Here is another entry from the unpublished journal of that great pulp writer, William “Wild Bill” Armbrewster. The first entry can be found here. The second is here.
Do you have fear when you write? Do you find yourself afraid to take risks?
In another article, Tips for Writing Effective Dialogue, I discuss various techniques for writing dialogue that will come alive on the page. Drop over there for some advice on making your dialogue less stilted and more natural-sounding. Also, check out another post of mine, Some Dialogue Don’ts.
This article just provides a reference for the grammatically correct way to write dialogue, as well as some style tips for dialogue tags. Using correct punctuation and form for dialogue will keep your readers from becoming distracted, confused or annoyed, and maintain their focus on your story. So if you want your manuscript to look professional and your story to read smoothly, it’s best to follow these technical guidelines.
THE BASICS:
First of all, start a new paragraph every time the speaker changes. On the other hand, don’t start a new paragraph if it’s still the same speaker, unless you’re doing it for a good reason, like a pause or emphasis.
Punctuation for Dialogue:
1. Put quotation marks around all spoken words.
2. In North America, the punctuation always goes inside the end quote, not outside it:
“What’s wrong with you?” he asked.
“Nothing,” she replied.
3. If the person is asking a question, the question mark goes inside the quotation mark, and a period goes at the end of the whole sentence. The same goes for exclamations.
“Where were you?” she asked.
“Help!” he shouted.
Note that in the above examples, even though your word processor wants you to put a capital letter for “she” or “he”, these need to be lowercase, as they don’t start a new sentence.
4. If the person speaking is making a statement (or a suggestion or a command), replace the period (which would follow if it weren’t in quotation marks) with a comma. Then put your period at the end of the sentence.
“Let’s go home,” he said.
5. If there’s no attribute (he said, she said), put a period inside the closing quotation mark.
“Turn off the TV.”
6. If you start with the dialogue tag, put a comma after it, before your opening quotation mark and the dialogue:
He said, “But my game is on.”
7. If you want to put your dialogue tag in the middle of a sentence, put a comma inside the first set of closing quotation marks, and also after the dialogue tag:
“I can never understand,” she said, “what you see in him.” (Note no capital for the second part.)
8. If one person is speaking and the dialogue goes on for more than one paragraph (definitely not a great idea to have one person speaking at great length), you leave out the closing quotation marks at the end of the first paragraph, but put opening quotation marks at the beginning of the next one. Use closing quotation marks only when that person is finished speaking.
“…no matter what you do.
“And another thing, don’t ….”
STYLE TIPS
1. Avoid overusing dialogue tags. Instead of constantly using he said or she said (or the name and said), replace them often with action beats, which will also help bring the scene alive:
She stood there, hands on hips. “Where’ve you been?”
“Don’t start.” He took off his coat and hung it up.
Or, if it can be done without confusing the readers, just leave out the dialogue tag or action beat. Context often makes it obvious who’s speaking.
2. The best dialogue tags are the simple he said and she said (or asked), or with the name: John said, Carol said. These simple dialogue tags don’t draw attention to themselves or interrupt the story line, as they’re almost invisible. Avoid fancy tags like queried, chortled, alleged, proclaimed, conjectured, affirmed, etc., which can be distracting. But I do suggest using verbs that accurately and quickly describe how the words are delivered, like whispered, shouted, yelled, screamed, or stammered.
3. You can’t use words like laughed or grinned or smiled or grimaced or scowled as dialogue tags.
“You look great,” he said, grinning.
“Why, thank you.” She smiled at the compliment. (Note period and capital “She”)
Or “Why, thank you,” she said, then smiled at him.
4. Use adverbs very sparingly.
Instead, make sure the words they’re saying and any actions convey the feelings you wish to express.
TWO CURRENT STYLE TRENDS (Jodie’s observations):
1. Contemporary North American fiction seems to avoid the reversed form, “said Carol”, in favor of “Carol said.” The reversed form seems to be more British and also considered kind of archaic, which makes it great for historical fiction.
2. Most contemporary North American fiction writers, with the notable exception of Lee Child, seem to put most dialogue tags after the words spoken:
“Let’s go,” Tony said.
Rather than before:
Tony said, “Let’s go.”
These last two points are of course just my observations of common usage, not rules. But aspiring or debut authors would do well to stick with what seems to be in favor, to give a contemporary feel to your novel. Of course, if you’re writing historical fiction, go for the older “said Elizabeth” form.
For more tips on dialogue, thoughts, and other fiction techniques, check out my book, Fire up Your Fiction – An Editor’s Guide to Writing Compelling Stories.
Fiction writers and readers, what do you think? Do you have any more tips to add to the mechanics of writing dialogue? Or opinions on the last two “style trends”? Let’s get a dialogue going!
First of all, start a new paragraph every time the speaker changes. On the other hand, don’t start a new paragraph if it’s still the same speaker, unless you’re doing it for a good reason, like a pause or emphasis.
Punctuation for Dialogue:
1. Put quotation marks around all spoken words.
“Where were you?” she asked.
“Help!” he shouted.
Note that in the above examples, even though your word processor wants you to put a capital letter for “she” or “he”, these need to be lowercase, as they don’t start a new sentence.
4. If the person speaking is making a statement (or a suggestion or a command), replace the period (which would follow if it weren’t in quotation marks) with a comma. Then put your period at the end of the sentence.
“Let’s go home,” he said.
5. If there’s no attribute (he said, she said), put a period inside the closing quotation mark.
“Turn off the TV.”
6. If you start with the dialogue tag, put a comma after it, before your opening quotation mark and the dialogue:
He said, “But my game is on.”
7. If you want to put your dialogue tag in the middle of a sentence, put a comma inside the first set of closing quotation marks, and also after the dialogue tag:
“I can never understand,” she said, “what you see in him.” (Note no capital for the second part.)
8. If one person is speaking and the dialogue goes on for more than one paragraph (definitely not a great idea to have one person speaking at great length), you leave out the closing quotation marks at the end of the first paragraph, but put opening quotation marks at the beginning of the next one. Use closing quotation marks only when that person is finished speaking.
“…no matter what you do.
“And another thing, don’t ….”
STYLE TIPS
1. Avoid overusing dialogue tags. Instead of constantly using he said or she said (or the name and said), replace them often with action beats, which will also help bring the scene alive:
“Let’s go,” Tony said.
Rather than before:
Tony said, “Let’s go.”
These last two points are of course just my observations of common usage, not rules. But aspiring or debut authors would do well to stick with what seems to be in favor, to give a contemporary feel to your novel. Of course, if you’re writing historical fiction, go for the older “said Elizabeth” form.
For more tips on dialogue, thoughts, and other fiction techniques, check out my book, Fire up Your Fiction – An Editor’s Guide to Writing Compelling Stories.
Jodie Renner is a freelance fiction editor and the award-winning author of three craft-of-writing guides in her series An Editor’s Guide to Writing Compelling Fiction: Captivate Your Readers, Fire up Your Fiction, and Writing a Killer Thriller. She has also published two clickable time-saving e-resources to date: Quick Clicks: Spelling List and Quick Clicks: Word Usage. You can find Jodie at www.JodieRenner.com, www.JodieRennerEditing.com, her blog, http://jodierennerediting.blogspot.com/, and on Facebook, Twitter, and Google+.
Organizing a writers’ conference is a year-long, time consuming event. Having recently attended the inaugural Mystery Writers Key West Fest, I can appreciate the hard work put in by its co-organizers, Michael Haskins and Shirrel Rhoades, to make everything run smoothly. We’re doing the same thing for SleuthFest, scheduled for February 26, 2015. What steps do you have to take to organize a conference? This is by no means a comprehensive checklist, but here are some suggestions if your group is interested in moving forward with a big event.
Book the hotel and the date. This isn’t as easy as it sounds. You have to estimate the number of people attending, including speakers, editors, agents, and special guests. Why? Because you’ll need meeting rooms to fit your capacity. How many persons might attend each session? How many tracks per hour will you offer? Thus how many break-out rooms are required? Day by day and function by function, you’ll have to map things out with the hotel liaison. This includes social events like meals and cocktail parties. A contract is drawn up. What is the cost of each meal? How much in deposits are required and when? What’s the cancellation policy? If you’re in Florida, what happens if there is a hurricane warning that weekend? How many rooms of your block do you have to fill? You need a good negotiator for this aspect, and that’s only the start.
Obtain the keynote speakers. Once you have a date and place, you can put invites out for the key speakers. They’ll be a draw for everybody else and for press coverage.
Devise a conference budget. This will help you determine how much to charge for registration. Decide if your goal is to break even or to make a profit.
Appoint committee chairs. You’ll want to assign volunteers to take charge of the different roles, such as Programming, Editors/Agents, Author Liaison, Raffles, Publicity, Sponsors, etc. Put your key people in place early.
Brainstorm for programming ideas. What’s your conference theme? What topics do you want to cover? Will you have panels or one-on-one workshops?
Arrange for special events. Do you want to go on a shoot-out at a local range? Visit a morgue? Have a demonstration by K-9 dogs? Offer a murder mystery dinner cruise? Will you fill up the evenings, or will attendees be on their own?
Once you have laid the groundwork, you’re ready to solicit speakers and post your registration forms online. Assign a publicity person to be in charge of tweets, Facebook posts, and other online promotion. Another one can be in charge of obtaining sponsorships, like for tote bags and for maybe a coffee break. Don’t forget to solicit ads for the program book. Now you’re getting down to the nitty gritty details.
Be gracious and praise your team. Putting on a conference is an effort of love. We need to appreciate the volunteers who work so hard. Giving out token recognition awards or publicly recognizing your team mates at the event itself will go a long way toward getting those same volunteers to come back next year.
Even if your event seems to be a well-oiled machine, be prepared for last-minute snafus. Tell yourself that everything will work out fine. No one will notice the glitches, and they’ll all have a wonderful time.
If you wish to read my reports on conferences I’ve attended, visit my blog at Nancy’s Notes from Florida.
Have you been involved in conference planning? If so, what has been your biggest challenge?
Organizing a writers’ conference is a year-long, time consuming event. Having recently attended the inaugural Mystery Writers Key West Fest, I can appreciate the hard work put in by its co-organizers, Michael Haskins and Shirrel Rhoades, to make everything run smoothly. We’re doing the same thing for SleuthFest, scheduled for February 26, 2015. What steps do you have to take to organize a conference? This is by no means a comprehensive checklist, but here are some suggestions if your group is interested in moving forward with a big event.
Book the hotel and the date. This isn’t as easy as it sounds. You have to estimate the number of people attending, including speakers, editors, agents, and special guests. Why? Because you’ll need meeting rooms to fit your capacity. How many persons might attend each session? How many tracks per hour will you offer? Thus how many break-out rooms are required? Day by day and function by function, you’ll have to map things out with the hotel liaison. This includes social events like meals and cocktail parties. A contract is drawn up. What is the cost of each meal? How much in deposits are required and when? What’s the cancellation policy? If you’re in Florida, what happens if there is a hurricane warning that weekend? How many rooms of your block do you have to fill? You need a good negotiator for this aspect, and that’s only the start.
Obtain the keynote speakers. Once you have a date and place, you can put invites out for the key speakers. They’ll be a draw for everybody else and for press coverage.
Devise a conference budget. This will help you determine how much to charge for registration. Decide if your goal is to break even or to make a profit.
Appoint committee chairs. You’ll want to assign volunteers to take charge of the different roles, such as Programming, Editors/Agents, Author Liaison, Raffles, Publicity, Sponsors, etc. Put your key people in place early.
Brainstorm for programming ideas. What’s your conference theme? What topics do you want to cover? Will you have panels or one-on-one workshops?
Arrange for special events. Do you want to go on a shoot-out at a local range? Visit a morgue? Have a demonstration by K-9 dogs? Offer a murder mystery dinner cruise? Will you fill up the evenings, or will attendees be on their own?
Once you have laid the groundwork, you’re ready to solicit speakers and post your registration forms online. Assign a publicity person to be in charge of tweets, Facebook posts, and other online promotion. Another one can be in charge of obtaining sponsorships, like for tote bags and for maybe a coffee break. Don’t forget to solicit ads for the program book. Now you’re getting down to the nitty gritty details.
Be gracious and praise your team. Putting on a conference is an effort of love. We need to appreciate the volunteers who work so hard. Giving out token recognition awards or publicly recognizing your team mates at the event itself will go a long way toward getting those same volunteers to come back next year.
Even if your event seems to be a well-oiled machine, be prepared for last-minute snafus. Tell yourself that everything will work out fine. No one will notice the glitches, and they’ll all have a wonderful time.
If you wish to read my reports on conferences I’ve attended, visit my blog at Nancy’s Notes from Florida.
Have you been involved in conference planning? If so, what has been your biggest challenge?
“When people say they don’t have time to write with small children, well, for me it was the opposite. I didn’t write anything before I had them. They gave me that.” —Toni Morrison
By PJ Parrish
I don’t have kids. Would I be a better writer if I did?
Let’s leave that one for you shrinks out there for the moment. I have my own ideas about it, which I will answer at the end. Normally, a topic this personal wouldn’t even be on my writer radar; you guys know I prefer stomping around in the weeds of craft. But I read an interesting blog over the weekend by the novelist Lev Grossman called “Fatherhood Ruined My Life Plan – And Made Me The Writer I Am.” Here’s the money quote:
When I came back to my book, after Lily was born, I saw it for what it was: cold, dull, lifeless, massively overthought – a labyrinth with no minotaur inside. I told myself I was just taking a break from it, but the truth was I binned it and started something new. I picked up an idea I’d had years before but hadn’t taken seriously at the time, because it was fresh and weird and risky and different from anything I’d ever tried before. Six months after Lily was born, I took a week off from work to explore it, and I wound up writing 25,000 words in five days. I’d hit an artery, and the story came surging out hot and strong. Not only was it the most productive week I’d ever had, I enjoyed it more than I’d enjoyed doing anything for literally years. I was more proud of it than anything I’d done in my entire life.
Something was afoot. I was waking up. Somewhere inside me the emotional pack ice was cracking and melting, ice that had formed long ago in the Fimbulwinter of my childhood, and feelings that I’d been avoiding for decades were thawing out and leaking through, both good and bad: joy, grief, anger, hope, longing. I was like some frozen extrasolar planet, where even gases exist only in neat, handy solid forms. But now I was warming up, and buried things were surfacing.
Interesting stuff. And it poses a question for writers. But not the obvious one about how do you find the time and energy to write when you have kids? But rather: How do life experiences mold our fiction? Grossman’s essay is part of a book called When I First Held You: 22 Acclaimed Writers Talk About the Triumphs, Challenges, and Transformative Experience of Fatherhood. In it, writers such as Dennis Lehane, Rick Moody and Justin Cronin talk about the transforming power of parenthood. To be honest, most of it is of the pedestrian “you can’t be cool with drool on your jacket” variety. But there is the occasional insight about the writing life. And it turns out that perhaps playing pretend and singing along silly songs is what every writer needs to bring some emotional depth to their characters.
What interests me most about this topic is the deeper question that Grossman is getting at: What are the primal forces that make us open a vein and bleed our emotions onto the page?
I used to work in the newspaper business. Every reporter and editor I knew either wanted to write a novel or already had tried to. After I got published, I read quite a few manuscripts as favors to friends. For the most part, they weren’t bad. But something was always missing. For a long time I couldn’t figure out what it was then it hit me: The writers were not willing to expose themselves emotionally on the page. Journalism trains you to be detached and impartial. And you can’t be that way with fiction. Unless you are willing to crawl inside another person’s head and heart — and muck about in all the messiness, gore, grief and passion that is there — you can’t make characters come alive on the page.
For some, becoming a parent might be the catalyst to make this happen. Years ago, I read an essay by Michael Connelly in which he said that having a daughter made him a better writer. (Sorry, I can’t find it). It also changed his character Harry Bosch. Nine books into the series, in Lost Light, Connelly gave Bosch a daughter he didn’t know about: Here’s Connelly on the why:
Up until Bosch became a father, I had been creating a character who viewed himself as being on a mission. He was someone who was skilled enough and tough enough to go into the abyss and seek out human evil. To carry out this mission, he knew he had to be relentless and bulletproof. By bulletproof, I mean he had to be invulnerable. Nobody could get to him. It was the only way to be relentless. And this idea or belief bled into all aspects of his life. He lived alone, had no friends, and didn’t even know his neighbors. He built a solitary life so that no one could get to him. All that suddenly changed in one moment (one page) when he locked eyes with his daughter in Lost Light. Harry suddenly knew he could be gotten to.
Did having kids (fictional and real) make Connelly a more humane writer? I don’t know. It made him a different one at least.
I might be wrong about this (and I hope you all will weigh in), but I think this question is different for women writers. I think women look at the effects of children on their creative life more practically. Some claim it forces discipline. P.D. James, mother of two, got up at 5 a.m. every morning to find time to write. The novelist Candia McWilliam once said, “Every baby costs four books.” I asked my sister and co-author Kelly if having kids (she has three) makes you a better writer. “Only if you write tragedy,” she said. (she was joking. But barely.)
I do think the fiction of women writers is maybe uniquely shaped by motherhood. Jane Hamilton’s novel A Map of the World is about the effects of the drowning of a child on a family and a community. Jacquelyn Mitchard’s bestseller The Deep End of the Ocean is about a kidnapping. Both were written after the authors had their children. Who can say if the stories were possible before that?
Abby Fruch’s novel Polly’s Ghost is about a woman who dies in childbirth and returns as a ghost to guide her son. Fruch has said she “softened” after her daughter was born and couldn’t read anything violent. She rewrote her novel Blue Water to change its theme from betrayal to forgiveness.
The poet A. Manette Ansay wrote a fascinating essay called “Drowning the Children: To a Writer, Interruptions Are Life. Yes, she talks about the time suck that kids create. But like Lev Grossman, she taps into a larger realization. After having kids, she says…
…I found myself louder and more unkempt than I used to be, more interested in food, physical activity and sexual pleasure, more interested in the physical pleasure of words, their sound and sensation in the mouth and throat. The poems I had written before were tentative and cerebral; the new ones were confident, maybe funny, and full of physicality. Being with children made me matter-of-fact. Like dogs, babies and small children don’t swerve from their attention to the present moment and they take no shame in the expression of strong feeling. They have an undisciplined sense of humor. Having children didn’t give me confidence in my writing but I learned to write whether the result would be good or not — as parents, too, we learn to abandon hopeless perfectionism.
Boy, I can relate to that — the idea that writers need to live in the moment and give up the idea that they can make everything perfect. Like I said, I don’t have kids but after I adopted two stray mutts, I did learn to slow down and savor a nap in the sun. (That’s my snoop doggies above) And where once I couldn’t go to bed if there was a dirty glass in the sink, now I don’t sweat dog barf on the sofa. I write faster, enjoy the process for what it is, and I no long try to torture each sentence into perfection.
A couple years ago, Amanda Craig created a dust-up when she wrote in the Telegraph that bestselling Irish author Maeve Bichey would have been a better novelist if she had kids. It was a snarky thing to write and I don’t agree. Because here is where I come down on this whole thing:
Having kids might make you a more honest writer. As Lev Grossman says in his essay, “You can’t bullshit a baby.” (Or your readers). But I don’t think making a baby will make you a better writer.
I truly believe that your unique voice is the sum of all your life experiences, but that what really makes you a good writer is being able to tap deep into your powers of empathy and observation. Then having the courage to cut open your vein.
____________________
Postscript: I hope you all will indulge me and allow for a little BSP. I got word a couple days ago that our book Heart of Ice has been nominated for the Shamus Award. (Private Eye Writers of America). Just made my rezzie to go to Bouchercon…haven’t been there in years. Kelly and I are thrilled, needless to say.