The problem with generic mistake lists
Most "common writing mistakes" articles are written for nonfiction, academic, or business writing. They treat every fragment as a mistake, every passive construction as a flaw, and every deviation from standard grammar as something to fix.
Fiction writing works differently. Sentence fragments, passive voice, comma splices, and tense shifts are all legitimate techniques when used intentionally. The challenge is not knowing the rules — it is knowing when breaking them serves the story.
Mistakes that are almost always errors
These are objective mechanical problems where there is a clear correct answer. Fix these regardless of genre, voice, or style.
- Typos and misspellings — including real-word errors like "defiantly" when you meant "definitely"
- Missing or doubled words — "She walked walked to the door" or "She walked to door"
- Wrong dialogue punctuation mechanics — period instead of comma before a speaker tag
- Broken possessives — "it's" for "its" or vice versa
- Subject-verb agreement — "The group of writers were" should be "was" in formal narration
- Inconsistent proper nouns — spelling a character's name two different ways
Mistakes that depend on context
These are sometimes errors and sometimes intentional style. The difference is whether the choice serves the scene.
- Comma splices — an error in narration when clarity suffers, but can be effective in dialogue or breathless action sequences
- Run-on sentences — a problem when meaning is lost, but a technique when building momentum or panic
- Tense shifts — an error when accidental, but an intentional device in some narrative structures (memory sequences, timeline jumps)
- Passive voice — stylistically weak when overused, but appropriate when the receiver matters more than the actor
Things that look like mistakes but rarely are in fiction
Some constructions that grammar tools flag as errors are actually standard fiction technique. Be cautious about "fixing" these.
- Sentence fragments — "Not yet." "Silence." "Blood on the floor." These are deliberate scene-setting or emphasis.
- Starting sentences with "And" or "But" — standard fiction rhythm, not a grammar error
- One-sentence paragraphs — a pacing tool, not a formatting mistake
- Dialogue that sounds informal — characters do not speak in textbook grammar
- Repeated words for emphasis — "She ran and ran and ran" is a rhythm choice, not an oversight
How to tell the difference in your own writing
The practical test is intent and effect. Ask yourself two questions about any flagged construction:
- Did I write it this way on purpose? If you did not notice it until a tool flagged it, it is more likely an error.
- Does it serve the scene? If removing the "error" makes the sentence sound flatter or less like the character, the original was probably working.