Tag Archives: dialogue

Dialogue And The Times

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Dialogue And The Times
Terry Odell

Book covers of Huckleberry Finn and James

We are warned to take it easy with dialects in dialogue, because they make things harder to read, and the last thing we want to do is slow things down for our readers. These are a few snippets showing how I handled it years ago in Where Danger Hides.

“Well, what do we have here? You want to come on out, darlin’?” The voice was deep, warm, and decidedly Texan.

***

From her brief encounter with Texas, she was certain he’d be dressed like every other man here—in a tuxedo. She’d never pick him out in the crowd. Unless, of course, he opened his mouth, and that slow, honey-rich drawl flowed out.

I left it up to the reader to fill in the blanks as to what they heard while reading.

Or, in Rooted in Danger, where my protagonist was an Aussie, I used expressions rather than try to spell out the way he sounded when he spoke.

The man’s soothing tone penetrated her fog. He didn’t try to take the gun away, but he walked her to the kitchen and, guiding her hand with his, opened a cabinet.
“How about in here?” he asked. “Or shall we toss it down the dunny?”
Finally, his words registered. “Dunny?”
“Loo. Head. W.C. Toilet. Although that was more of a figure-of-speech question because it would ruin your plumbing.”

***

“Told you it would be a bucket of piss.”
“What?”
“I think you’d call it a piece of cake.”
“I definitely like that better.”

***

“Thanks, Wally. You’re a right fine bastard.”
“You got no call to say that about me,” Wally said with a scowl.
“Sorry, mate. Where I come from, bastard means a damn good friend.”

***

We’re also told to watch profanity. But there are always exceptions to everything.

(Note: I am not going to get into book banning or censorship in this post. Nor am I going to give spoilers for Everett’s book.)

But language evolves. Tastes change. Conventions change.

Our book club voted to read James by Percival Everett for this month. We meet tomorrow, so I don’t know what the other group members will have to say about it, but this is my take.

James is based on Mark Twain’s Huckleberry Finn, a book I read countless times as a child—I’m thinking it was in my elementary or junior high school days. I thought Huck was cool (although that wasn’t the slang in those days.)

It was also assigned reading in high school English. (Can we get away with that today?The “N” word was used extensively in both Huckleberry Finn and James, as appropriate to the times.) Good old Mr. Holtby had us discussing whether we’d rather be a raft or a riverboat. He was all about symbolism. But he made us think.

At any rate, after reading James, I went to the library for a copy of Huckleberry Finn, because I’d been under the impression that James was a retelling of Huckleberry Finn from Jim’s point of view. There were so many things I didn’t remember, given the elapsed time between high school and today, but—duh moment—it didn’t take long to realize that Huck and Jim weren’t together through the whole book, so seeing what transpired for Jim while he was apart from Huck made for a very different story.

Huck’s grammar (or lack thereof) was prevalent in both books. Likewise for Jim. True to the times and the vocabularies of the characters. I wonder if Everett blew up spellcheck and any grammar checking software. I’m not going to try to transcribe passages from Huckleberry Finn. Instead, here are two image. (Sorry about the quality. I took it from a very old, yellowed paperback.)

This is Huck:

page from Huckleberry Finn

Here, Jim is talking to Huck.

page of text from Huckleberry Finn

Did you have trouble reading either passage? Did you have to slow down? Was it more the spelling, grammar, or vocabulary? Would you try writing that kind of dialogue today to show a character’s accent or dialect?

What are your thoughts about dialect in dialogue? Everett’s book was not only published (Sorry, I didn’t think to grab a picture or two before I had to return it to the library, but a lot of the dialogue was very much the same) but won the 2024 Kirkus Prize and the National Book Award for Fiction. It’s also been optioned for a movie, and I’m curious to see how it’s handled.

New! Find me at Substack with Writings and Wanderings

Danger Abroad

When breaking family ties is the only option.

Madison Westfield has information that could short-circuit her politician father’s campaign for governor. But he’s family. Although he was a father more in word than deed, she changes her identity and leaves the country rather than blow the whistle.

Blackthorne, Inc. taps Security and Investigations staffer, Logan Bolt, to track down Madison Westfield. When he finds her in the Faroe Islands, her story doesn’t match the one her father told Blackthorne. The investigation assignment quickly switches to personal protection for Madison.

Soon, they’re involved with a drug ring and a kidnapping attempt. Will working together put them in more danger? Can a budding relationship survive the dangers they encounter?

Available for pre-order.

Like bang for your buck? I have a new Mapleton Bundle. Books 4, 5, and 6 for one low price.

Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.”

Reader Friday-Let’s Go to the Movies…Again!

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My last post of 2024 was a fun discussion of favorite movie lines.

Today, let’s flip that and share the Worst Movie Lines Evah! The problem with this flip is that if a movie is bad, bad, bad, we tend to let it slip out of our memory banks. And often it’s the dialogue that makes the movie forgettable so we may have, well, forgotten those lines.

But there’s one that sticks out to me, and it’s been mentioned before over the decades.

Jenny, in Love Story: Love means never having to say you’re sorry…

Really? Love means always having to say you’re sorry…even when you’re not!  🙂

Now it’s your turn, TKZers…and if you have trouble remembering those forgettable lines, just google “worst movie lines”. I did!

 

How Are They Talking?

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How Are They Talking?
Terry Odell

This topic has come up here at TKZ before, but I recently read a book by a best-selling author, traditionally published, that had my teeth on edge, so I’m revisiting it.

Dialogue. Characters are talking. It’s up to the author to make sure the reader knows who it is uttering those gems. The terms I’ve learned are “tags” for things like he said, she asked, etc., and identify the speaker.

“I’m hungry,” Gordon said. “What’s for lunch?” she asked.

Note: It’s also considered acceptable to use “said” for questions.

Beats show a character’s action. Gordon opened the refrigerator. “I’m hungry.”

Note: It’s better to use either a tag or a beat, not both for the same dialogue line.

What was my problem with the book I read? The author (or her editor) seemed reluctant to use the word “said.” Reluctant? It was as if she thought a rattlesnake would strike every time she did, and she used more “creative” words instead.

While there’s nothing creative about said, it has the bonus of being invisible. I was reading novel by the late Robert B. Parker when I was a beginning writer, and I stopped to evaluate his dialogue. The man tagged almost every single line of dialogue with “said” and yet I realized I’d read three full pages and hadn’t noticed a single one.

What do these creative tags do for the reader? For this reader, they jump off the page. Instead of simply letting me know who’s saying the line, they’re making me stop and think. They’re distracting. After a few chapters they become downright annoying.

What word choices did this author use? Let me count the tags.

corrected, allowed, accused, argued, tossed back, explained, grumbled, muttered, murmured, suggested, noted, offered (that was a favorite), interjected, reminded (him), insisted, implored, urged, warned, added, demanded, agreed, promised, explained, tacked on, allowed, pressed, put in, pointed out, challenged, ordered, urged, agreed.

And this was in the first 5 chapters, after which I stopped tracking them. I counted a whopping 8 uses of said in these chapters, and one of asked. Most of the “said” uses were connected with action beats, as in “She said as she poured the coffee.” Both aren’t needed for the same line.

Although this was a good story, the read was an effort for me as the creative tag words made me stop and think about them. I’d rather be thinking about the story.

What about you, TKZers? Do you prefer the invisible said or do you enjoy the creative alternatives? Why?

Cover image of Deadly Relations by Terry OdellAvailable Now
Deadly Relations.
Nothing Ever Happens in Mapleton … Until it Does
Gordon Hepler, Mapleton, Colorado’s Police Chief, is called away from a quiet Sunday with his wife to an emergency situation at the home he’s planning to sell. A man has chained himself to the front porch, threatening to set off an explosive.

Terry Odell is an award-winning author of Mystery and Romantic Suspense, although she prefers to think of them all as “Mysteries with Relationships.”

Subtext – Guest Post by Karen Albright Lin

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By Debbie Burke

@burke_writer

 

Karen Albright Lin

Back in the 1990s, author/editor Karen Lin and I met at the Rocky Mountain Fiction Writers Conference. We hit it off immediately and have remained good friends even though we rarely see each other except via Zoom.

Karen is the author of American Moon, a moving saga about the immigration of her Chinese in-laws, and MuShu Mac & Cheese, a humorous mash-up of Julia Child and My Big Fat Chinese Wedding.

She also teaches writing online, at conferences, and even on cruise ships–a tough gig but somebody’s gotta do it!

The following is an excerpt from a two-week class on Subtext that Karen will teach beginning April 10th through Scribophile. Membership to the huge online critique group is free.

Subtext is an advanced technique that adds depth and resonance to writing. I invited Karen to share her excellent tips with TKZ.

Welcome, Karen!

~~~

Subtext in Dialogue /Body Language — Gestures/Posture/Mannerisms/Actions/Facial Expressions

Photo credit: Pexels

 Simply stated:

If dialogue is about what the dialogue is about, you’re in trouble.

People don’t always say what they mean outright. In fact sometimes the words are in direct opposition to body language. Body language includes gestures, facial expressions, posture, mannerisms, and actions that communicate without words.

Subtext can come in the form of understatement, sarcasm, or a witty punchline, a result, often, of backloading your sentence. That means putting the most powerful word at the end of the sentence, or sentence at the end of a paragraph, or paragraph at the end of a chapter. Backloading is powerful for narrative also. It makes your words lean forward into the next thing. It teases and says to the reader, “Come along with me on this adventure.”

I mentioned punchlines; I should also warn you about them. If they aren’t really great and cleverly pulled off, they can fall flat.

Comedy is all about subtext turned inside out. A joke says what we’re all thinking. Comedic details are the key. Outlandish adjectives and sarcastic barbs right in the middle of a monologue are fun examples.

Dialogue can mask the character’s desires and necessities, but it still leaves clues about what is really meant behind the words. Sarcasm, Freudian slips, unexpected words, and irony are all techniques that can be used to hint at the truth.

Let’s look at an example of emotionally charged dialogue in the movie Carol, Cate Blanchett’s character doesn’t come right out and ask if Therese finds her pretty.

Carol asks, “Were those pictures of me you were taking at the tree lot?” (Subtext: “You find me beautiful?”)

Therese replies, “Sorry, I should have asked.” (Subtext: “Is it OK for me to be attracted to you?”)

Carol says, “Don’t apologize,” (Subtext: “You don’t need to ask for permission to be attracted to me, even though I’m a woman”)

On the surface it is a conversation about photos. It is actually about their sexual desire for each other. The secondary message doesn’t tell it directly.

Use vernacular to tell us about a person. Is he educated? Irish? a braggart?

The most common flaw I see in dialogue is when the characters speak in robotic information-load rather than how real people talk. It suggests the reader wouldn’t get it otherwise. Trust your reader. The challenge is to NOT write “on-the-nose” dialogue, while still revealing important information to the audience. Resist spelling everything out in an expository way. You encourage the readers to come to you BECAUSE you are giving them credit.

For the perfect lesson on subtext in dialogue watch Annie Hall, written by Woody Allen. As Annie and Alvie talk, the subtext in their discussion is written on the screen with subtitles. Their verbal discussion is about photography. In the subtext she’s wondering if she’s smart enough for him. He’s wondering if he’s too shallow. She wonders if he’s a shmuck like other men. He wonders what she looks like naked.

Woody Allen teaches us that characters can talk about anything as long as the true message comes across, as long as the scene accomplishes its purpose. First understand the intention of the scene, then write the dialogue with rich subtext to fulfill that need.

In a real conversation and excellent dialogue (with no subtitles for comic effect) ideas are not spelled out directly, every thought, every feeling stated. Good dialogue reveals without doing that.

Does a person’s private life and public life look the same? Will they say the opposite of what they mean to disguise who they are?

Dialogue was never intended to replicate real speech. It represents attitudes and what the character wants, an outpouring of secrets the character wishes not to disclose.

If you want to study good dialogue, study successful plays. Imagine a middle-aged couple arguing over whether to outfit their new bedroom with two single beds or their old double bed. On the surface the fight is over beds. But in subtext, they reveal their whole marriage, facing what has happened to their lives and love over so many years.

Here are two bits of dialogue. This conversation is between two wealthy friends, one unsure about his future. Which version draws you in as a reader? Which one spells out too much, unsubtly, doing all the work for the reader?

Jack lined up another shot as Kyle looked on. “Dad wants me to take over his backup generator company.”

Vincent smirked as Jack’s ball spun down into the billiards pocket. “So? What’s the problem?”

“Everything! I know he wants to keep it all in the family but I just graduated from CU with honors. I want to make my way in the world on my own.”

Now read this version:

 Vincent looked on as Jack pummeled a ball into the pocket. ”Something bothering you, man?”

“Four years gone.” Jack frowned. “And for what? Okay, it was fun, but…”

“At least Daddy’ll give you a nice office.”

The reader must infer information in the second version. In the first version the writer outright states it upfront in an on-the-nose way. It can be a tough skill to master. When reading a good quality novel, notice how a character is revealed through dialogue and how short and sharp most conversations are.

As suggested by our parents and kindergarten teachers, often actions speak louder than words. Experiment with this. Don’t state your point.

In Charles Dickens’s A Tale of Two Cities a character volunteers to be beheaded. That is how he says “I love you.” Much more powerful, right?

Some things go without saying. They are inferred rather than spoken. Don’t discount the powerful sound of silence.

Body Language

Photo credit: Pexels

That brings us to the subject of body language. Just as in real life, one can say a lot through their gestures, posture, actions, facial expressions, and mannerisms. Think of it as coded language.

These are also fun ways to create dynamic dialogue tags. You could use a plain simple tag:

“You don’t really care about my headache,” she said.

Or you could try:

“You don’t really care about my headache.” She turned, tempted to throw a few pieces of fine china at him.

In Terminator Arnold Schwarzenegger doesn’t say, “Watch your back. I’m still a threat to you.” Instead he says, “I’ll be back.” (The subtext: remember I’m a threat as you learned from my previous actions and dialogue) These three words add tension, raise questions about the future, and make the audience hungry for more, especially into the sequel. You want to do that with your novel, especially if you are writing a series.

The dialogue is snappy and indirect. If it had been on-the-nose, it wouldn’t be as powerful. It would have spit the meaning at the audience rather than engaging them. “I’ll be back” stayed one step away from the actual meaning.

In The Great Gatsby we have this slice of dialogue:

“I’ve got a man in England who buys me clothes.  He sends over a selection of things at the beginning of each season, spring and fall.”

Is this really about clothes? No. It is about wealth.

Another example:

A 4th grade boy trudges his way to the front of the room and slips his paper onto Ms. Garcia’s desk.

After looking through two pages, she asks, “Are you sure you want to turn this in?”

What’s the subtext?  What’s the trudging mean? What does the teacher’s dialogue mean?

~~~

Karen, thanks for guesting and for giving TKZ an advance peek!

~~~

TKZers: Do you use subtext in your writing? How do you avoid on-the-nose dialogue?

No Risk It, No Biscuit

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by James Scott Bell
@jamesscottbell

If everything seems under your control, you’re not going fast enough. – Mario Andretti, legendary race car driver

Bruce Arians

Recently we had a bit of a discussion on taking risks, as part of Terry’s post on rules for writers. Today I’d like to give risk more focused attention.

Remember back in 2021 when the Tampa Bay Buccaneers won the Super Bowl by destroying the favored Kansas City Chiefs, 31-9? With a 43-year-old quarterback named Brady. And the oldest coach ever to win the big game, 67-year-old Bruce Arians.

Arians had followed a long and rocky career path as a quarterbacks coach in the NFL. He got hired and fired several times. His first year as head coach for the Bucs the team went 7–9. Then along came Brady and the Super Bowl.

Through it all, Arians had a saying that kept him and his teams motivated. He actually got it from a guy at a bar at a time when Arians thought his dream of being a head coach would never be realized. That saying is: No risk it, no biscuit.

Now doesn’t that sound like a quintessential football coach axiom?

As Arians’ cornerback coach, Kevin Ross, explained it, “If you don’t take a chance, you ain’t winnin’. You can’t be scared.”

What might this mean for the writer?

Risk the Idea

I think each novel you write should present a new challenge. It might be a concept or “what if?” that will require you to do some fresh research. My new Mike Romeo thriller (currently in final revisions) revolves around a current issue that is horrific and heartbreaking. I could have avoided the subject altogether. But I needed to go there.

My next Romeo, in development, came from a news item about a current, but not widely reported, controversy. It’s fresh, but I’ve got a lot of learning to do. I’m reading right now, I’ll be talking to an expert or two, and soon will be making a location stop for further research.

I do this because I don’t want to write a book in the series where someone will say, “Same old, same old.”

Admittedly, writing about “hot-button” issues these days carries a degree of risk. Especially within the walls of the Forbidden City where increasingly the question “Will it sell?” is overridden by “Will it offend?”

But as the old saying goes, there is no sure formula for success, but there is one for failure—try to please everybody.

Craft Risk

Are you taking any risks with your craft? Are you following the Captain Kirk admonition to boldly go where you have never gone before?

There are 7 critical areas in fiction: plot, structure, characters, scenes, dialogue, voice, and meaning.

You can take one or all of these and determine to kick them up a notch. For example:

Plot—Have you pushed the stakes far enough? If things are bad for the Lead, how can you make them worse? I had a student in a workshop once who pitched his plot. It involved a man who was carrying guilt around because his brother died and he didn’t do enough to save him. I then asked the class to do an exercise: what is something your Lead character isn’t telling you? What does he or she want to hide?

I asked for some examples, and this fellow raised his hand. He said, “I didn’t expect this. But my character told me he was the one who killed his brother.”

A collective “Wow” went up from the group. But the man said, “But if I do that, I’m afraid my character won’t have any sympathy.”

I asked the group, “How many of you would now read this book?”

Every hand went up.

Take risks with your plot. Go where you haven’t gone before.

Characters—Press your characters to reveal more of themselves. I use a Voice Journal for this, a free-form document where the character talks to me, answers my questions, gets mad at me. I want to peel back the onion layers.

How about taking a risk with your bad guy? How? By sympathizing with him!

Hoo-boy, is that a risk. But you know what? The tangle of emotions you create in the reader will increase the intensity of the fictive dream. And that’s your goal! In the words of Mr. Dean Koontz:

The best villains are those that evoke pity and sometimes even genuine sympathy as well as terror. Think of the pathetic aspect of the Frankenstein monster. Think of the poor werewolf, hating what he becomes in the light of the full moon, but incapable of resisting the lycanthropic tides in his own cells.

Dialogue—Are you willing to make your dialogue work harder by not always being explicit? In other words, how can you make it reveal what’s going on underneath the surface of the scene without the characters spelling it out?

Voice—Are you taking any risks with your style? This is a tricky one. On the one hand, you want your story told in the cleanest way possible. You don’t want style larded on too heavily.

On the other hand, voice is an X factor that separates the cream from the milk. I’ve quoted John D. MacDonald on this many times—he wanted “unobtrusive poetry” in his prose.

I’m currently reading the Mike Hammer books in order. It’s fascinating to see Mickey Spillane growing as a writer. His blockbuster first novel, I, The Jury, is pure action, violence, and sex. It reads today almost like a parody. But with his next, My Gun is Quick, he begins to infuse Hammer with an inner life that makes him more interesting. By the time we get to his fourth book, One Lonely Night, Hammer is a welter of passions and inner conflict threatening to tear him apart. His First-Person voice is still hard-boiled, but it achieves what one critic called “a primitive power akin to Beat poetry.” And Ayn Rand, no less, put One Lonely Night ahead of anything by Thomas Wolfe!

In short, Spillane didn’t rest on his first-novel laurels. He pushed himself to be better.

He risked it for the biscuit. And he ate quite well as a result.

Over to you now. Are you taking any risks in your writing? Are you hesitant, all-in or somewhere in between? How much do you consider the market vis-à-vis trying taking a flyer?

Writing Tips from Elmore Leonard’s Boyd Crowder

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If you haven’t watched Justified, check it out. It’s a goldmine for writers. The FX series is based on Elmore Leonard’s short story, Fire in the Hole, and three books, including Raylan. In fact, all the actors wore wrist bands that read WWED — What Would Elmore Do?— to stay true to the creator’s vision.

Elmore Leonard worked on the show till his death in 2013.

The series follows Raylan Givens, a U.S. Marshal, played by Timothy Olyphant, who returns to his hometown of Kentucky to take on the local criminal element. Boyd Crowder, an old friend, proves to be his toughest nemesis. Raylan may be the hero, but Boyd, the villain, steals almost every scene. Boyd is calm, funny, and deadly. The back-and-forth between Boyd and Raylan is absolutely mesmerizing. Elmore Leonard did a masterful job of creating these two characters.

I’m not sure if we mere mortals could pull off such a memorable character like Boyd, but he sure is inspiring. Aside from Leonard’s expert characterization, the remarkable talent of Walton Goggins never lets you see the full picture as clearly as you think you do. Just when you’ve figured Boyd out, he switches sides and teams up with Raylan to bring down a bad guy.

Writing Tip: The best villains have at least one endearing characteristic.

To Elmore Leonard’s credit, Raylon also blurs the line between hero and anti-hero.

Writing Tip: The best heroes are flawed.

Fun fact: Walton Goggins only signed on for the pilot episode, in which Boyd was supposed to die, but Elmore Leonard wanted to explore the character in more depth. The rest, as they say, is history.

Boyd Crowder’s Characterization

Rap sheet: Silver-tongued bank robber turned low-level Kentucky kingpin with higher aspirations and an occasional religious “born again” streak.

Superpower: Nobody who knows this many 50c words has fewer compunctions about stabbing you in the back. Nobody likely to stab you in the back knows this many 50c words.

Kryptonite: He’s desperately in love with his former sister-in-law.

Writing Tip: When crafting characters think outside the box.

What makes Boyd truly stand out is his poetic dialogue, which we’ll get to in a sec. First, let’s look at a few of his one-liners.

Arguing with a man who has renounced reason is like giving medicine to the dead.

I believe you dictate the river of fate through your own actions.

I’ve learned to think without arguing with myself.

A man who speaks out both sides of his mouth deserves to have it permanently shut.

I’ve been accused of bein’ a lot of things. Inarticulate ain’t one of ’em.

He’s right! I should probably note: Until you’re as famous as Elmore Leonard, attempting the following dialogue in your WIP might not work. 😉

Boyd: Well, well, well… I hesitate to ask what brings us the pleasure of this divine coincidence that we find ourselves crossing paths this fine spring morning.

Translation: What are you doing here?

Boyd: I fear, my brother, I am in a quandary as to your inner thoughts and the impact of said ruminations on your future actions in this here hollow.

Translation: What’s up?

Boyd: Mr. Augustine, seeing as how Drew Thompson’s already in the Marshalls’ custody, why you’re cutting off the tail of my cousin and offering him up is opaque to me.

Translation: What do you want?

Boyd: I fear that within my belly stirs the emanations of desire for a product that sates the ache within.

Translation: I’m hungry.

Boyd: Well, my darling, being a lowly omnivore like yourself, I shall choose from this glorious list of animal flesh—the edible prize that men have hunted and killed for centuries, incidentally—a rounded flesh of cow, slipped within a doughy mattress, saddled with cheddar.

Translation: I’ll have a cheeseburger.

Boyd: Be that as it may, I sense within me a growing, nagging torpor that seeks a temporary hibernation in a solitary area for comfort and slumber.

Translation: I’m going to bed.

Make no mistake. Boyd is a dangerous guy. Check out one of the best murder speeches ever written.

That’s a rap, folks! May 2021 be your most successful year yet.

Have you watched Justified or read Fire in the Hole?

Join the giveaway for a chance to win 33 fast-paced thrillers and a new e-reader! No email required.

Enter to win here: https://t.co/k0oZKfcIYX?amp=1

Good luck!

 

How To Speak Cop — Version 1.0

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As a retired police officer and now starving artist writer, I pay attention to others who write true crime and crime fiction. I read (actually skim) more for craft than story because I’m still very much in the learning curve when it comes to writing. Like the investigation business, I think a writer never stops discovering new techniques and benefiting from mistakes. A regular flaw I see in reading some crime publications—the writer just doesn’t know how to speak cop.

Every vocation has its lingo. In my shadow life, I’m a ticket-holding marine captain. An old boat skipper. I know Sécurité, Pan-Pan, and Mayday-Mayday-Mayday. They’re common emergency calls in the airplane world, as well. Industries like film production have their unique terms like Rigger, Gaffer, and Abby Singer Shot. And the sex trade has… well…

I think that in writing convincing crime stories, whether true or false, it’s critical to get the cop-speak right—specific to the specific location (as variances exist). Part is not being scared to use to F-word because all cops and crooks swear. The trick is using it sparingly and not mimicking a realistic alcohol-fueled-end-of-the-night party at a truck loggers convention. Trust me. I’ve been to one.

Setting profanity aside, there are day-to-day conventions in police terminology. Some writers get it right. Some don’t. The difference is in research, connections, understanding locality, and personal experience. Here are the basics in how to speak cop. Version 1.0.

Radio Procedure – The Ten Code

I’ve never heard of an English-speaking police department that doesn’t use some sort of ten code on the radio. Some officers are so indoctrinated that they write tens in their reports. The reason for a ten code radio procedure is brevity. It’s not for secrecy. That’s a whole different matter with encrypted devices and mission-specific codes. Here are the most common ten codes that seem to be universal.

*Note – 10-Codes greatly vary between jurisdictions. These are the most common ones*

10-1 — Unable to copy

10-4 — Copy, Yes, Affirmative, Acknowledged

10-6 — Busy, Occupied, Tied-up

10-7 — Stopped, At scene, Out of vehicle

10-8 — Back in service, Available for calls

10-9 — Repeat, Say again, I didn’t understand

10-10 — Negative, No, It’s BS

10-12 — Stand by, Stop transmitting

10-19 — Return to, Go back

10-20 — Location

10-21 — Call by phone

10-22 — Disregard, Fuhgetaboutit

10-23 — Arrived at Scene

10-27 — Driver license info requested

10-28 — Vehicle plate info requested

10-29 — Check person/vehicle/article for wanted

10-33 — Emergency! Officer Down! Officer in Peril!

10-60 — Bathroom Break

10-61 — Coffee break

10-62 — Meal break

10-67 — Unauthorized listener present

10-68 — Returning to office (RTO)

10-69 — Breathalyzer operator required

10-100 — I have no f’n idea what you’re talking about

The Phonetic Alphabet

I see this screwed-up so often. Some attempts are quite creative. Amusing, if not hilarious. “Bob” for B is real common. So is “Dog” for D. But, I’ve heard “Banana” and “Dillybar”, and I’ve heard “Limmo” for L, “Monica” for M, and more “Nancy” than I can count. Then there’s “Sylvester-as-in-Stallone”, “Tattoo”, and “Ugly”. Here are the right phonetic alphabet radio calls (worldwide):

Note: Phonetic alphabet pronunciations vary in regions. These are the universal ones that international transportation uses.

A — Alpha

B — Bravo

C — Charlie

D — Delta

E — Echo

F — Fox or Foxtrot

G — Golf

H — Hotel

I — India

J — Juliet

K — Kilo

L — Lima

M — Mike

N — November (not Nancy)

O — Oscar (not October)

P — Papa (not Penny or Pork Chop)

Q — Quebec

R — Romeo

S — Sierra

T — Tango

U — Uniform

V — Victor

W — Whisky

X — X-ray

Y — Yankee

Z — Zulu

The Rank System

There are two main ranking systems in the western police world. One is the constabulary like used in British Commonwealth countries. The other is military which is common in U.S. jurisdictions. Both are top-down rankings where they start with an omniscient power that oversees minions. Here are typical organizational charts for the two structures.

Constabulary Commissioned Officers

Commissioner

Deputy and Assistant Commissioners

Superintendents

Inspectors

Constabulary Non-Commission Officers

Staff Sergeants

Sergeants

Corporals

Constables

Military-Style Police Officers

Chiefs

Deputy Chiefs

Colonels

Majors

Captains

Lieutenants

Sheriffs

Military-Style Police Rank & File

Sergeant

Detective Sergeant

Detective

Deputy

Officer

General Cop Speak

I see a lot of crime books where the protagonist is a high ranking police officer like a DCI (Detective Chief Inspector) or a Precinct Captain. These sound good and powerful, but the reality in police investigations is the grunts do most of the work. Detectives, Beat-Officers, and Constables go out there and arrest suspects, interrogate them, and then get their butt roasted in court.

Commissioners are politicians and serve at the pleasure of their master. Superintendents, Sheriffs, and Inspectors are budget-driven paper-pushers. Most Staff Sergeants and Captains spend more time on HR matters than criminal overseeing. It’s the Lieutenants, Sergeants, and Corporals that supervise the police workhorses—the deputies, constables, and officers.

I could go on about cop-speak like surveillance terms. “R-Bender”. “Stale Green”. “Crowing”. “Taking Heat”. Or, administrative stuff that takes up most of the time. “Per-Form”. “C-264B”. And, “Leave Pass”.

Cop Speak Resource

I’m steering you to B. Adam Richardson. Adam is a still-serving detective with a Southern California Police Department. Adam can’t reveal his true name or actual location because of security reasons, but Adam runs two Facebook sites dedicated to helping crime writers get it right. Here’s the link to Writers Detective and his FB rules:

https://www.facebook.com/groups/WRITERSDETECTIVE/

“There has been some discussion in this group about what the rules are. Since my day job is all about enforcing rules, I wanted to let this group grow on its own and develop its own feel without me having to create rules.

I have seen other groups that are nothing more than mean/cynical replies to honest questions and spammy book promos. I hate those.

For the most part, I have been quite happy that this has grown into a very supportive group. I want our atmosphere of support and the celebrating of writing milestones to continue.

Although I am the one that started this group, I don’t own this group. You do. The intended purpose of this group is for writers like you to find the law enforcement related answers you’re looking for. I try my best to keep up with the Q&A, but I can’t answer every question. The beauty of this group is leveraging the collective experience and/or research of the membership. So, allow me to clear something up:

Anyone can post a question or an answer in this group.

We have a wealth of collective knowledge and experience in here. I know our members include a former CSI tech, a criminal defense attorney, a former MP, a former Coroner, and a ton of crime-fiction writers with solid research into serial killers, forensic science, and criminal psychology. That’s just the members I know about and that doesn’t even include the cops in the group. You do not need to be a cop to answer questions in here.

Yes, the quality of the answers will vary. I want to recognize that everyone offering an answer is doing so to help a fellow writer and spark discussion.

Many have come to this group seeking answers from a cop’s perspective and we’ll continue to offer that. I fully admit that answers coming from a cop’s perspective aren’t always right either. (Just ask a defense attorney.)

Often, the reality of how things play out on the street is very different from how textbooks and courtroom testimony portray things. We (the cops in this group) do try our best to give you the truth of what we’ve seen and experienced. I just ask that you recognize that our answers may differ from what research into a subject indicates. Research, textbooks, and courtroom testimony often paint things in black and white, while reality is a blur of varying shades of gray. Recognizing these differences are key to identifying and capturing realism for your own stories.

Sure, there may be answers posted that are solely based upon what someone saw in an episode of Miami Vice or CSI…but I’d prefer to not censor answers, especially when the poster’s intention was to be helpful. It is up to you to figure out what is relevant, factual, and useful for your own writing projects.

I propose we start using our Like buttons to act like a Reddit/Quora style “up-vote” on best answers to a particular question.

There may be some debate over answers, but that is to be expected. We can all learn from civil discussions about the issues at hand. These debates happen in criminal justice all the time; it’s the very basis of our judicial process.   ~ Adam”

Adam R. also has a FB site at Writers Detective Bureau. Check out this link:

https://www.facebook.com/writersdetective/

So, that’s it for How To Speak Cop — Version 1.0. Anyone interested in a more detailed post… Version 2.0 ?

— — —

Garry Rodgers is a retired homicide detective with a second career as a forensic coroner. Now, Garry has re-invented himself as a writer with a based-on-true-crime series on cases he was involved in. Check out Garry Rodgers on his Amazon Author Page, Twitter, Facebook, and his website at DyingWords.

Garry’s newest book in the true crime series, On The Floor, will be out in mid-August 2020.

Deep Dive into Craft: First Page Critique

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I’ve got a special treat for you today. This Brave Writer submitted their first page for critique. Check it out. My comments will follow.

Lucky Lynx

Eduardo’s gun gleamed in the evening light as he tucked it into his shoulder holster.

“This guy Luckee ain’t a threat’,” he scoffed, as he pulled his jacket closer. “He’ll fold like the rest, we just gotta push him.”

Carlos shook his head. He didn’t take his hands off the wheel as the battered Ford Bronco jounced over the pothole-ridden street. “You know Hector Flores, ran with Familia Michoacana?”

“What if I do?”

“He gone. Double-crossed Luckee in a deal. Next day, his bank accounts disappeared.  Two days later, cops pick him up for murder. He’s up for fifteen at Riker’s.”

That made Eduardo sit up. The seat’s rusty springs made a creak.

“Hector never offed no one!”

“That’s right.” Carlos turned the Bronco down a side street. “Luckee hacked into the cops’ database. Swapped evidence with a gang-banger, pinned it all on Hector.”

“You’re messing with me, primo. This nerd a magician? I ain’t believing that shit!”

“Don’t matter what you believe. This guy can erase lives with a click. Don’t cross him, cousin. Keep that nine-iron under your jacket.”

Eduardo shifted in his seat.  The gun was a reassuring weight against his side.

The Bronco’s motor slowed to a grumble as Carlos pulled into the parking lot behind an old warehouse. The building’s broken windows and boarded-up doorways glinted against the sunset. The SUV’s headlights illuminated a group of four men standing next to a pair of Dodge Chargers. The lot’s outer fence ran close behind them.

Carlos put the vehicle in park, shut the motor off, and got out.  Eduardo followed suit. Their steps sounded abnormally loud in the sudden silence as they walked up to the fence.

Three of the four men watched warily as they approached.  The fourth one took a step forward. A pale face jutted out from beneath a black hoodie sweatshirt.  The sweatshirt hung loose around a lean, slender frame.

“The package is up against the fence, twenty yards to your right,” he said, in a young, high-pitched voice. “Either of you can pick it up and verify I’ve delivered what you want. If it checks out, then you’ll pay the agreed amount. You will not exit the premises until we signal that we have counted the bills.”

“Fine. I’ll pick it up,” Carlos said.

Eduardo scowled at the hoodie-wearing figure.

“You’re just a kid.”

A pause. “The name’s Ti. And yeah, I’m a kid. A kid who scored you your shipment.”

Brave Writer did a terrific job with this opener. S/he has a firm grasp of POV and the dialogue is easy-going and natural, though at times it took me a moment to figure out who was speaking. Easy fix, which we’ll get to in a moment. Because Brave Writer has the basics down, this gives us a great opportunity to dive a little deeper into craft.

First, let’s compare Brave Writer’s dialogue with my favorite craft book for dialogue: How To Write Dazzling Dialogue by James Scott Bell.

In Chapter 3, Jim gives us a checklist for what dialogue should accomplish.

  1. Dialogue Should Reveal Story Information.

But only reveal enough information for the reader to understand the scene. Everything else can wait.

Dialogue is sometimes the more artful way to reveal story information. But here’s the key: the reader must never catch you simply feeding them exposition!

Jim gives us his two top tips…

First, determine just how much exposition you really need. Especially toward the front of your novel. Here’s one of my axioms: Act first, explain later. Readers will wait a long time for explanatory material if there is solid action going on.

In fact, by not revealing the reasons behind certain actions and dialogue, you create mystery. That works in any genre. Readers love to be left wondering.

Second, once you know what you need to reveal, put it into a tense dialogue exchange.

In other words, hide the exposition within confrontation.

For the most part, Brave Writer succeeded in this area. But the punctuation causes confusion. For example…

“You know Hector Flores, ran with Familia Michoacana?”

“What if I do?”

For clarity try something like: “You know Hector Flores? [That dirtbag who] ran with Familia Michoacana.”

“What if I do?” doesn’t sound right to this particular reader. Simple and direct works best. Example: “That dude? Punk. He’s lucky I didn’t—”

“[Anyway,] he’s gone. Double-crossed Luckee in a deal. Next day, his bank accounts disappeared. Two days later, cops pick him up for murder. He’s up for fifteen at Rikers.”

Rikers Island has no apostrophe, Brave Writer. Do your research! It took me all of two seconds to confirm. Details can make or break a story.

Careful of run-on sentences, too. Example: “He’ll fold like the rest, we just gotta push him.”

Those are two sentences that should be separated by a period.

  1. Dialogue Should Reveal Character.

We can tell a lot about character by the words they use. Jim gives us another checklist to keep in mind.

  • Vocabulary: What is the educational background of your characters? What words would they know that correspond to that background?
  • Syntax: When a character does not speak English as a first language, syntax (the order of words) is the best way to indicate that.
  • Regionalisms: Do you know what part of the country your character comes from? How do they talk there?
  • Peer groups: Groups that band together around a specialty—law, medicine, surfing, skateboarding—have pet phrases they toss around. These are great additions to authenticity.

Did Brave Writer accomplish this task? Let’s find out… 

“Hector never offed no one!”

“That’s right.” Carlos turned the Bronco down a side street. “Luckee hacked into the cops’ database. Swapped evidence with a gang-banger, pinned it all on Hector.”

“You’re messing with me, primo. This nerd a magician? I ain’t believing that shit!”

The vocabulary, syntax, regionalism, and peer groups are all represented. Yet, something still feels off. If we look closer, Eduardo’s dialogue works really well. It’s Carlos’s dialogue that needs a minor tweak. “That’s right” is too on-the-nose. A more natural response might be, “No shit. But get this.” The rest of this short exchange works well.

Quick note about nicknames. If “primo” is the name Eduardo uses for Carlos, then be consistent. Don’t use both, especially on the first page. After all, we’re inside Eduardo’s head. If he doesn’t think of Primo as Carlos, then the reader shouldn’t either while we’re in his POV. 

  1. Dialogue Should Set the Tone (and Scene) 

The cumulative effect of dialogue on readers sets a tone for your book. Be intentional about what you want that tone to be… First, the way characters react to their surroundings tells us both about the location and the people reacting to it.

Brave Writer nailed this part. We know exactly where we are, and the tone is consistent. Great job! 

  1. Dialogue Should Reveal Theme

Certainly, many writers do care about message, or theme. The danger in dialogue is to allow the characters to become mere mouthpieces for the message. This is called getting “preachy.” The way to avoid this is to place the theme into natural dialogue that is part of a confrontational moment. As with exposition, a tense exchange “hides” what you’re doing.

With such a small sample, it’s difficult to determine if Brave Writer accomplished this task or not. Just keep it in mind.

Aside from dialogue…

Sentence Variation and Rhythm

The Bronco’s motor slowed to a grumble as Carlos pulled into the parking lot behind an old warehouse. The building’s broken windows and boarded-up doorways glinted against the sunset. The SUV’s headlights illuminated a group of four men standing next to a pair of Dodge Chargers. The lot’s outer fence ran close behind them.

In this one paragraph every sentence begins with “The,” which dulls the image you’re trying to convey. By varying the sentences you’ll draw the reader into the scene. Let the writing work for you, not against you.

Example:

Carlos veered into the back-parking lot, and the Bronco’s motor slowed to a grumble. Broken windows, boarded-up doorways, the headlight’s cast cylindrical spheres across the skewed faces of four men huddled next to a pair of Dodge Chargers. A chain link fence acted as an enclosure to keep this deal from going south—no one could escape unnoticed.

It’s still not great, but you get the idea.

Also, don’t rely only on sight. Add texture to the scene with smells, sounds, touch, and taste. Could there be a harbor bell in the distance? What might that sound like to Eduardo? Is he nervous and chews on his inner cheek to the point where blood trickles onto his tongue? Drag us deeper into the scene by forcing us into that Bronco.

Clarity

We never want the reader to wonder who’s speaking. An easy way to fix this is to move the dialogue up to the cue.

So, instead of this:

Eduardo’s gun gleamed in the evening light as he tucked it into his shoulder holster.

“This guy Luckee ain’t a threat’,” he scoffed, as he pulled his jacket closer. “He’ll fold like the rest, we just gotta push him.”

Try this:

Eduardo’s gun gleamed in the evening light as he tucked it into his shoulder holster. “This guy Luckee ain’t a threat’,” he scoffed, as he pulled his jacket closer. “He’ll fold like the rest. We just gotta push him.”

Or simply substitute “Eduardo” for “he.”

This raises another issue, though.

Would Eduardo really notice the sunlight gleaming off his gun as he’s holstering the weapon? Not likely. Remember Jim’s #2 tip: Dialogue Should Reveal Character. What I’m sayin’ is, you need a better opening line. We’ve discussed first lines many times on the Kill Zone. Check out this post or this one. For scene structure tips, see Jim’s Sunday post.

I better stop there. All in all, I think Brave Writer did an excellent job. The characters are real and three-dimensional, the tone is dark and pensive, and the dialogue keeps the scene active. I’d definitely turn the page.

The question is, do you agree? How many of you would turn the page to find out what happens next? What did you like most? How might you improve this first page even more?

First Page Critique: The God Glasses

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Jordan Dane
@JordanDane

Please enjoy the first 400 words of “The God Glasses” from an anonymous submitter. I’ll have my critique after the excerpt. Please contribute constructive criticism in your comments.

***

Ella raced up the stairs as fast as her twelve year old legs could carry her. She had one objective, the same one every time—to escape the terror. She stopped mid-way and listened to her mother scream at her father.

“You never listen to me! You’re buried in your work, your motorcycle, or your sports. We wait for you to come home, but you never do. When you’re here, you’re somewhere else. Why don’t you just go away and never come back? Wouldn’t be much of a change—”

A slap and a heavy fall. Mama moaned—a pitiful sound, Ella thought. Her fists balled up at her sides, her legs shook.

She crept back down to the landing and peered over the railing into the kitchen. Daddy picked Mama up by the hair and backed her tight against the wall, his other hand knotted on her breastbone, pushing cruelly. He towered over her smallness, tattooed muscles bulging under his sleeves, face mere inches from hers. He wrenched her head back, forcing her to look up.

Mama’s wide eyes met hers. She blinked and a tear wetted her bruised cheek.

Ella gripped the rail. It creaked.

Daddy jerked his head up and smiled. He moved his hand from Mama’s breastbone to her throat and leaned in, thrusting his mouth next to Mama’s ear.

“You watch your mouth or I just might leave and never come back!” he screamed. Pulling back, he said, “What would happen to you and the girl if I left? How would you like that—to have to go and beg for help from that old woman up the street? Yeah, I thought not. So straighten up. I’m going out.” He snapped her head back. She fell again with a crash, upsetting the small side table which held his liquor and glasses.

“Clean that up before I get back,” he bellowed.

“Clean it up yourself, you pig—”

Ella ran, long dark hair streaming behind her. She stumbled on the top stair and fell to her face. She picked herself up, raced to her bedroom closet, and yanked the door open. She backed into the corner and sank to the floor, hands tight against her ears.

After Daddy leaves, I’ll go see Grandmother. She’ll tell me again about her God glasses. Maybe she’ll let me wear them.

She rocked back and forth, recalling better times.

***

FEEDBACK

First impressions, I like this author’s voice and the clear concise writing with visual imagery. Good use of the senses. On the surface, there is plenty to get drawn into with Ella. I like that the author stuck with the actions of the domestic violence scene and didn’t stray into backstory or an explanation. I’m rooting for Ella and love that the author has told the story through a twelve-year-old girl’s eyes. Domestic violence through a child’s eyes can be more powerful. Readers will want to protect her, but this first scene feels rushed for the sake of action. Violence like this should be more emotional, especially from a kid’s eyes. Make us feel Ella’s fear and helplessness.

We have clean copy and a solid start, but let’s dig deeper from a bird’s eye view to see how we can strengthen this scene.

ANOTHER OPENING SUGGESTION – The author has a choice to start with action (as in this case) or ground the reader into Ella’s world before the violence happens and build towards it. Anticipation can milk the tension in ways this action opening can’t. Would readers relate to Ella more if they got a taste of her world before the shocking inevitable happens? Should the author build toward a mounting dread that her father will be home or he’s late and both mom and daughter know what that means (without telling readers)?

In this opener, it’s my gut instinct when dealing with a young protagonist to show her world in a short punchy beginning that doesn’t slow the pace. Make every word count and build on what will happen with hints of foreshadowing. As much as I like the action in this opener, I can see how an unexplained growing tension between a mother and daughter can pique a reader’s interest more. Have Ella rushing to finish her homework from the safety of her small bedroom and not quite get it done because her mother yells for her to come downstairs to set the table. That would allow the reader to know what kind of mother she is before everything erupts.

Ella and her mother look at a clock ticking on a wall. When they hear boots climbing stair outside, they tense and wait for the door to open. He steps into the small apartment and he reeks of alcohol. Have Ella read her mother’s cues. Both women know what’s coming. How do they each react? Have patience for the scene to erupt and build on the natural tension.

In this current scene, Ella’s mom aggressively goes after the angered dad and puts Ella in danger. That makes both parents look bad. Is that the intention of the author? I don’t know. Let’s talk about character motivation.

CHARACTER MOTIVATION – This feels like violence that has happened more than once. If Ella’s mother is a battered wife, why would she taunt this man into beating her? She’s overly aggressive with someone who will punch her in the face and put her daughter in danger. It doesn’t feel natural, from a motivation standpoint. If the author would show more of how this anger is triggered and how the reactions would flow, the violence would be more grounded for the reader.

Also, Ella runs scared up the stairs, but turns around and comes back to watch. That feels like a cheat to the reader, to get them into the race up the stairs, only to deflate the tension by having Ella retreat. I can totally see a young kid who might want to protect the mom, stick around to watch. But that’s not how this began.

Make the reader understand why Ella might have a reason to protect the mom. By a slower build toward the violence, we could get a glimpse into Ella’s personality. Is she feisty or a beat dog? Is she ready to fight when her mother isn’t? Ella’s character motivation could be more interesting in this opener.

As a reader, I’m questioning character motives. The author should have patience to let the reader know the hearts of these characters. Contrivances (for the sake of action and tension) don’t allow the reader to buy into the story.

DIALOGUE – There are two long dialogue groupings – the first one when the mom goes after the dad. The second comes when the dad yells back. Because these are grouped together, they feel contrived and forced. Arguments, especially when there is violence, they are more believable if there is an exchange with shorter lines. Let the action ratchet up the tension and have the dialogue be punchy and shorter. More natural.

Have the dialogue get louder. Maybe have a neighbor yell and pound the thin wall, “Shut up or I’ll call the cops.” Then finish with the violence that will stop both parents. I can see him yelling down at her as she struggles to stay conscious.

“See? You drive me crazy. You always ask for it.”

RESEARCH – Abusers often blame their victims. It wouldn’t hurt to research the psychology behind domestic violence. Good research on motivation will add authenticity. Although there are lots of good books on the subject, I often look first at online articles on any given topic. These type of articles can inspire ideas on how to add impact to a scene. Here is a link to “The Psychological Wounds of Domestic Violence.”

COMBINE THE YELLING LINES? The long diatribe has the potential of losing the interest of the reader if it’s lumped together, without much grounding. Below is an example of breaking apart the dialogue groupings and combine them, with tensions escalating toward his first assault on her.

“You never listen to me!”

“Watch your mouth.”

“You’re buried in your work, your motorcycle, or your sports. That’s what matters to you. Not us.”

“Give me something to come home to. Look at you. You’re a mess.”

“Why don’t you just go away and never come back? Wouldn’t be much of a change—”

“Oh, yeah. What would happen to you and the girl if I left? How would you like it if you had to beg for help from the old woman? You don’t know how to make it alone.”

“Being alone is better than being with you.”

“You ungrateful pig.” (He strikes her)

WHAT WOULD ELLA DO? – What options does Ella have as a twelve-year-old child? Even if you didn’t change this scene much, I wondered what was going through Ella’s mind as she sat at the top of the stairs and watched her dad beat her mother. She must be in agony. I wanted the author to show the conflicts that must be raging through her. For Ella to sit on the stairs, without lifting a finger to call police or help her mom, that did not feel normal.

If you have the neighbor call the cops, the sirens could be wailing before he storms out, leaving Ella and her mom to deal with the aftermath. Ella would want to see if her mom is okay, wouldn’t she? Would she try to stop her father? The combination of Ella crying and fending off the old man, along with the cop sirens coming, could be enough to make the wife beater leave. But Ella running to hide in her closet, without checking on her mother, doesn’t seem heroic.

That’s why it matters to build on Ella’s world, even a little. A stronger foundation gets the reader in the girl’s corner from the start. We get a glimpse into her home life and how she feels toward her mother and father.

TITLE – I’m not sure what God’s Glasses have to do with the story. I like the title but I’m not sure why yet. It piqued my interest, but don’t rush to have Ella thinking about the old woman and God’s glasses. That feels like a contrivance for the sake of having a better opening scene cliffhanger. Be patient as the story unfolds. I’m sure there is something magical about God’s Glasses and Ella.

SUMMARY – This is the kind of story that would make it through a writer’s group reading with flying colors. It’s clean copy and there’s a lot to like about it. But as I read this strong opening, I had questions in my mind. Character motivation is a big one. Make it believable and real. Then ask yourself, is there a better way to start this? I don’t know if Ella will be a main character. I presume so, given the title, but it’s doubly important to have the reader think favorably of her from the first page. Or at least, be intrigued enough to turn the page. Have patience to portray your character. I normally love to start with action. Many of us do, here at TKZ. But with this opening, I thought a more deft hand in Ella’s portrayal was needed. What do you think, TKZers?

DISCUSSION:

Let me know what you think of this story, TKZers. I’m pretty sure we would all turn the page of this story, but what would you do to make this intro stronger?

Do you have different ideas on how to make this opening stronger?

Are there relationship elements between Ella and her parents that would enhance this scene?

 

5 Key Ways to Balance Internal Monologue with Pitfalls to Avoid

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Jordan Dane
@JordanDane

Attribution – Niki K (Wikimedia Commons)

John Gilstrap had an excellent post yesterday on Internal Monologue that resonated with me. He gave great examples of what works and what may not, with explanations on his sage reasoning. He certainly gave me things to think about in my own writing.

I tend to write in deep POV and very tight, with sparse narratives. This is especially true when I write my novella length stories for Kindle World, which is a great exercise in writing a tight plot and keeping the pace up.

In my full novels, I reign in my internal monologue and make it focused, with the character having a journey from beginning to end of the book, as well as a journey even within each scene, so I don’t repeat the deep POV thoughts.

On the FOR WRITERS resource on my website, I have a post titled – START WITH A BANG. If you scroll down to the “Ever thought about building an onion from the inside out?” sub-heading, you’ll find a section on how I let dialogue be the starting framework and how I layer in elements to fill out a scene. Internal monologue is vital to establishing my character’s journey and emotional growth and it’s something I focus on a great deal – even when I do my final draft read – but it’s the last thing I add to any scene, because I want to control it and isolate the journey to avoid pitfalls.

Despite my own methods, I greatly admire writers like Michael Connelly (particularly his Bosch series) where his mastery of his character’s internal views feel so authentic of an experienced war weary cop. He effortlessly brings in Bosch’s personal relationships and his workload to give a 360 view of this man’s life. That’s not an easy thing to do. It requires an intense knowledge of his character Bosch.

No matter how a writer learns how to craft internal monologue, it is easily one of the areas an author can veer off course and overuse…or under use, for that matter. Have you ever read a book that is all action, devoid of emotion or insight into the character’s internal battle and conflict? This is definitely a balancing game to get internal monologue to enhance your writing and make your stories memorable for readers.

Key Points to Finding the Right Balance for Internal Monologue:

1.) DIALOGUE – If you see your narrative paragraphs stretching out onto the page in weighty clumps, look for ways to make your internal monologue lean and mean by use of dialogue. This is something I have to pay attention to, even with my sparse style. Clever dialogue is a challenge, but it can be so much fun to write.

Plus, effective dialogue can help you pace your novel and tease the reader with red herrings or mystery elements, and not a plot dump of internal thoughts.

2.) LESS IS MORE – It’s easy to get carried away with every aspect of a character’s POV. The reader doesn’t need to know every logical argument for their action or inaction. People don’t think like this, especially in the heat of the moment in an action scene.

Have patience to let the story unfold. Too much internal thought can dry up pace and bore readers. The reader doesn’t need to know everything, especially all at once in a dump.

Also be careful NOT to repeat the same thought over and over. Repeating internal strife does not constitute a journey. It only reminds the reader that the author is searching for different ways to describe the same thing. Oy.

3.) TIMING – pick your spots when internal monologue makes the most sense. James Scott Bell wrote a great post on What’s the Deal on Dreams in Fiction where he talks about starting a novel with a character in thought, no action or disturbance. Resist the urge to bury your reader in internal monologue right out of the gate.

In addition, if your character is in the middle of a shoot out, that would not be the most opportune time to share his feelings on getting dumped by his girlfriend, not even if she is the one shooting at him. (Although I would love to read a scene like that.) To make the danger seem real, stick with the action and minimize the internal strife until it’s logical for the character to ponder what happened after.

Plus, if you spill the exposition too early, the reader won’t retain it as well as if you had waited for the right timing, when the reveal would be most effective.

4.) SHOW DON’T TELL – Once you get into the quagmire of telling a character’s POV, it’s too easy to get carried away with the rest of your book. If you can SHOW what a character is feeling, and let the reader take what they will from the scene, you will leave an image nugget that will stick with them. TELLING doesn’t have the same impact.

5.) ACTION & DIALOGUE DEFINE CHARACTER – These are the two areas where readers will most remember a book. Unless you’re into author craft and can appreciate the internal monologue finesse of John Gilstrap and Michael Connelly and many other author favorites, you probably may not remember how effectively the author used internal monologue. It’s like the color black. It goes with everything in such a subtle way that you may not notice it.

FOR DISCUSSION:

1.) What tips do you have to share on how you handle internal monologue in your own writing?

2.) With the key points I listed above, do any of them pose a particular challenge for you?

3.) Name a recent book you read where you noticed the author’s deft handling of internal monologue. (I would love to expand my TBR pile.)