Semicolons, for the attentive writer, are a bit like beautiful scarves for the impeccable dresser: they tie ensembles together, they accent with flair, and they warm people up—yet you can lose a scarf and not go naked.
To be sure, when overdone, semicolons grow into pretentious frills, much like the notorious red silk scarf of dancer Isadora Duncan, who in 1927 let her neck decor catch the wind in Nice, France. The long, billowing scarf caught on the rear axle of the open convertible she rode in; she died instantly.
And, yes, many writers really don’t know how to tie on a semicolon. Probably the most common punctuation faux pas with this mark occurs when a semicolon peeks out at that very wrong place on the page; a semicolon is neither a softer colon or its stand in. But when the semicolon—and the scarf—is tendered with balance, it’s an elegant punctuation for one’s ensemble or essay.
So perhaps we should consider a few fashion rules to help us avoid tragic semicolon entanglements.
Semicolons Connect
Punctuation master Noah Lukeman describes the semicolon as a bridge. Unlike the colon that reveals and the dash that interrupts or points backward, the semicolon connects. The semicolon balances itself between equal elements: either two independent clauses or three or more grammatically parallel items in a series with internal commas.
Colon. Colons require a full independent clause (at least subject + verb) on only one side of the connection: the left.
Dash. A dash can interrupt with a word or phrase—like this—or they can add an explanatory thought to what has come before—usually not both in the same sentence, though, and sentence fragments are fine.
Semicolons between independent clauses. Semicolons dispense with coordinating conjunctions like and, nor, but, and or; they connect similar full subject + verb thoughts without a connection word.
Semicolons in a series. Semicolons also bridge the main points in lists that have commas serving as speed bumps, such as a successive grouping of phrases with commas, like several cities and states; a series of clauses with internal punctuation, like a list of reasons; or a run-in list with numbers.
Notice that in this second use, the semicolon does not require full subject + verb clauses on either side, and the series uses a coordinating conjunction (for, and, nor, but, or, yet, so) before the final element. But each element in the series should still be balanced, or grammatically parallel. The simplified series above lists three nouns: a grouping, a series, and a list.
Semicolons Add Jazz
No one needs a fashion scarf, and we can write without any semicolons at all. So why use them? They add variety to sentence structure and create a different pattern for the arc and rhythm of sentences. They change how we inflect words and sentences.
They create syncopation when we connect two sentences in a series of short statements or add a short verdict to the end of a long, winding clause (as in the second paragraph of this post). In essence, semicolons bring attention to the hand-holding between certain ideas without cluttering up such a sweet relationship by defining it with overwrought language like and, because, or resulting in. Semicolons invite readers to intuit the nature of the connection; they draw the reader in.
Semicolons Warm Up the Pace
And importantly, semicolons warm up modern writing often formed with short syllables and sentences. Short sentences create speed. They also devolve into a cold staccato chop. Modern readers have short attention spans; for them, semicolons deepen meaning without adding words.
However you add flair to your essays with the elegant semicolon, just make sure you pay attention to the balance of clauses and parallel ideas. You don’t want to wear your scarf in such a way that the long end trips you up.