What are conjunctions, and how do you use them?

Conjunctions are among the smallest words in English, yet for authors, they can shape everything from pacing and tone to clarity and emotional impact. Learning the rules first can help you break them with intent, shaping prose that reflects your story’s rhythm and your characters’ internal worlds.

What is a conjunction?

A conjunction is a word that links words, phrases, or clauses. Conjunctions help you show relationships, connect actions, and guide readers through moments—big and small—without losing momentum.

Think of them as the joints of your prose: small, flexible, and structurally essential.

Types of conjunctions (and how to use them)

1. Coordinating conjunctions

These connect equal grammatical elements—often two independent clauses.

The FANBOYS list: for, and, nor, but, or, yet, so.

Examples:

·      She slammed the door, but he didn’t move.

·      The storm roared on, and the power flickered twice.

The following information and rules apply to American English and follow the Chicago Manual of Style (CMOS). They also apply to British English and follow the New Hart’s Rules (NHR), Oxford Style Guide.

CMOS/NHR guidance:

When connecting two independent clauses, use a comma + coordinating conjunction.

This rule helps prevent run-ons, but in fiction, it’s sometimes broken for fast-paced, clipped narration—especially in dialogue or close third-person.

2. Subordinating conjunctions

These introduce dependent clauses and show relationships such as time, cause, or contrast.

Common examples: because, although, since, unless, when, while, if.

Examples:

·      Although her voice wavered, she kept reading the letter.

·      He stayed awake because the house didn’t feel safe.

These are valuable for layering emotion, motivation, or tension within a single sentence.

3. Correlative conjunctions

These work in pairs and add balance or emphasis.

Common pairs: either… or, neither… nor, both… and, not only… but also.

Examples:

·      Either she would run, or she would burn with the rest of the city.

·      Not only was he late, but he also forgot the ring.

Correlatives can lend a rhythmic, almost poetic quality to narrative prose.

What conjunctions do for your writing

Beyond basic grammar, conjunctions influence:

·      Pacing: Short bursts without conjunctions feel fast; long strings with several feel breathless or overwhelming.

·      Voice: An introspective narrator may favor meandering, conjunction-heavy sentences.

·      Tone: “But” shifts tension; “and” smooths transitions; “so” nudges the narrative forward.

·      Clarity: Conjunctions make relationships between ideas explicit, reducing reader confusion.

For authors, these are powerful narrative tools—not just grammatical ones.

When to break the rules

1. Skipping conjunctions on purpose

In fiction, “correct grammar” is only the starting point. Sometimes you might want a choppier, more lyrical, or more fragmented rhythm.

Omitting conjunctions creates immediacy, emotional sharpness, or poetic flow.

Examples:

·      He ran, stumbled, fell.

·      I waited. Hoped. Broke.

Technically, these are asyndetic constructions—sentences without conjunctions—but in fiction, they’re common and effective.

2. Using multiple conjunctions to build urgency

On the opposite end, you might sometimes stack conjunctions—known as polysyndeton—to heighten tension or emotional overload.

Examples:

·      He ran and ran and ran until the streetlights disappeared.

·      She was angry and tired and terrified.

This technique mimics frantic thought or accelerating action. For a character spiraling, listing and listing and listing can reflect their internal chaos. Used intentionally, it transforms pacing and mood.

Common conjunction-related pitfalls (and how to avoid them)

1. Comma splice from rushing a scene

Incorrect:

·      The lights went out, she screamed.

Correct for standard prose:

·      The lights went out, and she screamed.

But in fiction:

·      The lights went out. She screamed.

·      The lights went out—and she screamed.

2. Dropping a conjunction in a way that obscures meaning

Creative omission is fine—confusion isn’t.

Confusing:

·      He opened the door, stepped inside the dog barked.

Clear:

·      He opened the door and stepped inside as the dog barked.

·      He opened the door. Stepped inside. The dog barked.

3. Starting sentences with conjunctions

Perfectly acceptable in narrative writing, despite old myths.

Examples:

·      But she didn’t look back.

·      And that was the last time he ever saw the key.

CMOS and NHR allow it—and authors use it constantly.