What place would you like to visit next, and why?
Author Archives: James Scott Bell
Rendering Dialects and Accents in Dialogue
by James Scott Bell
@jamesscottbell
One of the most frequent questions I’m asked about dialogue is how to render dialect and accents without bogging down the text with phonetic indicators and apostrophes all over the place, as in:
“Say, Mose, ah reckon there’s a-gonna be a shootin’ or a hangin’ over ’ta the saloon.”
“Ah reckon yer right ’bout that.”
“Ah reckon the whole town’s ’bout ’ta ’splode.”
“Reckon so.”
“Yep, this shore is a day of reckonin’.”
Or a conversation between an Alabama farmer and a New York writer:
“Thar’s a far out yonder.”
“A what?”
“A far.”
“Oh, you mean fire.”
“Ah said far, didn’t ah?”
Too much of this is going to wear a reader out. That’s why heavy dialects and accents in dialogue are out of favor with editors and readers. (Note: A dialect is based on word choices particular to a region; an accent is the “sound” of the speaker when saying the words.)
But what if you do want the character to have a heavy accent? Be clever about it. Give the reader an indication of the speech pattern the first time the character speaks, then use a few sprinkles of it every now and then as a reminder.
For instance, you can do a dialect-heavy first line and then pull it back in subsequent lines. Liz Curtis Higgs does this in Thorn in My Heart, a novel set in 18th century Scotland. A local shepherd greets a lost horseman with:
“D’ye ken whaur ye’re goin’, lad?”
You have to look that over a couple of times, but that’s what Higgs wants you to do. The heavy brogue is now implanted in our minds. After that she keeps the odd spellings to a minimum.
You can also use straight narrative to tell us what the accent sounds like. This was Stephen King’s choice in Pet Sematary. At the beginning of the novel, Louis Creed and his family have just moved to a little town in Maine. There they meet a neighbor, an older gentleman named Jud Crandall, a native of the region. Here is part of the introductory conversation:
Crandall nodded. “Course you are,” he said, which came out: Coss you awe.He glanced at Rachel. “Why don’t you take your little boy and your daughter over to the house for a minute, Missus Creed?”
Instead of making the pronunciation part of the dialogue itself, King tells us directly what it sounded like. The dialogue then proceeds without phonetic spellings. But the sound is now in our heads. We can “hear” Crandall in his unique fashion.
A few paragraphs later, King drops in a reminder:
“Not at all,” he said. “Lookin forward to having young ‘uns around again.” Except the sound of this, as exotic to their Midwestern ears as a foreign language, was yowwuns.
It’s interesting to note that for the word Lookin King does not use an apostrophe. This is true throughout the novel when gs are dropped. I like that. It doesn’t bother me a bit, and actually is pleasing to the eye.
I brought this up with a group of writers recently, indicating that if I ever wrote a Western, I’d like to give that a try. But one of the astute younger scribes reminded me that there are typo hunters out there now who will downgrade their reviews over such things.
Good point. So if I ever write Day of Reckoning I reckon I’ll be puttin’ in them little marks.
Thus, for dialects and accents:
- Keep odd spellings to a minimum.
- Do some of rendering up front to plant the sound, then minimally after that as a reminder.
- Use well-chosen regionalisms. For example, the Scottish shepherd would say Aye instead of Yes, and Lass instead of Woman.
If ya feel a bit o’ sharin’ comin’ over ya, then be doin’ it in the comments, if ya please.
Reader Friday: Your Home Town
On Setting Word Count Goals
by James Scott Bell
@jamesscottbell
I’m a goal setter, but it didn’t come naturally. When I was a young pup I tended toward the Walt Whitman school of life: I loaf and invite my soul.
That had to change when I went to law school. And then when I joined a big law firm; even more when I went into private practice.
Later, I started running a small business and really had to get into goals, for they are an essential part of Entrepreneurship 101. Those were good self-study years for me. What I learned back then has served me in good stead ever since. (If you’re interested in the details of those lessons, I put them into a monograph available here.)
When I was just starting out on this writing gig, I got some invaluable advice: set a word quota, not a time quota. Don’t say, “I’m going to write for two hours every day!” because there are too many ways to waste that time. You could stare out the window for an hour and a half and call it creativity.
A word count quota produces pages. A page a day is a book a year. (A page is approximately 250 words. A Ficus tree can write 250 words a day. Don’t be shown up by a Ficus tree.)
Over the years I’ve been asked about my quota and system for keeping track, so here it is.
My quota, as it has been for most of my career, is 6,000 words a week—312,000 words a year. I try to write six days a week and take Sundays off to rest the noggin. Having a weekly quota helps because if I miss a day for some reason, I can make up the words on another day.
This works for me, though it’s nothing compared to what some of the great old pulp writers used to do. A few of them pounded out one million words or more per year, and on manual typewriters, too!
Sheesh. They must have driven their neighbors crazy.
Erle Stanley Gardner, creator of Perry Mason, was one of the million-plus boys. Sometimes his fingers would bleed. He’d tape them up and keep typing.
Then he discovered the Ditcaphone. At the peak of his productive years Gardner was dictating his books and had a team of secretaries transcribing them. These days there are several options for speaking your words. Google Docs has a pretty fair dictation mode. So does Mac OS. I’ve done some dictating via my phone (into Google Docs) and on the computer, but it never feels quite right to me. With the editing that’s involved after I dictate, I wonder if the actual word count + time equation isn’t just about the same.
Anyway … I wrote 313,508 words in 2018.
I keep track of my words in two ways. When I compose in Scrivener, which I do most of the time, it has a handy-dandy word count tracker for both the overall project and the current session. If I’m writing in Word, I first jot down the word count of the document. I type, and when I finish I simply subtract the old word count from the new.
I tally these words on a spreadsheet, and have been doing so for twenty years. On my spreadsheet I have four categories: novels, non-fiction, short fiction, and writing. That last category is specific to my craft teaching. So I can look at my sheet and see how many words I’ve written in each category per day. I have a daily tally, and a weekly tally. I have a cell next to the weekly tally that keeps track of my cumulative output.
Next to that latter cell I put in a number. The number is a sequential sum of 6000. So at the seven-day mark, I put 6000. At the fourteen-day mark, 12,000. And so on, right up to 312,000. That way I can see if I’m falling too far behind. Here’s a portion of my spreadsheet from 2018 (click to enlarge):
Okay, does all this seem too complicated? It really isn’t. Once you have the spreadsheet figured out you can reproduce it easily each year. And once you’re in the habit of tracking your daily word count, it will become second nature.
What should your quota be? I advise writers to figure out how many words they can comfortably produce in a normal week, then up that by 10% as a stretch goal.
So what is my word count goal for 2019?
312,000.
What’s yours? Do you have a system for keeping track? Or does the thought of goals for your writing make you nervous?
***
FYI, tomorrow is release day for my new Mike Romeo thriller. It’s available for pre-order now at the special launch price of $2.99.
Reader Friday: New Books
See You in 2019!
Turn Browsers Into Buyers
Christmas is coming, the goose is getting fat.
Please put a penny in the old man’s hat.
And if you are promoting, I’m sure it’s no offense
If you sell the man some Kindle books for 99¢.
Yes, ’tis the season for self-indulgent poetry, and a couple of announcements.
The first is that my fourth Mike Romeo thriller, Romeo’s Fight, is set to release on January 7th. It’s available for preorder for the special launch price of $2.99. In February it will go up to $3.99. Naturally I would appreciate it if you would hop over to Amazon and reserve your copy. On launch day you’ll get it automatically delivered to your Kindle.
(You international readers can find it in your Amazon store by pasting this ASIN number into the search box: B07L9DLGVF)
Welcome back!
Romeo’s Fight, like all the Romeo thrillers, can be read on its own. But if you’re one of those who likes to read a series in order, I’ve got some good news: for the next two weeks the first three Romeos are all priced at 99¢. Now’s the time to hop on this International Thriller Writers Award winning train. The order is:
1. Romeo’s Rules
2. Romeo’s Way
3. Romeo’s Hammer
Romeo’s Fight opens this way:
“So you’re Mike Romeo,” the guy said. “You don’t look so tough.”
I was sitting poolside at the home of Mr. Zane Donahue, drinking a Corona, and wearing a Hawaiian shirt, shorts, flip-flops and sunglasses. I was the perfect embodiment of L.A. mellow, trying to enjoy a pleasant afternoon. Now this shirtless, tatted-up billboard was planted in front of me, clenching and unclenching his fists.
“I’m really quite personable once you get to know me,” I said.
“I don’t think you’re tough,” he said.
“I can recite Emily Dickinson,” I said. “Can you?”
He squinted. Or maybe that’s how his eyes were naturally. His reddish hair was frizzy. With a little care and coloring, it would have made a nice clown ’do. He had a flat nose, one that had been beaten on pretty good somewhere. In a boxing ring, the cage, or prison.
“Who?” he said.
“You don’t know Emily Dickinson?”
Blank stare.
“Then you’re not so tough yourself,” I said.
I took a sip of my brew and focused on the devil tat above his left nipple. Underneath were the words DIE SCUM.
So let’s talk a bit about marketing, specifically two items: the browsing sequence and the building of buzz.
We start with the old-school bookstore browser. She walks into Barnes & Noble, perhaps with a title in mind, but takes a moment to look at the New Release table. What is the first thing that attracts her attention? The cover. If the cover has the name of an author she’s read before, and likes, that book gets picked up first. Otherwise, she might check out a book by someone she doesn’t know simply because of the cover design.
(This is exactly how I discovered Harlan Coben. I vividly remember going into Crown Books and looking at the New Release table, and one cover just jumped out and grabbed my shirt and said, “Open me!” It was the cover of Tell No One, and it was stunning, not just because of the color and title font, but also because Harlan’s name could not be seen. This counter-intuitive distinction set it apart from every other cover on that table.)
So what next? She will look at the dust jacket copy. Does that copy sizzle? Make the plot irresistible? If so, the next place she’ll turn is to the opening page. And of course we know what that has to do. Just check out our First Page Critique archives.
If she likes what she reads, our browser will look at the price. $28? Yikes! Ah, but B&N is offering it at a 30% new release discount. That might just be enough to close the sale.
It’s roughly the same with online browsing. Cover, book description, the “Look Inside” feature to sample the first pages, and the price. Understand that sequence as you plan your marketing.
So what about the second consideration, building buzz? The two primary venues for this are social media and the email list. The one overarching consideration is: Don’t annoy.
You annoy by only talking about your book and how great it is going to be. If all we see on social media is variations on “buy my book!” it’s not buzz, but “buzz off” we’re going to create.
My rule of thumb on social media is 90/10. Ninety percent of the time be, gasp, social, providing good content so people are glad to have you around. Then when a book comes out or you have other such news, you have the trust and toleration of your followers.
Everyone knows and touts the essentiality of the fan email list. It takes years to build a substantial list, which you do by a) writing great books; b) having a systematic way for readers to sign up; and c) making the actual content of your communication a pleasure to read.
So what do you do if you are just starting out and have no fan base? If you’re traditionally published, work in concert with your publisher and come up with a plan. While there are still physical bookstores around, introduce yourself locally and set up a book signing. Your publisher might be able to arrange a regional tour (travel expenses on you). Are book signings worth it? All pro authors can tell you stories about book signings gone awry (see this post from TKZ emeritus Joe Moore), but when you’re a newbie, you pay your dues.
For both traditional and self-publishing writers: send personalized emails to everyone you know, politely requesting they take a shot on your book and, if so moved, a) leave a review on Amazon; b) tell their friends about it; and c) sign up for your email list which, you assure them, won’t be spammy or too frequent. (My rule of thumb here is once-a-month, give or take.)
We all know how hard it is to get a message through amidst the din and dither of the madding crowd. Just remember to keep the main thing the main thing: write excellent books. That’s the only ironclad, long-tail secret to a career. Buzz and marketing help get you an introduction. They can turn browsers into buyers. But it’s your books that turn buyers into fans.
This is my last post of 2018. To my blogmates and all our marvelous TKZ readers: Merry Christmas and a Carpe Typem New Year!
The Writing Books That Helped Me At The Start
Last week in the comments, Kay DiBianca wrote:
I sure would like to have a master list of the best books for learning the craft of writing.
You asked, you got it.
Now, modesty prevents me from mentioning my own books on the craft. If I was not the humble scribe that I am, I would probably say something like, “These books have proved extremely helpful to fiction writers,” and then I’d put a link to my website for a list of the books.
Instead, I will narrow my focus six books which I found most helpful when I was starting out. There’s that old saying, “When the student is ready, the teacher will appear.” Well, I was ready, and these books appeared. They helped lay a foundation for all my writing since.
Writing and Selling Your Novel by Jack Bickham
Apparently only available in hardback, this is the Writer’s Digest updated version of Bickham’s Writing Novels That Sell (which is the edition I studied). It was his treatment of “scene and sequel” that gave me my first big breakthrough as both a screenwriter and novelist. A light came on in my brain. It was a major AH HA! moment. Bickham’s style is accessible and practical, and a big influence on me when I began teaching. I wanted to give writers what Bickham gave me: nuts and bolts, techniques that work, and not a lot of fluff and war stories.
I found out that Bickham was running the writing program at the University of Oklahoma, where he himself had been mentored by a man named Dwight V. Swain. So I researched Swain, and discovered he’d been a writer of pulp fiction and mass market paperbacks, and written a book a bunch of writers swore by. So naturally I bought it.
Techniques of the Selling Writer by Dwight V. Swain
For those wanting to write commercial fiction (i.e., fiction that sells), this is the golden text. Swain takes the practical view of the pulp writer, the guy who had to produce gripping, ripping stories in order to pay the bills. He lays it all out in a perfect sequence for the new writer, who could go chapter by chapter, building a writing foundation from the ground up. I review my highlighted and sticky-noted copy every year.
Writing the Novel by Lawrence Block
Block was, for years, the fiction columnist for Writer’s Digest magazine. At the same time, he was a working writer himself, having come up through the paperback market and into a series character that has endured, the New York ex-cop Matthew Scudder. Thus, what Block brought to the table was the way a prolific writer actually thinks. The questions I was having as I wrote Block always seemed to anticipate and address. He opens the book with his timeless advice: “If you want to write fiction, the best thing you can do is take two aspirins, lie down in a dark room, and wait for the feeling to pass. If it persists, you probably ought to write a novel.”
Screenplay by Syd Field
This was, I believe, the first “how to” book I bought when I decided I had to try to become a writer. I started out wanting to write screenplays. With writers like William Goldman and Joe Eszterhas getting seven figures for original scripts, I thought, well, maybe this would be a good venture (the only more lucrative form of writing, according to Elmore Leonard, is ransom notes). Field’s book contains his famous “template,” which is a structure model. I studied movies for a year just looking at structure, and finally nailed it. What I added to Field was what is supposed to happen at the first “plot point.” I called it the “Doorway of No Return.” That discovery still excites me.
Zen in the Art of Writing by Ray Bradbury
This is a right-brain book, and therefore a necessary balance. The secret to elevated writing is finding a way for the rational and playful sides of the writer’s mind to partner up. Bradbury’s book is full of the joy of writing, and it’s infectious. Two of my favorite quotes: “You must stay drunk on writing so reality cannot destroy you.” And: “Every morning I jump out of bed and step on a landmine. The landmine is me. After the explosion I spend the rest of the day putting the pieces together. Now, it’s your turn. Jump!” My signed copy is always within reach.
Stein on Writing by Sol Stein
Sol Stein, 92 years young, is a writer, editor, and publisher (he founded Stein & Day back in 1962). When I started out he had an innovative, interactive computer program called WritePro, which is apparently still available. Much of the advice in the program is in this book, including inside tips on point of view, dialogue, showing and telling, plotting, and suspense.
So there you have it. My list of the books that helped me most when I was starting out. The floor is now open to you, TKZers. What books have you found helpful in your writing journey?
Heinlein’s Rules for Writers
by James Scott Bell
@jamesscottbell
Robert A. Heinlein
Recently, in our comments, TKZ regular Harvey Stanbrough made reference to Robert A. Heinlein’s “Five Rules for Writers.” They are as follows:
Rule One: You must write.
Rule Two: You must finish what you start.
Rule Three: You must refrain from rewriting, except to editorial order.
Rule Four: You must put it on the market.
Rule Five: You must keep it on the market until it has sold.
I’d like to offer my commentary on this list.
Rule One: You must write.
Pretty self-evident. You can’t sell what you don’t produce. The writers of Heinlein’s era all had quotas. Pulp writers like W. T. Ballard and Erle Stanley Gardner wrote a million words or more a year. Fred Faust (aka Max Brand) wrote four thousand words a day, every day. They did so because they were getting a penny or two a word, and they needed to put food on the table.
I always advise writers to figure out how many words they can comfortably write in a week, considering their other obligations. Now up that number by 10% and make that the goal. Revise the number every year. Keep track of your words on a spreadsheet. I can tell you how many words I’ve written per day, per week, per year since the year 2000.
Rule Two: You must finish what you start.
I remember when I finished my first (unpublished, and it shall stay unpublished) novel. I was still trying to figure out this craft of ours and knew I had a long way to go. But I learned a whole lot just from the act of finishing. It also felt good, and motivated me to keep going.
Heinlein was primarily thinking about short stories here, so the act of finishing was an easier task. With a novel, there’s always a moment when you think it stinks. When you wonder if you should keep going for another 50k words. Fight through it and finish the dang thing. Nothing is wasted. At the very least you’ll become a stronger writer.
Should a project ever be abandoned? If you’ve done sufficient planning and have the right foundation, I’d say no. If you’re a pantser … well, the temptation to set something aside is more pronounced. But you chose to be a panster, so deal with it.
Rule Three: You must refrain from rewriting, except to editorial order.
This is a bad rule if taken at face value. Again, Heinlein was thinking about the short story market. With novel-length fiction, the old saw still applies: Writing is re-writing.
I’ve heard a certain #1 bestselling writer state that he only does one draft and that’s it. Upon closer examination, however, that writer is revising pages daily as he goes, so it comes out to the same thing—re-writing.
As for “editorial order,” Heinlein meant that once a story sold—which meant actual payment—you made the changes the editor wanted (that is, if you wanted him to send you the check!)
For all writers, a skilled editor or reliable beta readers give us an all-important extra set of eyes. Don’t skip this step. There’s always something you need to fix!
Rule Four: You must put it on the market.
Which, for Heinlein, meant sending the story out to the pulp or slick magazines. Or, in the case of a novel, to the authorities within the Forbidden City of traditional publishing.
Today, of course, we have one major advantage Heinlein did not: self-publishing. But that option does not mean you don’t need to go through the grinder of making a manuscript the best it can be.
Rule Five: You must keep it on the market until it has sold.
Again, this was about the old world of magazines. When a manuscript came back, rejected, you got another envelope and sent it out again. The pages could get pretty scuffed up that way.
Today, the big questions for the writer are: a) should I seek traditional publishing, or self-publish? b) if traditional, how many rejections should I endure before publishing on my own? and c) if going indie, how do I know my book is ready?
Sci-fi writer Robert Sawyer added a sixth rule that is crucially important:
Rule Six: Start Working on Something Else
That’s my own rule. I’ve seen too many beginning writers labor for years over a single story or novel. As soon as you’ve finished one piece, start on another. Don’t wait for the first story to come back from the editor you’ve submitted it to; get to work on your next project. (And if you find you’re experiencing writer’s block on your current project, begin writing something new — a real writer can always write something.) You must produce a body of work to count yourself as a real working pro.
So what do you think of Heinlein’s rules (and Sawyer’s addendum)? What else would you add?
What I Wish I’d Known When I Started Writing
by James Scott Bell
@jamesscottbell
Next year will be my 24th as a professional writer.
When my first book hit the shelves nobody used a cell phone (Seinfeld had that big brick handset with the antenna, remember?) O.J. Simpson had been found not guilty and Bill Cosby was still America’s most beloved dad. Microsoft released Windows 95. And a guy named Bezos launched a website that was purportedly going to sell books to consumers right over the internet! Everybody thought he was nuts.
For the seven years previous I’d been studying the craft of screenwriting and fiction, and writing every day. I devoured books on writing and gobbled up each monthly issue of Writer’s Digest. I have several shelves of my beloved writing books (and binders full of WDs), all highlighted and sticky-noted in some form or fashion. Every so often I like to pull one off the shelf to see what I highlighted, and relive some of the excitement of discovering something that worked for me.
The other day took down The Complete Guide to Writing Fiction by Barnaby Conrad, published by Writer’s Digest Books. It’s a collection of articles and interviews from the famous Santa Barbara Writers Conference, which Conrad directed for many years.
There was something tucked inside the book. It was a pamphlet titled 12 Things I Wish I Had Known When I Started Writing by Ben Bova, the science-fiction writer and editor. I think this came as a freebie with a book ordered from the Writer’s Digest Book Club, of which I was an enthusiastic member. So I had another look at Bova’s lessons and thought I’d reflect on them with you today. The first two are unsurprising:
- Write every day.
- Read widely.
All serious writing students know this, though I would edit the first one thus: write to a weekly quota. Figure out how many words you can comfortably write in a week, then up that by 10% for your goal.
- Write about WHO you know.
Bova stresses the importance of well-rounded characters. Basic, of course, but coming from the sci-fi genre Bova knows it’s a temptation to overemphasize world-building.
- Character + Problem = Story.
I would change Problem to Plot, where plot is defined as a life-or-death battle which the character meets by strength of will.
- No villains.
This is Bova’s most important tip. The “villain” does not see himself that way. “Every tyrant in history was convinced that he had to do the things he did, for is own good or for the good of the people around him,” Bova writes.
I always counsel writers to know the bad guy’s “closing argument.” If he were on trial, what would he say to defend himself? And mean it?
- Start in the middle.
My heart sang. Had Bova anticipated Write Your Novel From the Middle? Ahem. No. He was talking about the opening pages, and he echoes one of my constant refrains: act first, explain later. Bova explains:
[Start] your story in the midst of brisk, exciting action. Start in the middle! Don’t waste time telling us how your protagonist got into the pickle he’s in. Show him struggling to get free. You can always fill in the background details later.
Particularly in a novel, it’s tempting to set the scene, explain the protagonist’s background, describe how she got to where she is. Cut all that out. Or, at least, save it for later. Start in the midst of action. Hook that reader right away or you won’t hook him at all.
- The chain of promises.
Don’t present a problem on page one and then solve it. Pile them up. “Each problem you present to the protagonist is a promise to the reader that there will be suspense, excitement, adventure in solving that problem.”
- Use all five senses.
Bova rightly notes that writers tend to favor sight and sound. Add touch, taste, and smell.
- Point of view.
Bova makes a case for close 3d Person, so you can be intimate with a character in one scene, then cut away to another character, and so on. He does not favor First Person because he finds it too limiting. Hmm. Tell that to Raymond Chandler.
The last three tips come from another world, when hard-copy manuscripts were submitted to agents and editors. Imagine that!
- Make your manuscript readable.
“Typed, whether on a typewriter or a computer printer.”
Remember when that was an actual choice?
- Study the markets.
“Publishers think in categories. You must too.”
- Cover letters.
“And always remember to include the SASE.”
(For you kids out there, SASE stands for “Self-Addressed Stamped Envelope.” Ask your parents what that means.)
All this got me thinking: what is something I wish I’d known when I started out? I’ll give you a twofer:
- Scene Structure.
I wrote four or five screenplays that didn’t generate any interest. What finally broke me through was an epiphany while reading Jack Bickham’s Writing Novels That Sell. Specifically, his chapter on scene and sequel. More specifically, understanding the scene beats of Goal, Conflict, Disaster. No more weak or meandering scenes after that. The next script I wrote got me an agent.
- The Mind is as Important as the Keyboard
The initial thrill of being published eventually ran into a new set of challenges familiar to all writers who make it inside the gates of the Forbidden City. Stuff like comparison, envy, self-doubt, bad reviews. All of which interfere with the joy of writing. Faith and family were in place for me, but I also studied specific topics like gratitude, contentment, focus, and discipline. So important are these that I wrote a book to help writers prepare for and deal with the mental game of writing.
So, TKZers, if you’ve been around the block, what is something you wish you had known when you were starting out?
And if you are just starting out, what is something you want to know? Ask away, and one of our crack team of bloggers will take a flyer at an answer—for I am in travel mode today and my check-in may be sketchy.