Chapter 10 begins with two illustrations of the multifunctionality of general extenders in extracts from American English and Parisian French. Some relevant examples are presented and discussed to show that the structural position of general extenders is not necessarily utterance-final. In English, they can even be part of the subject noun phrase and, in other languages, they are often positioned inside utterances. In a function hitherto undocumented in English, some adjunctive forms are analyzed as associative plurals, used to reference a group of people associated with a particular individual as a focal referent. In a suggested area for further research, a substantial number of extender-type phrases with -else, previously unanalyzed, are illustrated and discussed. Another area where further research is encouraged is the investigation of the role of adjunctive forms in list completion with a much broader perspective than in earlier research.

When Sterne (unsuccessfully) pitched to Robert Dodsley the first two volumes of Tristram Shandy, he was directing his novel to the very man whose career had been built on writing and publishing texts which sat on generic boundaries, such as his play The Toy-Shop (1735). Through an analysis of experimental texts in this tradition, including novels such as Jane Collier and Sarah Fielding’s The Cry: A Dramatic Fable (1754) and Richardson’s Sir Charles Grandison (1753), which imported dramatic devices into mid-century prose, this chapter contextualises Sterne’s mise en page experimentation within a wider mid-century fascination with hybrid print forms. Sterne was arguably aware of the theatrical heritage of sermon punctuation when he displaced these typographic characteristics from his professional work into his fiction, where such visual markers appeared innovative and surprising. By analysing Sterne’s sermonic punctuation and linking it to his development of a mid-century aesthetics of typesetting the novel, I suggest that Sterne drew from Anglican works published from within his professional context while responding to a 1750s fashion for printing closet drama and dramatic novels.