Blog for Bristol Services Intl.

Fiction writers: Beware! You may try to write clearly but in the end you could try and fail!

Ah, the old “try to” versus “try and” quandary tasks many writers! Both can be correct … at times. This is one of those grammatically pesky things that cause writers trouble. Fiction writers use both and often use them indiscriminately. My usual quick references, A Pocket Style Manual by Diana Hacker, just states that “try and” is substandard for “try to” without giving the reason. My old faithful Plain English Handbook by J.M Walsh and A.K. Walsh says “try to” is correct and “try and” is questioned by some authorities. Hmmm … what authorities? And why is it substandard? And is there any use for “try and” if it is considered substandard?

As a fiction editor for 16 years, I know even the smallest word can derail a whole scene in a novel. So let’s break this down:

“Try” can mean to make an effort. You may or may not include an object or modifier, explaining what you are trying. Examples:

I suggest you try sliced tomatoes on your peanut butter sandwich instead of jelly. (A sentence in which we learn what object should be tried–in this case, sliced tomatoes. By the way, a great sandwich!)

He will try to fly. (Hopefully not off a building, but we learn that the object of his trying is “to fly.”)

The problem comes when you include “and” with “try.” “And” connects things, like two separate verbs, both of which need to make sense if that sentence were separated. For instance:

I make good grades and will get my diploma. (The “and” works to combine what could be two separate and logical sentences: “I make good grades” and “I will get my diploma.”)

I will try and succeed. (This “and” combines “I will try” and “I will succeed”. The assumption is that you will make an effort AND you are sure you will succeed. Rather confident, but, hey, that’s great optimism and maybe exactly what you mean!)

I will try to succeed. (This, however, means you will make an effort to succeed. You are offering no assurance that you’ll actually succeed–only assurance that you will attempt to succeed. There is a big difference between this and the last sentence example. And most of the time, THIS is the meaning we intend when we fiction writers use “try.” Therefore, most often, “try” should be coupled with “to” and not “and.”)

A “substandard” example–probably NOT what the writer intended:

Try and think of some times when you were happy. (Most likely, the writer is simply asking the reader to “Think of happy times.” The author doesn’t need the “try and” at all. Using the “and” creates a compound sentence and the “try” just sort of dangles by itself as a verb. So the sentence may be somewhat grammatically okay, but it isn’t really clear, which is why my reference books would consider this substandard.)

Versus:

Try to think of some times when you were happy. (This works if the writer wants to emphasize that thinking of happy times is difficult to do and requires the person’s effort to accomplish. The simple use of “to” turns it into a single sentence with a single verb “try” and all the rest is the modifier that explains WHAT is to be tried.)

Now for a re-take on my opening lines:
You should try to write clearly and in the end I hope you try and succeed!
Ahh, yes! I do believe you will make the effort TO write clearly (the “try to”). And it is my hope that in the end you will both make the effort AND succeed (the “try and”).

Any questions? Write me, Sandra Haven, at Bristol Services Intl. by clicking services@bristolservicesintl.com

Question from a Fiction Writer:
Can you show more about including Inner Growth vs. Outer Resolution in a story?

Answer:
A great story building tool is to create characters who grow in some way through and because of the resolution of the story. In other words, if your characters simply solve their problems and are alive and well at the end, well, that is nice. Fine. But not strong. As a fiction editor, I find many writers plunge characters through all sorts of turmoil but often forget that an inner challenge needs to be part of a strong story too.

What makes a story strong and one that readers really relate to, is one where the characters grow or change because of their plight as well as because of the plot’s resolution. Back to that “children lost in the woods” example I gave a couple of blogs back, maybe the boy doesn’t feel his expertise in survival skills (which he tends to enjoy showing off to anyone who will listen–and a few who don’t want to!) is appreciated. But in the end he not only helps them all survive because of his knowledge but realizes these are NOT bits of knowledge to spout off to impress people—they are valuable aids to survival. He has matured, grown.

Maybe it is his dad who is the survival expert and who has tried to teach the boy these skills. Only the boy has only been half-listening, half-interested. Early in the story the father might press the boy to recall that knowledge, and the boy only half-heartedly tries. Yet when the skills his father has taught him later actually pay off in their survival, he has learned that his father’s advice wasn’t just so much talk, but meant as life-saving tools. He appreciates his dad and that knowledge now—he has matured and grown.

These are two examples of how traits starting at the very beginning of the story can fit into the plot later. Plus those same traits and how they work into the plot can show inner growth for the character as the outer problem is resolved.

Kind of a yin and yang of fiction writing and plotting: Inner problem becomes part of the resolution of the external crisis. And that resolution becomes an aid to dealing with and handling that inner problem.

Have any questions? Write to me, Sandra Haven, Fiction Editor, at Bristol Services Intl. by clicking: services@bristolservicesintl.com