Part I – Presenting ideas in parallel

Parallel construction is one of our most powerful tools for organizing and presenting ideas. It cannot be overemphasized that making our sentences grammatically and semantically correct is simply not enough. We should also ensure that each of their grammatical structures that are alike in function follows the same pattern. In fact, observance of this basic stylistic rule very often spells the difference between good and bad writing.

To give us a better idea of the power of parallel construction, let us first examine the following simple sentence: “Alberto likes reading, jogging, and to play computer games.”

We will find that it is structurally disjointed and does not read well because not all of its serial elements follow the same pattern. Although the first two elements, “reading” and “jogging,” are in parallel because both are gerunds (“-ing” noun forms), the third, “to play computer games,” ruins the parallelism because it is in the infinitive form (“to” + the verb stem).

One quick way to fix this structural problem is to put the third element also in gerund form, “playing computer games,” so that the sentence reads as follows: “Alberto likes reading, jogging, and playing computer games.” It is now grammatical balanced and no longer sounds stilted.

Another way for the original sentence to achieve parallelism is to make all three of its serial elements take the infinitive form: “Alberto likes to read, to jog, and to play computer games.” This sentence, of course, can be streamlined even further by using “to” only once right before the first of the all-infinitive parallel elements: “Alberto likes to read, jog, and play computer games.”

In actual practice, we have to put in parallel not only single words or short phrases but much more complicated grammatical structures such as extended phrases and clauses as well as long serial lists. However, the basic rule for parallel construction remains the same: never mix grammatical forms. We have to choose the most appropriate form for the similar or related ideas, then stick to the same pattern all the way.

Consider the following sentence with three extended elements that are not all in parallel:

The first subordinate clause, “he rarely managed to come up with the company’s TV commercials on time,” is in parallel with the second subordinate clause, “(he) approved the publication of several major print advertising with serious grammar errors,” because both of them are active verb forms using “he” (the advertising manager) as the subject. However, the third subordinate clause, “his human relations with both his staff and the advertising agencies were very poor,” disrupts the parallelism because it is in the passive verb form and takes for its subject not “he” but another noun form, “his relations with both his staff and the advertising agencies.”

See how much better the sentence reads when the third element is modified so it becomes parallel with the first two:

Note that the three elements are now all active-voice verb phrases—“rarely managed…”, “allowed the publication…”, and “related very badly…”—that are perfectly parallel in form.

We will go deeper into the various ways of achieving parallelism in the next essay. (May 29, 2006)

Part II – Presenting ideas in parallel

As emphasized in Part I of this essay, the basic rule for parallel construction is to never mix grammatical forms when presenting similar or related ideas. A sentence that presents two or more serial elements should stick to the same pattern all throughout—all noun forms, all gerund forms, all infinitive forms, or all verb forms as the case may be. When serial elements all take the same form, ideas come across much more clearly and cohesively.

We will discuss another very important parallel construction rule this time: A parallel structure that begins with a clause should sustain that pattern all the way. Recall now that a clause is a group of words that contains a subject and a predicate (and can thus function as a sentence in its own right, as in “we should obey the law”), as opposed to a phrase, which is a group of words that doesn’t have them (and thus can’t function as a sentence by itself, as in “to obey the law” or “obeying the law”). When the sentence doesn’t sustain the clause pattern, or when any of the clauses shifts from the active to the passive voice or the other way around, the parallelism falls apart. The result is a disjointed sentence that doesn’t read well.

Take this sentence that contains three serial grammatical elements: “The English professor told the students that they should aim for perfect attendance, that they should always do their assigned homework, and to submit their term papers on time.” The parallelism of this sentence breaks down because while the first two elements—“they should aim for perfect attendance” and “they should always do their assigned homework”—are both clauses, the third element—“to submit their term papers on time”—is not a clause but an infinitive phrase.

We need to make this third element also a clause—“they should submit their term papers on time”—so the sentence can become perfectly parallel and more readable: “The English professor told the students that they should aim for perfect attendance, that they should do their assigned homework regularly, and that they should submit their term papers on time.”

Of course, a more concise but less emphatic way to construct this serial-clause sentence is to use the imperative “that they should” only once before the first clause: “The English professor told the students that they should aim for perfect attendance, do their assigned homework regularly, and submit their term papers on time.” (Be forewarned, though, that such streamlining can obscure the meaning in more complicated constructions.)

The parallel structure of a sentence with serial clauses can also be ruined when any of the clauses takes a different voice, say the passive from active: “The president anticipated that majority of the lower house would welcome the planned Charter change, that most of the senators would fiercely oppose it, and that a vicious demolition job would be mounted against it by her political detractors.”

Here, the first two clauses—“majority of the lower house would welcome the planned charter change” and “most of the senators would fiercely oppose it”—are in the active voice, but the third clause—“a vicious demolition job would be mounted against it by her political detractors”—is in the passive voice, thus disrupting the pattern.

To make the construction parallel all throughout, we should make the third clause also take the active voice—“her political detractors would mount a vicious demolition job against it.” This results in a more forceful sentence: “The president anticipated that majority of the lower house would welcome the planned charter change, that most of the senators would fiercely oppose it, and that her political detractors would mount a vicious demolition job against it.” (June 5, 2006)
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From the weekly column “English Plain and Simple” by Jose A. Carillo in The Manila Times, May 29 and June 5, 2006 © 2010 by the Manila Times Publishing Corp. All rights reserved.

Part III – Presenting ideas in parallel

We have already taken up the two basic rules for parallel construction, namely that a sentence that presents two or more serial elements should stick to the same pattern all throughout, and that a parallel structure that begins with a clause should sustain that pattern all the way. We saw that we can build much clearer and more forceful sentences by consistently observing these rules.

Now we need to refamiliarize ourselves with four specific applications of these two parallelism rules: (1) that all of the elements being enumerated in a list should take the same grammatical form, (2) that elements being compared should take the same grammatical form, (3) that elements joined by a linking verb or a verb of being should take the same grammatical form, and (4) that elements joined by a correlative conjunction should take the same grammatical form.

All elements in a list should have a parallel structure. We can make our written compositions better organized and more readable by using the same grammatical form for all the elements we are enumerating in a list. The elements should all be noun forms, verb forms, infinitive phrases, gerund phrases, or participial phrases, whichever is most appropriate. When we allow any of the elements to take a different form, the rhythm of the enumeration is broken and the reader’s train of thought is needlessly disrupted.

Consider the following not-so-well-thought-out list:

The list looks awfully craggy and reads very badly for an obvious reason: its elements don’t follow a consistent grammatical form. Items 1, 3, and 4 are noun phrases, but Item 2 is a verb phrase in the progressive form and Item 5 is an infinitive phrase.

Now see how smoothly and cohesively the list reads when its elements all take the same grammatical form, in this case as verb phrases:

Elements being compared should use a parallel structure. In constructions that use the form “X is better than/more than Y,” we have to make sure that the elements being compared have the same grammatical structure. Unparallel (gerund/infinitive): “She enjoys jogging better than to run.” Parallel (gerund/gerund): “She enjoys jogging better than running.”

Elements joined by a linking verb or a verb of being should use a parallel structure. When we use “is” as a verb of being that links two elements, we have to make sure that the elements have the same grammatical structure. Unparallel (infinitive/gerund): “To make that impossible demand is declaring open hostilities.”Parallel (infinitive/infinitive): “To make that impossible demand is to declare open hostilities.”

Elements joined by a correlative conjunction should use a parallel structure. When we use the correlative conjunctions “either . . .  or,” “neither . . . nor,” “not only . . . but also,” “both . . . and . . .”, and “whether . . . or,” we have to make sure that the elements being correlated have the same grammatical structure.

Unparallel (gerund/infinitive): “For you to get to Manila on time, we suggest either taking the morning flight tomorrow or to drive overnight right now.” Parallel (gerund/gerund): “For you to get to Manila on time, we suggest either taking the morning flight tomorrow or driving overnight right now.”

Unparallel: “They not only demand very short installment periods but also huge down payments.” Parallel: “They demand not only very short installment periods but also huge down payments.” Also parallel: “They not only demand very short installment periods but also demand huge down payments.”

We will take up some more fine points about parallelism in Part IV of this essay. (June 12, 2006)

Part IV – Presenting ideas in parallel

We saw in the first three parts of this essay that the consistent use of parallel structures is the key to more readable, more forceful, and more polished sentences. We also learned that for clearer and more cohesive sentences, we should always use parallel structures when presenting various elements in a list, when comparing elements, when joining elements with a linking verb or a verb or being, and when joining elements with correlative conjunctions.

Before winding up our discussions on parallel construction, we will take up two more techniques for harnessing parallelism to give structural balance and better rhythm to our sentences. We will discover that these techniques can dramatically improve our writing and give it a distinctive sense of style.

Use parallel structure for adjectives and adverbs. We should also aim for parallel patterns when using adjectives and adverbs in our sentences, seeking structural balance for them in much the same way as we do for noun forms, verb forms, infinitives, and gerunds.

Unparallel construction: “She danced gracefully, with confidence and as if exerting no effort at all.” Here, we have a stilted sentence because the modifiers of the verb “danced” have taken different grammatical forms: “gracefully” (adverb), “with confidence” (adjective introduced by a preposition), and “as if exerting no effort at all” (adverbial phrase).

Parallel construction: “She danced gracefully, confidently, effortlessly.” The consistent adverb/adverb/adverb pattern gives the sentence a strong sense of unity and drama.

Unparallel construction: “The gang attempted an audacious bank robbery that was marked by lightning speed and done in a commando manner.” The sentence reads badly because the three modifiers of “bank robbery” are grammatically different: “audacious” (adjective), “marked by lightning speed” (participial phrase), and “done in a commando manner” (another participial phrase).

Parallel construction: “The gang attempted an audacious, lightning-swift, commando-type bank robbery.” The sentence reads much more forcefully because of its consistent adjective-adjective-adjective pattern for all of the modifiers of “bank robbery.”

Use parallel structure for several elements serving as complements of a sentence. For more cohesive and forceful sentences, we should always look for a suitable common pattern for their complements. Recall that a complement is an added word or expression that completes the predicate of a sentence. For instance, in the sentence “They included Albert in their soccer lineup,” the phrase “in their soccer lineup” is the complement.

Unparallel construction: “We basked in the kindness of our gracious hosts, walking leisurely in the benign morning sunshine, and the palm trees would rustle pleasantly when we napped in the lazy afternoons.” Here, we have a confusing construction because the three elements serving as complements don’t have a common grammatical pattern: “the kindness of our hosts” (noun phrase), “walking leisurely in the benign morning sunshine” (progressive verb form), and “the palm trees would rustle pleasantly when we napped in the lazy afternoons” (clause).

Parallel construction: “We basked in the kindness of our gracious hosts, in the benign sunshine during our early morning walks, and in the pleasant rustle of the palm trees when we napped in the lazy afternoons.” The sentence reads much, much better this time because the three complements are now all noun phrases in parallel—“in the kindness of our gracious hosts,” “in the benign morning sunshine during our early morning walks,” and “in the pleasant rustle of the palm trees when we napped in the lazy afternoons.” Note that all three have been made to work as adverbial phrase modifiers of the verb “basked.”

In actual writing, of course, the need to use parallel structures in our sentences will not always be apparent at first. As we develop our compositions, however, we should always look for opportunities for parallel construction, choose the most suitable grammatical pattern for them, then pursue that pattern consistently. Together with good grammar, this is actually the great secret to good writing that many of us have been looking for all along. (June 19, 2011)

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From the weekly column “English Plain and Simple” by Jose A. Carillo in The Manila Times, June 12 and 19, 2006 © 2006 by the Manila Times Publishing Corp. All rights reserved.

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November 5, 2013

Dear Joe,

I should also apologize. I couldn’t get back to you because the battery of my netbook expired and I had to go search for a new one. A friend told me today that I should just remove the battery unit and plug direct to the power source. I never knew that could be done. Thank you for allocating some time for me. How can I ever repay your kindness to me?

I checked The Manila Times and I am very inspired that an authority in English language usage, like you, would consider an e-mail of mine worthy of publication in a prestigious newspaper at that. I am also thrilled to death that you would say such nice things about my writing style. I am very grateful for the time and attention you are giving me.

One day, if I would be able to come up with a noteworthy book or two, I will have to mention that you were the person who inspired me to reach heights I can presently, only, dream about.

Normally, I prefer to stay home but tomorrow I am making a special trip to Greenbelt One to look for your third book. I am so excited; I hope I find it. I plan to go to National Book Store and to the other book stores in the area, as well as, those in Glorietta.

Thank you very much for this information. Had you not mentioned it, I would never have known about it. I will let you know for sure when I find a copy. So, again, I am very grateful. I owe you a lot already, have you noticed?

I think I should stop frustrating myself about getting a PhD and just listen to you and read your books and your other recommendations. I am reading The Elements of Style again for the umpteenth time. I think what would enhance my stature more; if only for the sake of leverage, though, I should published a book or two. 

And I fully agree with you: God has already given me so much, but maybe, I could ask Him for more time on earth to enjoy writing some more. 

Thanks so much for The Manila Times link and for everything else.

Shirley

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