Back to the Beginning

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What’s worse than starting at the beginning? Starting all over again.

Beginnings are hard, usually because they start at the ending of something else.

This year marks the beginning of my 30’s and the end of my 20’s. My original goal was to publish a book by the time I turned 30, but alas, I am only starting–or rather starting over yet again.

How could I not finish a book in a decade? Well, I did, actually. I completed a draft for book one and two. I spent hours outlining, researching, writing, re-writing, falling in and filling in plotholes.

So why is there not a completed MS?

I believe your twenties are for discovery and learning.

What I discovered: There were a lot of plot holes in my writing.

What I learned: This story was good but it could be better. I also discovered that my major supporting character should really be my main character. That changes everything.

So after starting all over on the outline, yet again, I finally began the first chapter for hopefully the last time.

So I didn’t accomplish my original goal. I thought I’d be finished by now, not starting over. I didn’t publish, but I did accomplish something. With diligent research and outlining and planning, I think I will be able to write the best book I possibly can by the time I’m 40.

 

Tuesday Tip

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tip#1Have you ever seen a runner trip in a pothole? They’re in the zone, focused on the path ahead, running to the rhythm of their music when all of a sudden they stumble in a pothole. It jars them out of their trance and throws them off their running groove–not to mention hurts like heck.

The same thing happens to readers when they stumble upon a plothole–though it’s less dramatic and doesn’t usually require stitches or Bandaids.

Don't throw the reader off their groove!!!

Don’t throw the reader off their groove!!!

What is a Plothole?

The short definition is anything that can be asked but not explained, or poorly explained (not to be mistaken for an unanswered question like in a cliffhanger).

  • unlikely/impossible events
  • mistakes
  • contradictions
  • forced situations or character reactions for the sake of plot

Examples The Hobbit: In this example I’m talking about the movie. If you didn’t read the book before watching the final installment of the films, you may have asked, what happened to the Arkenstone? In the book, it’s placed on Thorin’s grave. In the movie, supposedly it’s still hanging out in Luke Evan’s shirt. Not a bad place to be necessarily.

The Arkenstone: returned to Thorin Oakenshield, or wedged between Evan's pecks?

The Arkenstone: returned to Thorin Oakenshield or wedged between Evan’s pecks?

Harry Potter: Usually I pick on George R.R. Martin, but today I’m going to pick on J.K. a little. The time turner is a prime example of why time travel almost always leads to plotholes. Why didn’t he keep using it? He used it to save two people, which seems like an insipid abuse of time travel in the grand scheme of things. What about the other people who died later in the book. Why not go back and save them?

Aladdin: One of my favorite Disney movies of all time. I’ve watched it a hundred times and suddenly I notice a whole new plothole (pun intended). Aladdin uses a wish to become a prince and yet it is considered lying when he tells Jasmine he is a prince. Um, excuse me, he didn’t ask the Genie to make him look like a prince, he asked him to make him a prince. I think he got ripped off. Also he could have given Jasmine the lamp in the end so she could wish him back into a prince, but now I’m just being picky.

Deus Ex Machina

Ok, this is more of a plot device than a plothole, but I think you don’t get one without the other. A deus ex machina is basically where an unsolvable issue is suddenly solved by a new event, ability or super power, character, or God. Essentially, it’s when a writer has written themselves into a corner and doesn’t know how to resolve the conflict.

The result: the resolution is unsatisfactory and the reader is robbed. A prime example of this can be found in (I’m sad to say) The Return of the King. Tolkien wrote himself into a corner by making Sauron’s army undefeatable. Realistically the army of Gondor, even backed by the soldiers of Rohan, a wizard, and a few shire folk could not defeat them. I imagine Tolkien spent hours scratching his head before inventing a ghost army to defeat them. After all, ghost can’t be killed. So last minute, they use the ghost to help defeat the bad guys. It would have been a more satisfactory ending had the characters come up with a battle tactic to defeat the larger army.

Checkhov’s Gun

This is the notion that if you describe something, it better come into play at some point. For instance, if you describe a chair, it better be flipped, thrown, broken, or at least sat on. If it’s described, it better be part of the plot or else you’ve created false promises or suspense.

I’m not a firm believer in this. I do see where too much attention to a seemingly significant item would be jarring if it never came to use, but something like a chair or table is sometimes just necessary to give the reader a sense o place. This is why it’s always a good idea to describe your scenery as the character interacts with it.

A great example of Checkhov’s gun. In A Game of Thrones, Sam gets a blade that several seasons down the road kills white walkers. Also, the necklace given to Sansa in season three or four is used to kill Joffrey. Those are some great examples of Checkhov’s guns coming into play.

Continuity

Lack of continuity is a major cause of plotholes. This could be something small like a sudden change in appearance, or something even more jarring like a character referencing an event they have no idea occurred. It could also be a sudden change in motivation, even age.

Example: Merlin (the television series). Mordred appears in season one as a child, but by season five, he returns as a teenager or young adult. Realistically the oldest he could be is 13, but he is at least 16 if not older when he reappears. Meanwhile, the rest of the characters have only aged 3-5 years. Soap operas do this a lot, because let’s face it, babies get boring after awhile.

When is a Plothole not a Plothole

Sometimes readers believe the unbelievable, especially in horror, fantasy, sci-fi, etc. These genres create a lot of their own rules, abilities, creatures, etc. Just because something can’t happen or doesn’t exist, doesn’t mean it’s a plothole. When you event something (like magic), you are relying on your reader’s ignorance of a subject in order to make them believe it. A world with two moons and seven suns probably couldn’t exist or sustain life (could you imagine gravity?); however, your reader is more likely to accept that than if your character’s eye color suddenly changes in chapter two.

This is because of the suspension of belief. You can create super human beings, magical powers, fantastical creatures, as long as you make it as believable as possible and keep it consistent.

Example: Superman For decades, people have accepted that there is a superhuman man who comes from another planet, but they don’t believe that he can disguise his identity with glasses alone.

yeah, you're not fooling anyone, Superman

yeah, you’re not fooling anyone, Superman

How to Prevent Plotholes

It’s easier to prevent a plothole than to fill one.

  • outline your story
  • create character sketches
  • outline the rules and limitations of your magic systems
  • research before writing
  • keep track of the time of day, hour, month, season, and year of your story so you don’t accidently skip summer and fall and go straight into winter.

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How to Fill Plotholes

Break out the shovels!

Break out the shovels!

  1. Identify your plot holes. Read through your MS and look for unanswered questions and things that couldn’t happen
    1. Your character could not have survived that fall
    2. Your character’s hair changed color
    3. Your character is angry in this chapter but fine in the next
    4. Your character’s worst fear is being shot, but you have her bravely confront an armed robber.
    5. Your character can’t swim, but saves a child from drowning.
    6. Your character’s dog went missing. You never explained what happened to it.
  2. Create setup: make sure you lead up to the event so it can realistically unfold.
  3. Make changes: no one likes to make big changes, but think of the big picture. You may have to adjust the setting, events, even drastically change your character so that necessary events can occur.
  4. Ask an outsider. Beta readers are far more likley to identify and resolve a plothole.
  5. Think on your back: they say lying on your back helps you think
  6. Step away from your WIP. Distance can help you see clearer. The solution may even come to you when you’re not thinking about it.
  7. Keep it simple: When filling plotholes, don’t make it difficult or over complicated.

It’s like Yzma’s plan to get rid of Kusco in the Emperor’s New Groove. She’s going to turn him into a flea, a harmless, little flea, and then put that flea in a box, and then put that box inside of another box, and then mail that box to herself, and when it arrives smash it with a hammer. She changes her mind–not because the plan was convoluted–to save on postage. She goes for a simple route: poison.

Recently I filled a glaring plothole–in the beginning of my book  no less–by using the methods above (mostly lying on my back and talking to my sister). What’s the biggest plothole you’ve ever had to fill?

Writer on a Warpath: Dylan Saccoccio Rampages against Reviewer

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There’s only one way to respond to a negative review: DON’T

Authors who challenge a review do nothing in the way of damage control. Quite the opposite, actually.

This is a major writing faux pas. At best the author comes off defensive or childish. At worst, the author comes off psychotic, especially when they threaten to post revenge reviews or even file a lawsuit.


On the offenders registry are authors Stephan J. Harper, Carroll Bryant, Emily Giffin, Chris McGrath, and now Dylan Saccoccio.

Today, I’d like to focus on Dylan Saccoccio (author of The Tales of Onora) for going on a rampage against a recent reviewer.


dylanDylan is an author I’m rather familiar with, having purchased his book based on the number of reviews, comparisons to Tolkien and George R.R. Martin, his impressive Amazon Best Sellers Rank, and the fact that I’m a sucker for an attractive cover.

You’ll note I did not determine my purchase based on the number of positive/negative reviews.

Similar criteria attracted the recent reader who left a less than positive review.

How Dylan responds is absolutely cringeworthy. See for yourself. If you’d like to see a train wreck, follow the link here.

His arguments aren’t even valid. He accuses negative reviews of being damaging to his novel’s success and a reflection of the reviewer instead of the author or book.

What I find funny: It’s his response to the negative review–NOT the negative review itself–that risk damaging his book’s success and his reputation as an author. So essentially he’s causing the very thing he is afraid will occur.

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With over 100 reviews (60% being positive), a large twitter following, a loyal fan base, and a high Amazon ranking, it’s petty and ridiculous that he would even hone in on this one review.

He is so afraid of others threatening his writing career, he isn’t even aware he is committing career suicide. That’s like worrying about getting West Nile from a mosquito bite while smoking a cigarette.

Let’s look at the damage, shall we?

The review did no damage whatsoever; however, his response could cost him fans (new and old), damage his reputation, hurt sales, and lose followers.

Case in point. I used to follow him on twitter, but I simply can’t follow any author who behaves this way. Will he notice the sting of one bee? Maybe not. But if enough bees sting . . . you start to feel the venom.

So what did he accomplish in the way of damage control? Nothing but assuage a bruised ego.


So why did he respond to this review? The simple reason would be a lack of logic. He wanted the reviewer to remove his review because he worried it would damage sales. So in truth, he wasn’t trying to be a defensive man-child. He was responding to misconceptions of the dreaded negative review.

Misconceptions

Negative Reviews Discredit Your Book or Writing

Negative reviews add legitimacy to a book’s reputation. Case in point, I almost didn’t purchase The Tales of Onora because it had too much praise. Without a negative review, I’m led to believe that his friends and family (or paid people) were a majority of his reviewers.

Negative Reviews are Slander

Slander and opinion are very different things. Can anyone tell me what a review is? Yes, for those of you who said opinion, you would be correct. We live in ‘Merica where everyone has a right to an opinion–whether informed, well-constructed, or biased. Does the latter describe this recent review. Hardly. He simply didn’t like it, and to be honest, neither did I. And for a lot of the same reasons as this guy, I might add. I guess I’m glad I didn’t review it. I’d hate to be the target of damaged pride.

Reviews are Personal

Youve_Got_Mail_20917_MediumHere’s where he really lost it, accusing the reviewer of having no sympathy or humanity. As if the reader’s goal was to bring down his career. Most of the time, reviewers don’t know you. Your success or failure isn’t their concern–and it shouldn’t be. This isn’t heartless, it’s just a fact. They are interested in finding a good book that they will enjoy. You are not their focus when they leave a review. Reviews are for READERS, not authors. They are telling other readers why they liked/did not like a book and whether they think it is a worthy read. Their opinions can be hurtful, but it isn’t an attack.


For the record, the ONLY good way to respond to a negative review is to NOT RESPOND.

You could try NOT READING THEM, though I think an author interested in growth should read and consider all their reviews.

Instead of going on a rant, consider these alternatives to take the sting off.

  • take a shot for every negative review (non drinkers can substitute shots for chocolate)
  • frame them on the wall of shame
  • burn them
  • put a hex on the bad reviewer
  • determine if their negative response is in fact positive criticism and use that to improve your writing in the future
  • whine to a friend
  • re-read positive reviews
  • sing Let it Go
  • go online and distract yourself with cat memes

Well there you have it. I’m a firm believer in learning from other’s mistakes, so let this be a lesson to the rest of you. When you get a review–good or bad–be gracious, be humble, be prepared, and most importantly be quiet. Whatever your response is, keep it out of the spotlight. In the end, your success or failure relies more on you than your reviews and readers.

Three Days Left Until the End of the Kindle Countdown Deal, And the Number of Days Left is Three

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Three shall be the number thou shalt count until the end of the Kindle countdown deal, and the number of the counting shall be three. Four shalt thou not count, neither count thou two, excepting that thou then proceed to three. Five is right out. Once the number three, being the third number, be reached, then the sale ends.

Knight PeiceIf you understood that reference, The Quest for the Holy Something or Other is right up your alley. Full of wit, referential comedy, and hilarious situations, this comedic parody has a sitcom feel that fans of Seinfeld, Shrek, Galavant, and Monty Python can appreciate.

If you already have a copy, please help spread the word by telling your friends or write a review. If not, now is the time to get yours. It’s too late to get this book for 99 cents, but for another three days, it can be yours for only $1.99.

That’s THREE DAYS and then the deal ends.

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Hopefully you count better than Arthur. .

If you don’t know where to find it, search not for a grail shaped beacon, follow this link to Amazon.

Thank you all for your fabulous support. I know you’ll enjoy it. For those of you who have read it, please comment below and let me know what you think of my sisseh’s book. If you’re interested in knowing what I think, stay tuned for my non-biased sister review to be posted soon.

Tuesday Tip

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You finished your first draft; now you’re done, right? WRONG. Not even close. Theoretically, you’re at the beginning yet again. After all, a great book isn’t written–it’s rewritten.

I’ve heard people say they don’t revise or rewrite. Shame on you. A good book, I mean one worth paying money for, has three things.

  • A well-constructed plot
  • Fully-developed characters
  • Smooth prose

Trust me, you can’t achieve those three things in one draft.

Writing requires imagination, creativity, and long hours of time. Rewriting requires less imagination and a whole lot more courage. It’s not for the weak or timid. You’ll be making big decisions. Most of us struggle to make small ones like what to order in drive-thru.

You have to decide if your protagonist is the best voice for your story; if entire scenes should be revised, removed, or added; whether characters be removed or added: whether or not your beginning works; or if the end provides any payoff.

These are the choices you have to make before you even decide does this sentence sound good?

What is rewriting?

There’s a big misconception about what rewriting is. It’s not perfecting a sentence here or there, or correcting typos, it’s gutting, hacking, and dismembering your first draft.

This might sound daunting. You’re playing doctor–God even! I’m talking total reconstructive surgery, not a botox injection.

Difference between revising and rewriting

Some people use the two terms interchangeably, but they’re not the same thing although you’ll probably do a combination of both.

To summarize: Revision is adding and deleting a few words or adding more character motivation or adding or removing description. Rewriting is deleting or adding whole scenes, deleting characters, or changing a POV.

For some straightforward and hilarious examples, see here.

How many rewrites?

There isn’t a certain number. It depends on the MS. My current MS is on rewrite number two. Planning helps cut down on rewrites.

So what’s the first step?

Back away from the manuscript and nobody gets hurt. It might be easier to make objective opinions once you’ve separated yourself from your writing. When you come back to it (say in a week or month or so), that glittering sentence might not shine anymore, or you might unearth some hidden gems.

Look at the big picture

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Ask yourself with an objective eye: What does my protagonist want? Is it clear?

What is the plot? The theme? The conflict?

Did you select the best character to be your protagonist?

Could some characters be cut or blended? Do multiple characters serve the same purpose?

Is your plot well structured? Do any side plots deviate from the main plot?

Be objective or find an objective eye

Looking at the big picture can be challenging when you’re nearsighted, and all authors are–we’re way too close to our WIP to see it clearly. This doesn’t mean we can’t try to be objective. I usually read through and make an often very long list of questions that arise, changes I want to make, plot holes (often gaping and cavernous), side plots or character arcs that are unfulfilled, and other areas of concern.

If you know something is wrong but can’t put your finger on it, consider enlisting help.

Step two: outline

Did you outline before you wrote? Even if you did, once isn’t enough. Rewrite your outline before you rewrite your MS.

You’re not mistaken. Not only am I telling you to rewrite your novel, I’m telling you to rewrite your outline. That’s a lot of rewriting–but the more prepared you are, the less you’ll have to rewrite. Planning can make the difference between two and ten rewrites.

I look back at my first outline and realize I either deviated from it for better or for worse, or I decided to change it. Don’t work off of an old outline. An outline can be your typical diagram or a detailed description of each scene and chapter. If you don’t know how to create an outline, check out this prior Tuesday Tip.

Example of a detailed outline:

Chapter one: Introduce main character, best trait, fatal flaw, ordinary world, goal, and conflict.

Scene one: Start with attention grabbing sentence. Main character is doing this . . . then this happens . . . and so on.

I’m shy about sharing my work but to give you an example of how much my beginning has changed since I started rewriting, this is how my WIP used to start.

Character (side character) discovers that a city has been destroyed and all the inhabitants killed after a very long inner monologue. Next scene takes place years later and introduces main character with major supporting side character.

Notes that I made before revision:

  • No clear main character
  • POV character doesn’t appear again for a couple of chapters
  • Info dump: Might be more interesting to slowly reveal the back story leading up to current events
  • Might be better to start with the destruction of the city from the POV of main character
  • Next scene is too jarring. Too much relies on understanding the characters and their relationship, culture, etc that can’t be summarized in a paragraph

Revised Outline: This is how it starts now (still in progress).

Main character is introduced. Reader is introduced to his world and culture. Exposition is interwoven throughout text instead of being dumped. Character goes to city and destroys it. Conflict is introduced with inciting incident and call to action. Character refuses the call. Character then answers the call to action.

It’s still in the works but what I like is that the main character starts the story. You see how the events that the other character stumbles upon unfold. You see how the main protagonist and main supporting character meet. You get to know him and his goals before the action starts.

What’s still needed. I still need a clearer definition of my character’s goals. I have a basic idea of what he wants, but I need to make sure his goals are strong enough to always be his driving force.

Step three: should it stay or should it go

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Get rid of the clutter and your manuscript is going to be fabulous

I love those home remodeling shows where they make the homeowner choose what to keep, toss, or sell from their clutter. I adopted a similar strategy for revising my MS. I read through from beginning to end, highlighting every word and sentence I want to keep. In a different color I highlight what I want to delete. In a third color what I want to keep for a different project. After I do this I can delete this version so I don’t end up with five or seven word files.

Try this. Chances are, even if an entire scene has to go, you might find a good snippet of dialogue or a wonderful description. If you can still use it, don’t lose it.

Step four: Rewrite or revise

If the scene is good, you may only need to revise: correct syntax, cut and add sentences, etc. But if you are making major changes, you might just want to rewrite. I usually rewrite the entire scene without looking at the old version, or else you just end up with a version that is only slightly different. Then combine the elements that you are keeping from the previous written scene.

Essentially how you rewrite or revise will depend on what kind of writer you are. Do you overwrite? underwrite? Based on that, you may need to cut scenes or write new ones to fill in the gaps. Do you go into too much description or need to add? Do your characters talk too much or not enough?

This is my method. There are others out there. Find the one that works for you. What are some methods that work for you? What are some tricks or tips that you use to make the process easier. Please share.

Kylie Betzner, on writing comedy

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Entertaining Stories

has a new out, and graciously agreed to share a few tips on weaving comedy into our stories. She also agreed to give us a little promo for her new book.

a comedian. Blogger. Coffee junkie. Incurable nerd. And now, author. The titles she is most proud of are sister, auntie, and friend. Growing up in a small town surrounded by cornfields, Kylie had nothing better to do than fantasize about unicorns and elves. As an adult, she still refuses to grow up, and spends most of her time creating stories of comedic fantasy. When she is not writing, which is hardly ever, Kylie enjoys reading, drinking coffee, and spending time with her family and friends. She also runs, although she does not enjoy it so much. Kylie currently resides in Indiana with her sister, nephew, horde of cats, and one very silly dog.

It’s Craft Time—Writer’s Craft, that is:…

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Does Social Media Sell? Take the Poll

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Writers are told they need social media to sell books; however, they are also told they won’t sell books directly from social media or blogs.

Sounds rather counterproductive doesn’t it?

I guess the key word there is directly. Meaning, I suppose, that no one actually purchases your books by clicking on the links you provide in tweets or post.

I am a writer, so I believe other writers when they tell me they don’t see a lot of sales from their post or tweets.

I’m also a reader, and as one, I purchased ten e-books last year–all of which I found either from a tweet or blog post. That’s the only way I learn about new books. I don’t have time to browse Amazon–and Goodreads won’t even give me recommendations until I review a few more books.

That being said, I want to hear from the rest of you. How do you find your books? Do you respond to posts from twitter, Facebook, or WordPress? Please answer the poll below. If you don’t see your answer, please respond in the comment section below.

Tuesday Tip

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Finally, after more than a month, we’ve come to the last item on the editing checklist (for substantive editing anyway) before we move on to mechanics and grammar–everyone’s favorite topic.

Today we’re talking about talking–more commonly known in the literary world as dialogue.

Dialogue hasn’t always been–and still isn’t–one of my strong areas, but it has improved significantly with study and practice. Here’s some of the most useful tips I’ve learned.

How to Edit Dialogue

You won’t find all of the flaws reading your words silently in your head. Read your dialogue out loud to see if it flows. You can even role play with someone else. If you’re old school, you can use a tape recorder so you can record and listen to your words out loud. I use the recorder on my phone. This has helped a lot. Of course, I look really crazy when I do it because I tend to gesture and make weird faces while I do it.

While you read through your book, highlight the dialogue that you want to fix whether it’s a word or the entire sentence. If it sounds off, it probably is. Now that you know it sounds bad, you need to figure out why it’s bad.

 Dialogue needs to be two things: Purposeful and Natural

1. Purposeful

Dialogue, like your characters and events, has to move the plot forward. This doesn’t mean that  your characters have to talk about the conflict all the time, but it means there should be a reason they are talking.

  • reveals information for the reader
  • reveals information about the character
  • creates suspense, foreshadowing, or conflict
  • creates white space (White space is very appealing to the reader. Readers put down books with too many blocks of narrative)

Cut Unnecessary Dialogue

Blah, Blah, Blah, Blah

Blah, Blah, Blah, Blah

Do you characters ramble, chitty chat, banter, shoot the breeze?

If it can be described as one of the latter or anything synonymous, you should probably cut it.

Remove Greetings, Pleasantries, and Small Talk

Get to the point. Skip the “hellos” and “how do you dos” and go straight to the meat of the conversation. See my example of this from Tuesday Tip #20, where I explain how dialogue effects pace.

Remove Repetition

A typical example of repetition in dialogue is name dropping. Listen to yourself talk. How often do you use someone’s name? You know who you’re talking to, so does your character. If you created unique characters with their own traits, mannerisms, and verbiage, your reader will know who is talking without the name cue.

Another form of repetition is when dialogue repeats what a character just thought or did.

Example: Jack tossed his shoe.

“Why did you toss your shoe, Jack?” Anne asked.

Not only did Anne repeat Jack’s name, but she also repeated the action. The reader knows what Jack did. She could have just said, “Why did you do that?”


2. Natural

Dialogue should sound like real conversation–minus the frequent topic changes, the stuttering, and meandering, of course.

Dialogue often sounds unnatural or contrived when writers try to force a theme or information.

Exposition in Dialogue

To avoid info dumps in narrative, writers often use dialogue to give away information the reader needs to know; however, beware giving away too much exposition using dialogue. It sounds unnatural and forced.

Example: The Lord of the Rings: The Fellowship of the Ring (movie adaptation)

Arwen: Do you remember when we first met?
Aragorn: I thought I had wandered into a dream.
Arwen: Long years have passed. You did not have the cares you carry now. Do you remember what I told you?
Aragorn: You said you’d bind yourself to me, forsaking the immortal life of your people.
Arwen: And to that I hold. I would rather share one lifetime with you than face all the ages of this world alone. I choose a mortal life.
Aragorn: You cannot give me this.
Arwen: It is mine to give to whom I will. Like my heart.

This is an example of two characters giving away too much detail about a shared memory. This might make more sense if one of them had amnesia or something. Really, a simple yes, would have sufficed as an answer to these questions. They know how they met–they aren’t talking to each other; they’re talking to the viewer.

Stilted Dialogue

When you read your character’s words, do they just fall flat. Does it lack emotion? It might be the tone. If your dialogue is too formal, use contractions. There are still those who believe that contractions are not allowed in dialogue, even narrative. See my Tuesday Tip about contractions here.

Example of stilted dialogue that lacks emotion or flow. Re-read it with contractions and see how much better it sounds.

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Inappropriate

I don’t mean offensive. I mean the words don’t fit their age, education level, social background, etc. If your character is a teenager, make her sound like a teenager. If your character is a doctor, she probably shouldn’t sound like a teenager.


Editing Dialogue Tags

Sometimes it’s not what your characters say, it’s how they say it. Did they ask, whisper, grunt, shout, bark?

There’s a lot going around the internet about removing almost all dialogue tags. Really, I think some of this advice is going too far. Just stick to said and asked for the most part and use other tags sparingly. Use variances from time to time to spice up your writing, but make sure they make sense.

Example: “Quiet, you idiot,” Sam hissed.

Hissing is a sibilant sound. Do you see an “s” in the above example. Exactly.

Cut Overused or Silly dialogue Tags

  • panted
  • huffed
  • moaned, groaned, etc
  • growl, bark, or anything else that suggest your character is turning into a werewolf–unless they are
  • tags that are actions*

*Example: smirk and sneer

Wrong: “Yes,” Bob smirked. (smirked being used in place as said)

Instead: Yes,” Bob said, smirking.or “Yes.” Bob smirked. (difference in punctuation)


Cut Unnecessary Adverbs

Example: He said happily

If you chose the right words, the reader will know how he said it. Adverbs can make dialogue redundant and kill subtlety.

Example: “I need to go now!” Ellen said urgently.

The word need and now (and the exclamation mark) shows the urgency.


Use Gestures and Actions

Accompany dialogue with gestures and actions to help readers know who is talking as well as make the scene less static. Again don’t go too far with this either. Actions should be meaningful. Maybe an action is used to show a character feels something contradictory from what he says.

Example: “That’s fine,” Bob said, clenching his fist under the table.


Now that you’ve fixed your verbiage, you need to make sure it is formatted correctly. Once you’ve decided on your tags, it’s very important to put periods, commas, and capitals in the right places. Even though we haven’t gotten to grammar yet, here is a website that talks about dialogue punctuation.


Too Much or Not Enough

There is no set percentage or rule stating how much of a book should be dialogue.

Rule of Thumb: A good book has a balance of narrative, action, and dialogue.

Doc9_000Too much dialogue can give the same impact as two floating heads talking back and forth with no background, no setting, and no actions like those two people on PBS that spell words back and forth.

It’s important to strike a balance between narrative, action, and dialogue. You probably aren’t if:

  • Your character gives a long speech (too much dialogue)
  • Your pace is too slow (too little dialogue)
  • Your character is alone in their head too much (too little dialogue)
  • Your character divulges too much to other characters(too much dialogue)
  • You don’t know where your characters are or what they are doing (too much dialogue)

Dialogue is probably one of the biggest challenges for writers. I know it is for me. What do you think about dialogue. What are some tricks you’ve used?

5 self-publishing truths few authors talk about

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This is a great reality check for new authors and very relevant. Try not to be too discouraged as you read it. After all, it’s always better to be realistic than in denial.

Suffolk Scribblings

writing-is-hard

One of the hardest thing to watch on social media is an author, usually a debut author, getting excited about their upcoming book launch and knowing they are about to get hit around the head with a hard dose of reality.

They’ve done the right things, built up a twitter or Facebook following, blogged about the book, sent copies out for review, told all their friends about the upcoming launch, pulled together a promo video and graphic, maybe taken out some adverts. The first few days after launch are filled with excited tweets, mentions of early positive reviews and chart rankings. Then, after a few days, maybe a few weeks, the positive tweets stop and an air of desperation sets in as the reality of life as an indie author hits home.

Part of the problem is that the authors most vocal on social media are those that have already seen self-publishing…

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