"Heed your 'buts' and 'ands'!" was the suggestion, made in jest, by a journalism professor to my colleague, Harold Bismark, who was awaiting his inauguration into Oxford University as a new math professor. On the above occasion, Bismark was re-reading his acceptance speech out loud, and, having been long out of school, he was slightly confused about the correct usage of his "buts" and "ands."

The journalism professor's comment is worthy of thought, especially for writers who need to write with simplicity and clearness. To heed one's "buts" and "ands" is important in any writing style. A typical writer usually masters the "ifs," "tos," "whens" and "wheres," but he becomes uncertain using the "buts" and "ands" —which sometimes connect and disconnect one's thoughts.

Because we read a lot of informal writing during the day (on the Internet, in e-mails, in blog posts, etc.), we have become accustomed to starting a sentence with "and" or "but." Many popular authors of fiction and non-fiction also start sentences this way in their novels and short stories.

A teacher of high reputation once told me that the first words he examined in his students' compositions were the "buts," "ands" and "yets"—"And generally," he said, "I check two-thirds of them as wrong or excess." In looking over some of the manuscripts he had corrected for me, I found that he had checked too indiscriminately, and that now, after careful study, I should have replaced many that he marked out.

Abruptness is often forceful. Sometimes a writer may need to emphasize such abruptness in his writing; however, the sentence's impression upon the reader is still likely to remain when the sentence "runs and flows like water," instead of the writer breaking his "thought-process" suddenly with an improper "and" or "but."

Every writer and speaker does not want their sentences to lose its force. A writer should always seek clearness, distinctness, simplicity; and if he adds to these elements the quality of movement—of connectedness—he strengthens his thoughts.

The English language is wanting in connectives. "But" is compelled to do duty in many doubtful places; yet one must use it correctly, or flee to the abrupt "disconnected" sentence.

Many writers misuse "but" through carelessness, rather than through failure to study its history and proper use.

Some editors to whom I have submitted material are sometimes confused if they should allow writers to use "but" as an emphasized word. I recall an address by the president of a college, given some years ago, on "The Sunday School," in which he introduced his faculty members by this little connective. He said:

"The Sunday School is a Bible School;" and having developed that thought, he proceeded:

"But, the Sunday School is an Aesthetic School." And again:

"But, the Sunday School is an Ethical School."

His thought was cumulative. He moved forward and upward; but his connectives suggested three opposing topics.

"But" indicates subtraction, rather than addition; the placing of one proposition over against another.

Had the speaker left out his "buts" altogether, he could have connected his thoughts and expressed himself more forcefully.

Misplacing these connectives not only cause errors in writing and speech—the using of "but" for "and"—but writers also use them too frequently, especially of "and," which can only fill the office of a conjunctive. Legitimate enough when cautiously used, the use of "And so," "But that," and the kindred expressions, "But what," "And now," inflect the writing styles of our best writers.

No word in English, perhaps, carries a heavier burden than "but," because it has so few synonyms; yet it has fine discriminations, varieties and shades of meaning. Even with careful study, a writer finds himself struggling to clarify and adorn his thought.

Here is an extract, chosen at random, from Dr. Channing's essay on Milton, which shows how he uses connectives to express his flow of thoughts:

"True, poetry has been made the instrument of vice, the pander of bad passion; but, when genius thus stoops, it dims its fires and parts with much of its power; and, even when poetry is enslaved—she cannot wholly forget her vocation."

"But," according to the authorities, is antithetic, separative, while "and" is synthetic, uniting and cumulative.

"Yet" is used in a great many places, some of which it fills admirably; but occasionally, it, too, is misplaced and jerks the sensitive eye. When used as a synonym for "but," it assumes a burden, not seldom too heavy for it. Still, many of the best writers use it, and when used, and not abused, it is a help; for "but" thereby gains a short respite.

"And, But, and Yet" are true burden-bearers, and must be guarded and developed with care. No writer can afford to be unacquainted with their possibilities.

LousyWriter.com has an excellent collection of "The Most Popular Connective Words and Phrases in the English Language" if you need additional information on using conjunctions in your writing.

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