---
title: "UK vs US English — spelling, quotes and punctuation"
description: "The differences that actually reach a novel: quotation marks, where punctuation sits, spelling families, dates, and the ones nobody agrees on."
source: https://usegalley.com/resources/uk-vs-us-style
---
[Home](https://usegalley.com/) [Resources](https://usegalley.com/resources) UK vs US style

# UK vs US style

The differences that actually reach a novel, which is fewer than people think. Consistency matters more than the choice, because drift is what a reader notices.

### Quotation marks

| Case | American | British |
| --- | --- | --- |
| Speech | “Go home,” she said. | ‘Go home,’ she said. Though many UK houses use double. |
| Quote inside a quote | Single inside double | Double inside single |
| Punctuation placement | Inside, always | Inside only if it belongs to the quotation |
| In practice, in dialogue | Identical. The comma is part of the speech either way. | |
| Where they differ | She called it a “problem.” | She called it a ‘problem’. |

### Spelling families

| Pattern | American | British |
| --- | --- | --- |
| -or against -our | color, honor, favor, neighbor | colour, honour, favour, neighbour |
| -er against -re | center, theater, meter, fiber | centre, theatre, metre, fibre |
| -ize against -ise | realize, apologize | realise or realize, both British |
| -yze against -yse | analyze, paralyze | analyse, paralyse. No Oxford exception here. |
| Doubled consonant | traveled, canceled, modeling | travelled, cancelled, modelling |
| -og against -ogue | catalog, dialog | catalogue, dialogue |
| -ense against -ence | defense, offense, license (all uses) | defence, offence, licence as noun, license as verb |
| Practice | practice for both noun and verb | practice the noun, practise the verb |
| Odd ones out | gray, plow, mold, story (of a building), curb | grey, plough, mould, storey, kerb |

### Punctuation and numbers

| Case | American | British |
| --- | --- | --- |
| Serial comma | Standard: red, white, and blue | Usually dropped, kept where it removes ambiguity |
| Titles | Mr. Khan, Dr. Rowe | Mr Khan, Dr Rowe, no full stop |
| Dates | March 12, 2026 | 12 March 2026 |
| Numbers in words | one hundred one | one hundred and one |
| Time | 7:30 p.m. | 7.30 pm |
| Parenthetical dash | Closed-up em dash | Spaced en dash, usually |

### Grammar that differs

| Case | American | British |
| --- | --- | --- |
| Collective nouns | The team is winning. | The team are winning. Both are used in the UK. |
| Past participles | gotten, dove, learned | got, dived, learnt or learned |
| Prepositions | on the weekend, wrote me | at the weekend, wrote to me |
| Toward | toward | towards |

### What is not a style decision

Vocabulary belongs to the character and the setting, not to the style sheet.
A Londoner takes the lift and a New Yorker takes the elevator, and a narrator
who does both is a narrator with no fixed address. Decide where the book
stands, then let the dialogue be whatever the speaker would say.

## Pick one, then write it down

The choice is worth less than the record of it. Keep a style sheet naming
your variety, your quotation marks, whether you take the serial comma, and
every word you have made a one-off decision about. It is the first thing a
copyeditor will ask for, and without it they will make their own and you
will spend a week disagreeing with it.

Galley holds that style sheet beside the manuscript, and its consistency
sweep reads the book's own language setting, so a British novel is not told
its spelling is wrong. It flags drift rather than choice: mixed -ise and
-ize, a stray `color`, quotation marks that changed halfway
through. See [the story bible](https://usegalley.com/docs/the-story-bible) and
[revision](https://usegalley.com/docs/revision).

**For reference, not instruction.** Publishers, agencies and
competitions each keep their own house style, and their guidelines win over
anything on this page.
Checked in August 2026 against [the Chicago Manual of Style](https://www.chicagomanualofstyle.org/) and New Hart's Rules.
Whichever you pick, apply it to the whole book.

## Questions

What is the difference between UK and US English in a novel? Four things reach the page: which quotation marks you use, whether punctuation goes inside or outside them, spelling families like -our and -ise, and how dates and numbers are written. Everything else is vocabulary, and vocabulary is a character decision rather than a style one.

Does punctuation go inside or outside quotation marks? In American style it goes inside regardless of whether it belongs to the quotation. In British style it goes inside only if it is part of what was quoted, which is why it is sometimes called logical punctuation. In dialogue the two almost always agree, because the comma or full stop genuinely is part of the speech.

Is -ize American? Not exclusively. Oxford spelling is British and uses -ize, on the grounds that the ending comes from Greek rather than French, and Oxford University Press has used it for over a century. So -ize is safe in a British book if you apply it consistently. What is not safe is half a book each way.

Should I write a British book in American spelling to sell in America? No. American readers read British novels without difficulty, and a publisher will localise if they think it is worth doing. What you should not do is write in one and drift into the other, because that reads as carelessness in both markets.

## Next

[Dialogue punctuationWhere the quotation marks actually land.](https://usegalley.com/resources/dialogue-punctuation-rules) [Dashes and hyphensThe spaced dash question, in full.](https://usegalley.com/resources/dashes-hyphens-and-ellipses) [Proofreading marksHow a copyeditor flags any of this.](https://usegalley.com/resources/proofreading-marks)

More at [the resources index](https://usegalley.com/resources).

Knowing the rule is one thing. Galley applies it across the whole book.

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