yarns of seamen have a direct simplicity, the whole meaning of which lies within the shell of a cracked nut. But Marlow was not typical (if his propensity to spin yarns be excepted), and to him the meaning of an episode was not inside like a kernel but outside, enveloping the tale which brought it out only as a glow brings out a haze, in the likeness of one of these misty halos that sometimes are made visible by the spectral illumination of moonshine.

Joseph Conrad, Heart of Darkness (1899; in book form 1902), the opening. Two excerpts: three paragraphs describing the sunset and the river’s history are left out between paragraphs 3 and 4.

Question 2 of 4

In paragraph 6, the dashes in “their home is always with them—the ship; and so is their country—the sea” chiefly

Paragraph 1
A green and yellow parrot, which hung in a cage outside the door, kept repeating over and over:
Paragraph 2
“Allez vous-en! Allez vous-en! Sapristi! That’s all right!”
Paragraph 3
He could speak a little Spanish, and also a language which nobody understood, unless it was the mocking-bird that hung on the other side of the door, whistling his fluty notes out upon the breeze with maddening persistence.
Paragraph 4
Mr. Pontellier, unable to read his newspaper with any degree of comfort, arose with an expression and an exclamation of disgust.
Paragraph 5
He walked down the gallery and across the narrow “bridges” which connected the Lebrun cottages one with the other. He had been seated before the door of the main house. The parrot and the mocking-bird were the property of Madame Lebrun, and they had the right to make all the noise they wished. Mr. Pontellier had the privilege of quitting their society when they ceased to be entertaining.
Paragraph 6
He stopped before the door of his own cottage, which was the fourth one from the main building and next to the last. Seating himself in a wicker rocker which was there, he once more applied himself to the task of reading the newspaper. The day was Sunday; the paper was a day old. The Sunday papers had not yet reached Grand Isle. He was already acquainted with the market reports, and he glanced restlessly over the editorials and bits of news which he had not had time to read before quitting New Orleans the day before.
Paragraph 7
Mr. Pontellier wore eye-glasses. He was a man of forty, of medium height and rather slender build; he stooped a little. His hair was brown and straight, parted on one side. His beard was neatly and closely trimmed.
Paragraph 8
Mr. Pontellier finally lit a cigar and began to smoke, letting the paper drag idly from his hand. He fixed his gaze upon a white sunshade that was advancing at snail’s pace from the beach. He could see it plainly between the gaunt trunks of the water-oaks and across the stretch of yellow camomile. The gulf looked far away, melting hazily into the blue of the horizon. The sunshade continued to approach slowly. Beneath its pink-lined shelter were his wife, Mrs. Pontellier, and young Robert Lebrun. When they reached the cottage, the two seated themselves with some appearance of fatigue upon the upper step of the porch, facing each other, each leaning against a supporting post.
Paragraph 9
“What folly! to bathe at such an hour in such heat!” exclaimed Mr. Pontellier. He himself had taken a plunge at daylight. That was why the morning seemed long to him.
Paragraph 10
“You are burnt beyond recognition,” he added, looking at his wife as one looks at a valuable piece of personal property which has suffered some damage. She held up her hands, strong, shapely hands, and surveyed them critically, drawing up her fawn sleeves above the wrists. Looking at them reminded her of her rings, which she had given to her husband before leaving for the beach. She silently reached out to him, and he, understanding, took the rings from his vest pocket and dropped them into her open palm. She slipped them upon her fingers; then clasping her knees, she looked across at Robert and began to laugh. The rings sparkled upon her fingers. He sent back an answering smile.
Paragraph 11
“What is it?” asked Pontellier, looking lazily and amused from one to the other. It was some utter nonsense; some adventure out there in the water, and they both tried to relate it at once. It did not seem half so amusing when told. They realized this, and so did Mr. Pontellier. He yawned and stretched himself. Then he got up, saying he had half a mind to go over to Klein’s hotel and play a game of billiards.
Paragraph 12
“Come go along, Lebrun,” he proposed to Robert. But Robert admitted quite frankly that he preferred to stay where he was and talk to Mrs. Pontellier.
Paragraph 13
“Well, send him about his business when he bores you, Edna,” instructed her husband as he prepared to leave.
Paragraph 14
“Here, take the umbrella,” she exclaimed, holding it out to him. He accepted the sunshade, and lifting it over his head descended the steps and walked away.

Kate Chopin, The Awakening, Chapter I (1899). Two excerpts: one paragraph describing other guests at the resort is left out between paragraphs 7 and 8.

Question 3 of 4

The semicolon in paragraph 6, “The day was Sunday; the paper was a day old,” chiefly serves to

Paragraph 1
Miss Brooke had that kind of beauty which seems to be thrown into relief by poor dress. Her hand and wrist were so finely formed that she could wear sleeves not less bare of style than those in which the Blessed Virgin appeared to Italian painters; and her profile as well as her stature and bearing seemed to gain the more dignity from her plain garments, which by the side of provincial fashion gave her the impressiveness of a fine quotation from the Bible,—or from one of our elder poets,—in a paragraph of to-day’s newspaper. She was usually spoken of as being remarkably clever, but with the addition that her sister Celia had more common-sense. Nevertheless, Celia wore scarcely more trimmings; and it was only to close observers that her dress differed from her sister’s, and had a shade of coquetry in its arrangements; for Miss Brooke’s plain dressing was due to mixed conditions, in most of which her sister shared. The pride of being ladies had something to do with it: the Brooke connections, though not exactly aristocratic, were unquestionably “good:” if you inquired backward for a generation or two, you would not find any yard-measuring or parcel-tying forefathers—anything lower than an admiral or a clergyman; and there was even an ancestor discernible as a Puritan gentleman who served under Cromwell, but afterwards conformed, and managed to come out of all political troubles as the proprietor of a respectable family estate. Young women of such birth, living in a quiet country-house, and attending a village church hardly larger than a parlor, naturally regarded frippery as the ambition of a huckster’s daughter. Then there was well-bred economy, which in those days made show in dress the first item to be deducted from, when any margin was required for expenses more distinctive of rank. Such reasons would have been enough to account for plain dress, quite apart from religious feeling; but in Miss Brooke’s case, religion alone would have determined it; and Celia mildly acquiesced in all her sister’s sentiments, only infusing them with that common-sense which is able to accept momentous doctrines without any eccentric agitation. Dorothea knew many passages of Pascal’s Pensees and of Jeremy Taylor by heart; and to her the destinies of mankind, seen by the light of Christianity, made the solicitudes of feminine fashion appear an occupation for Bedlam. She could not reconcile the anxieties of a spiritual life involving eternal consequences, with a keen interest in gimp and artificial protrusions of drapery. Her mind was theoretic, and yearned by its nature after some lofty conception of the world which might frankly include the parish of Tipton and her own rule of conduct there; she was enamoured of intensity and greatness, and rash in embracing whatever seemed to her to have those aspects; likely to seek martyrdom, to make retractations, and then to incur martyrdom after all in a quarter where she had not sought it. Certainly such elements in the character of a marriageable girl tended to interfere with her lot, and hinder it from being decided according to custom, by good looks, vanity, and merely canine affection. With all this, she, the elder of the sisters, was not yet twenty, and they had both been educated, since they were about twelve years old and had lost their parents, on plans at once narrow and promiscuous, first in an English family and afterwards in a Swiss family at Lausanne, their bachelor uncle and guardian trying in this way to remedy the disadvantages of their orphaned condition.
Paragraph 2
And how should Dorothea not marry?—a girl so handsome and with such prospects? Nothing could hinder it but her love of extremes, and her insistence on regulating life according to notions which might cause a wary man to hesitate before he made her an offer, or even might lead her at last to refuse all offers. A young lady of some birth and fortune, who knelt suddenly down on a brick floor by the side of a sick laborer and prayed fervidly as if she thought herself living in the time of the Apostles—who had strange whims of fasting like a Papist, and of sitting up at night to read old theological books! Such a wife might awaken you some fine morning with a new scheme for the application of her income which would interfere with political economy and the keeping of saddle-horses: a man would naturally think twice before he risked himself in such fellowship. Women were expected to have weak opinions; but the great safeguard of society and of domestic life was, that opinions were not acted on. Sane people did what their neighbors did, so that if any lunatics were at large, one might know and avoid them.
Paragraph 3
The rural opinion about the new young ladies, even among the cottagers, was generally in favor of Celia, as being so amiable and innocent-looking, while Miss Brooke’s large eyes seemed, like her religion, too unusual and striking. Poor Dorothea! compared with her, the innocent-looking Celia was knowing and worldly-wise; so much subtler is a human mind than the outside tissues which make a sort of blazonry or clock-face for it.

George Eliot, Middlemarch, Chapter 1 (1871–72). The chapter's first paragraph (paragraph 1) and, after two paragraphs about the sisters' uncle are left out, paragraphs 2–3.

Question 4 of 4

In paragraph 1, the semicolons in “Her mind was theoretic, and yearned…; she was enamoured of intensity and greatness, and rash in embracing whatever seemed to her to have those aspects; likely to seek martyrdom…” chiefly serve to

0 of 4 answered