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The Proper Use of Quotes

The Proper Use of Quotes

The simple quotation mark has a surprisingly long and rich history.

Its origin dates back a lot further than one might think.

While the practice of using a written symbol to indicate an excerpt from another written work dates all the way back to Ancient Greece, documented history informs us that the ancestors of the double quotation mark that we use today first appear in the margins of fifteenth-century manuscripts as annotations that bestow higher importance on the passages beside them.

Over the 400 or so years that followed this debut, the quotation mark experienced a slow evolution that saw changes in shape, curvature, relative height, axial orientation, and meaning.

While it’s debatable that their appearance continues to evolve to this day, considering that designers create new fonts every year, quotation marks in their modern manifestation exist to do essentially just three things:

  1. 1. To indicate a quotation from another written work or to quote the direct speech of real people or fictional characters.
  1. 2. To cite the titles of shorter literary or musical works like chapters in a book, episodes of a series, or songs from an album.
  1. 3. To highlight the irony of a word or phrase in context or imbue it with sarcasm.

Is it ever really that easy, though?

The simplicity of this three-item list hides all manner of exceptions, unique circumstances, and nuance. If anything related to quotes is easy, it’s how easily they are misused or even abused.

The literary consequences of a couple of errant quotation marks can be dire. The improper placement of the seemingly simple quotation mark can massively change the meaning behind a written statement.

Sign-makers—professional and amateur alike—are notorious for their apparent predisposition towards the gratuitous inclusion of quotation marks in their work, and the fruits of their labor are often quite hilarious.

The following guide aims to refresh your quoting know-how by laying out the basic rules of quotation and covering the various uses for quotes in written documents. It will also delve into style considerations.

In other words, by reading the rest of this blog, you’ll fortify your future work against an unsolicited appearance on this one.

Quoting Spoken or Written Words

At their core, quotation marks are for indicating to the reader that the words they are about to read are not the words of the writer…kinda.

While all the words in a work of fiction are the author’s words, a novelist uses quotation marks to differentiate between the various lines of dialogue and the narration.

Properly formatted quotation can bring a story to life and keep it flowing, but quotes are a matter of grave importance when it comes to other kinds of writing.

Quotes are especially important to non-fiction writers like historians, journalists, and academics. Quotes enable them to borrow the words of another—whether they are spoken or written—to support their idea, their argument, or the larger story they are attempting to tell.

An objective reporter can use quotes from various witnesses, participants, or officials to further illuminate the current event they are reporting on.

The subjective writer behind an opinion piece might use the quotes of another to support the stance they hold on a matter.

A student crafting a thesis statement can borrow the words of established writers or experts in a particular field to back up the claim they’re making.

So, how do they do it without getting slapped with charges of libel or plagiarism?

We’ll start at the very beginning.

Let’s say a guy named John Smith once said or wrote something regarding his feelings toward cauliflower and you wanted to quote him on it. Let’s try putting his exact words into quotes:


“I hate cauliflower.”


That doesn’t really cut it. You need to attribute the quote to someone:


John Smith said, “I hate cauliflower.”


With that, you have a perfect, basic, direct quote. Or, if you prefer, you can flip it around:


“I hate cauliflower,” John Smith said.


The sentence in either orientation informs the reader that the quote was spoken as opposed to written, and the quote is attributed to the speaker who uttered the words within the quotation marks.

It is also possible to quote a speaker without quotation marks:


John Smith said that he hates cauliflower.


This is known as an indirect quote. While the sentence relays the exact same information as the previous example without embellishment—and it maintains the emotional level of John’s disdain for cauliflower—it does not use the actual sentence that John spoke. Therefore, it does not require quotation marks.

Paraphrasing is another matter and it should not be confused with indirect quotation.  Paraphrasing is when there is a reference to a spoken quote or a written passage and its sentiment is accurately captured, but there is no claim to any quotes in the retelling:


John Smith once told me about his feelings towards cauliflower. I don’t remember exactly how he put it, but he’s definitely not a fan of that particular vegetable.


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Capitalization and Punctuation

When dealing with quotes, the rules of capitalization and punctuation are a matter of great importance as well.

If they are misplaced or ignored, it’s not only bad form, but it can confuse your reader and throw them off course.

Just as with a regular sentence, a sentence quoted in full should begin with a capital letter—even if the quote appears within the sentence that houses it:


John looked up at me and said, “Man oh man, cauliflower is really gross.”


A quote broken up part of the way through is known as an interrupted quote. With interrupted quotes, the second part of the quote is not capitalized:


“Man oh man,” said John while looking up at me, “cauliflower is really gross.”


As you can see in the example above, a comma follows the statement that indicates the speaker of the quote, and one is placed within the first half of the interrupted quote.

Also, take note that the period is placed within the closing quotation mark when the sentence concludes with a quote.

If you choose to quote only part of the sentence, the sentence fragment should not begin with a capital letter:


John called the cauliflower “really gross” before throwing it to the floor.


The placement of question marks in or outside of quotation marks depends on the context of the sentence:


John asked them, “What is it with you guys and this obsession with cauliflower?”

Does John always react like that whenever anyone says, “Let’s all have literally nothing but cauliflower for dinner”?


While rare, alternate punctuation outside of the quotation marks may be necessary in certain circumstances:


John often ranted about what he called cauliflower’s “Three Evils”: its appearance, its smell, and its taste.

Mr. Smith happily sampled all the vegetable dishes that were “not white and weird”; he ignored the various cauliflower casseroles.


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Quotes within Quotes

It might sound like the setup to a brainteaser, but as a writer, sometimes you have to quote someone who quoted someone else in their own quote—maybe it’s a bit of a tongue-twister too.

To execute a successful secondary level of quotation, the single quotation mark is all you need:


Phil asked, “Did John really scream, ‘Get that cauliflower away from me’?”


If you’re looking for the single quotation mark on your keyboard, it’s located right beneath the double quotation marks that we’ve already been working so hard. You might know it as an apostrophe, but don’t worry, when it comes to flipping it the right way your computer will know just what to do.

Block Quotations

Block quotations come in handy when literally all the words in a particular passage from an author’s work are just so good that you feel as though you’d be doing a disservice to your reader by not sharing every last one of them.

Students and researchers often make use of block quotations when supporting a claim in an academic paper or a nonfiction manuscript.

Block quotes differ from the kinds of quotes we’ve discussed so far because, well, they’re way longer and they look like blocks.

You can’t just slap a long passage in between a pair of quotation marks and call it a day. There are certain rules you have to follow, depending on whom you’re writing for, and proper block quotes look pretty cool anyway.

So, let’s give one a go:


As you can see above, block quotations don’t use quotation marks at all. Their indentation is ½ inch further in and a line below their introduction. Finally, they conclude with a citation.

Style guides differ, but generally, if a typed-out passage takes up more than a few lines on the page, it should be presented in the form of a block quotation.

For questions regarding the proper format and citation styles of block quotes according to the most commonly followed manuals, consult this helpful visual from The University of Arizona.

Alternate Uses

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While italics are used for citing or referencing larger works, quotation marks are used for citing shorter portions of them:


“Looks like Brains” is the worst song on John Smith’s independently released folk album Cauliflowernication.


Single quotation marks can be used in place of parentheses when translating an italicized foreign word within a sentence:


The injured German waiter said that all he did was offer the mysterious man some blumenkohl ‘cauliflower’ just before the assault occurred.


Scare quotes or shudder quotes are arguably the most fun kind of quotes, but as one can see from the examples linked at the beginning of this article, they should be used sparingly and with extreme caution.

Scare quotes paint the words between them with anything from irony to sarcasm to disdain, and it’s up to the reader to determine their meaning from context. Essentially, scare quotes indicate that the words they encapsulate do not actually mean what they usually mean.

A couple of examples based on what we’ve come to understand about John Smith:


Tonight, we’re having ham, mashed potatoes, and John’s “favorite” side dish: cauliflower.


A great way to “thank” John for totaling your car would be to sneak a whole head of cauliflower into his pillowcase.



Dialogue

We’ve already demonstrated how to properly frame a line of spoken dialogue, how to tag the speaker, and how to interrupt it with action.

When you’re dealing with multiple lines of dialogue—like when two fictional characters in a novel speak to one another—following a set of guidelines will make the conversation flow naturally for your reader.

Beyond the quoting rules that we’ve already covered in this blog, there are a few more we should go over when it comes dialogue:

New Speaker, New Paragraph. Whenever a speaker begins speaking, his or her words get their own paragraph—even if their line is just a single word. The act of making each line its own paragraph indicates to the reader that a new speaker is speaking.

Indentation. Each new “paragraph” (scare quotes!) of dialogue should be indented unless the quote itself is the beginning of a new chapter in a book or a new scene in the story.

Speeches. In the rare event that a character speaks for so long that their words flow into multiple paragraphs—like when one character is telling a long story or literally delivering a speech—leave off the end quotation at the conclusion of one paragraph but start the next one with another opening quotation mark.

Em Dashes. An em dash (one of these guys —) is a great way to represent one character cutting off the words of another with an interruption.

For this one, maybe a demonstration is in order:


“Come out on the veranda,” Lindsey beckoned, “I’ve prepared a glorious vegetable spread with multiple dips!”

“But I thought I told you that if I even see a cauliflow—”

“Say no more John,” she reassured him, “I’ve banned them entirely from the property.”


Clarity

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When quoting spoken words or written text, getting them right is a matter of utmost importance.

Occasionally, when endeavoring to insert quotes into a document, you’ll encounter misspellings, poor grammar, or tenses that don’t match the one you’re working with. Luckily, there are workarounds for such a scenario.

When a misspelling or grammatical error is discovered, the ethical practice is to preserve it, but you wouldn’t want anyone to think that the error was your own. This is where brackets come to the rescue:


“Johnny Boy hated collyflower [sic] even when he was little.”


Placing sic (Latin for “thus” or “so”) italicized and between brackets is how you can indicate to the reader that you transcribed the quote exactly as you found it—warts and all.

Brackets are also a way to provide the reader with information they wouldn’t have otherwise. Using the same sentence, we’ll inform the reader that “Johnny Boy” is a nickname for a character we’re already familiar with:


“Johnny Boy [John Smith] hated collyflower [sic] even when he was little.”


Brackets are also at your disposal if you need to change a word in a quote so that it fits properly in your sentence.

If John Smith once said:


“My aversion to cauliflower has always been a problem for me.”


You could (if absolutely necessary) quote him like this:


John Smith’s aversion to cauliflower has “always been a problem for [him].”


Conversely, you may need to remove words from quotes entirely so that any off-topic information contained within them doesn’t confuse the narrative.

For example:


“Whole Foods is a store with delicious hot bar offerings and a wide selection of coffees from around the world, but it’s also a purveyor of cauliflower.”


With an ellipsis (three periods separated by spaces), we can shorten the quote to align with our topic while letting the reader know that unrelated words were removed:


“Whole Foods is . . . a purveyor of cauliflower.”


Presuming what follows is more negativity towards cauliflower, omitting the complimentary remarks about Whole Foods doesn’t change the overall sentiment of the sentence.

On the other hand, misquoting someone is at best a careless mistake requiring a correction or retraction; at its worst, a purposeful misquotation is a malicious act and grounds for a defamation lawsuit. If you handle your quotes with care and diligence, you won’t ever find yourself in either situation.

Style

One might think a literary practice so constrained by rules wouldn’t have any room to spare for personal style choices.

But when it comes to quotes, it’s in there.

With quotes, you can choose how to quote, what to quote, and how often to quote.

You can even choose how to attribute quotes.

For more wisdom on the matter, we reached out to Barbara Adams, a knowledgeable (and stylish) copywriter with The Writers For Hire:

“I have a degree in journalism,” Ms. Adams warned us at the outset, “so that definitely influences how I use and think about quotes.”

Warnings of journalistic bias aside, Ms. Adams was quick to dispense some pretty universal advice for writers of all breeds:

“Quote length is important,” she says. “My experience is that some writers struggle with how to introduce a quote, so they just dump a long quote in place. It would be better to summarize what the speaker is saying and then use the most important/cogent idea as the actual quote.”

Despite the fact that we may have already ignored her advice by just dumping rather than summarizing the very quote in which she gives the advice, what Ms. Adams said next was so poignant and perfect we felt it deserved its own block quotation:

Coming from a journalism background, I have no problem with using “said” or “says” over and over. I know some writers like to use other words – exclaimed, pointed out, noted, etc. – but I feel those should be limited to books (fiction or non-fiction). I write a lot of trade articles and using anything other than said or says (or “added”) would be completely out of place. I recently read a piece where there were a ton of quotes, and each had a different verb attached and it was just jarring. It was like the writer had done everything he could to avoid using “said” and got the thesaurus out, instead.

Sometimes it’s a classy move to conclude a written work with a quote.

Just in case this is one of those times, that’s how we’re going to end this blog entry.

The following is a pretty good quote that Ms. Adams gave us when asked if she had any quotes…about quotes. Plus, it gives us the chance to use brackets:

“[Quotes are] indispensable for adding color, personality and context to an article, but they also serve another, more practical purpose: they break up grey columns of copy.”

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She earned her Master of Fine Arts in Creative Writing with a concentration in screenwriting from National University in La Jolla, California, and her Bachelor of Arts in Writing from the University of Tampa in Tampa, Florida. 

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Carol is also a children’s book author, having written several fiction and nonfiction books for the educational market. She especially loves helping kids learn about the environment and social sciences. Her first nonfiction picture book from a trade publisher is due to be released in fall 2021. 

Martha Scott - Copywriter

Martha Scott’s technical writing career began on a contract at Houston’s Johnson Space Center. She edited papers for scientific journal publication, documents for departments across the site, and a book about a proposed crew escape vehicle. She produced a yearly booklet describing Shuttle contract cost-saving measures, the mission managers’ Flight Data Pack, and a 45-page booklet called Charting a Course to the Year 2000 and Beyond describing plans to develop additional space vehicles and prepare for manned Mars explorations. At Invesco, Martha edited and contributed to two company newsletters (online and hardcopy). She wrote software user manuals, Help files, Training and Benefits department documents, and, finally, shareholder reports. She returned to aerospace for the Shuttle Program’s last 5 years where she attended and produced detailed descriptions of presentations and subsequent discussions at the Orbiter Configuration Control Board’s weekly meetings. She also documented crew debriefings for 17 flights. Martha’s most recent experience was on Jacobs Engineering’s contract with a Texas City refinery for which she wrote and edited Engineering, Safety, Inspection, and Information Systems documents.

Suzanne Kearns - Copywriter

Suzanne knew she wanted to be a writer at the age of ten when she wrote her first story, and has spent the past 2 decades writing blog posts, magazine articles, nonfiction and fiction books, sales letters, white papers, press releases, website copy, and anything else that can be put in written form. She has written for Intuit, Avalara, NerdWallet, GoPayment, and as a ghostwriter for a few well-known CEO’s. Her work has appeared all around the internet, including on sites like World News and Reports, Entrepreneur.com, and Forbes. She loves nothing more than being presented with a bunch of data and asked to break it down into digestible content for readers. Most days you’ll find her sitting on her porch with her laptop, writing to the sound of the ocean, and marveling that life can be this stinking good.

Jennifer DeLay - Copywriter

Jennifer has a background in journalism and Russian area studies. She holds a BA from the University of Texas at Austin and an MSFS from Georgetown University. While in graduate school in the mid-1990s, she developed an interest in the oil and gas industry of the former Soviet Union and launched a free newsletter covering the subject. She then spent more than 20 years researching, analyzing and writing about related topics, working for multiple weekly publications and a private consulting firm. Her areas of professional interest also include energy and power in China, Iran and the Eastern Mediterranean, and for fun she researches linguistics, neuroscience and disability-related issues. She has experience in copy-editing and has frequently worked with both native and non-native English speakers, helping them to produce clear, easily understandable articles on complex political, economic, legal and technical topics. Additionally, she has managed many time-sensitive typesetting projects for community institutions. Jennifer enjoys writing personal essays and lives in Atlanta with her family.

Dana Robinson - Copywriter

Dana Robinson has been writing and editing professionally for 10 years, publishing her first article in 2007. She serves as Editor-in-Chief of a local online magazine and is a contributor to various Houston print publications. She honed her experience writing newsletters and managing social media for small businesses and non-profits before moving on to e-books, magazines, and non-fiction books for print. She also enjoys teaching creative writing workshops for children. Dana received her formal education at the University of Houston–Downtown, where she majored in professional writing, minored in creative writing, and was the recipient of the Upper Division Writing award for best essay. She completed internships with Writers In The Schools and The Bayou Review.

Brenda Hazzard - Copywriter

Brenda Hazzard has over 30 years’ experience working as a writer and editor in the private and public sectors. She spent over 20 years working for the US Government in Washington and abroad, and spent several years working with the CIA during which she managed a team of writers producing internal briefs on international news, events, and politics. She writes on a variety of topics but loves opportunities to work on projects that cater to her keen interest in international affairs. She considers herself to be an empathetic editor, one who improves a draft but lets the spirit of the writer shine through. She has also worked on dissertations, white papers, newspaper articles, and family histories.

Adelia Ritchie - Copywriter

Adelia is a scientist, educator, technical writer and editor, poet, and blogger about her Pura Vida lifestyle in Costa Rica. She has more than 40 years experience writing professionally, including her years at Science Applications International Corp., Bechtel Corporation, Defense Acquisition University, and the Department of Defense. She earned her Doctor of Philosophy in Physical Organic Chemistry at Northwestern University in Evanston, Illinois, and her Bachelor of Science in Chemistry and Physics from the University of West Florida in Pensacola, Florida.

Carey Miller - Copywriter

Carey brings more than 20 years of writing and editing experience to The Writers for Hire. A lifelong writer and reader, she holds a B.A. in English from UCLA. Her background includes writing and editorial positions with both book and magazine publishers. She has worked as a copy editor and proofreader for major advertising agencies including Ogilvy & Mather and Rubin Postaer. Her experience includes magazine feature writing and editing as well as manuscript development and editing. A former advertising sales executive, she has crafted a wide range of business, sales, and marketing communication for leading magazine publishers including Conde Nast and Hearst. She has worked with major consumer brands including Nike, Visa, Levi’s, General Motors, Microsoft, Charles Schwab, and Neutrogena.

Coralee Bechteler - Copywriter

In the past, Coralee has been an organic farmer, a chicken herder, a zipline administrative assistant, and an ESL teacher for kids. Today, she's living her childhood dream of being a writer. She currently resides in New York with her cat (and muse) Hermes and a miles-long TBR list that gets longer every day. If she's not reading or crafting, you can usually find her pulled over on a country road writing something down or picking wildflowers. Coralee holds a bachelor's degree in English, an associate's degree in Horticulture, and multiple internationally recognized software testing certifications.

Cecile Brule - Copywriter

Cecile enjoys the challenge of discovering each client’s unique strengths and presenting them to a wider audience. Since joining The Writers For Hire, she has worked on blogs, newsletters, RFPs, end-user documentation, email, social media, sales pages, biographies, op-eds, and fiction.

Previously, she taught in Shenzhen, China and obtained an HSK3 (Intermediate Mandarin) certificate. Cecile enjoys gaming, drawing, producing short films, and growing fifteen different varieties of apples with Serenity Orchards.

Rosalind Stanley - Copywriter

Rosalind Stanley grew up on the Coast of Maine and then accidentally spent fifteen years in Virginia's Blue Ridge Mountains, before moving to the Midwest. She graduated from Lynchburg College in 2008 with a B.A. in Creative Writing (and a minor in Theater Performance); ever since, Rosalind has endeavored to make writing a part of her daily life, whether creative or technical, whether as a volunteer or an employee. She has tutored students, taught workshops, edited fiction and non-fiction books, and worked as a beta reader and a legal writer. She also publishes a newsletter on Substack, where she releases her own fiction serially. When not writing, Rosalind is busy homeschooling her four children and raiding the local library for new fiction.

Sean Patrick Hill - Copywriter

Sean has been a professional writer for more than 25 years, and has an M.A. in Writing from Portland State University and an M.F.A. in Poetry from Warren Wilson College. He's the author of five books, and his writing has won him grants and fellowships from the Kentucky Arts Council, the Vermont Studio Center, the Elizabeth George Foundation, and the Regional Arts and Culture Council. He lives in Louisville, Kentucky, where he also works at his photography.

Wintress Odom - Owner / Editor-in-chief

Wintress founded The Writers For Hire in 2003 after freelancing for several years as a copywriter and editor. She has overseen, edited, proofread, or written copy for over 100 clients and is happy to have maintained long-term relationships with many of her first customers. Wintress is an exceptional proofreader and editor and has a gift for organizing large projects, including large technical manuals and manuscripts. Her educational background includes graduating cum laude from Rice University in 2000, studying at Cologne Gymnasium in Germany, and graduating valedictorian from The Science Academy of South Texas in 1994.
Wintress