ADMIN NOTE: This post has been taken from an article originally created by NovelDoctor.com. 
selkierps:

Good Dialogue

The things stated below were not written by me. A friend of mine had found this information and thought that it could be useful for writing. I do not know where the information originally originates from, but all credit goes to them. I’m just trying to make the information available to all who will find it useful. 

Simplify Attributions – As much as possible, just use “said” and “asked” and their variations in dialogue scenes. Or use nothing at all when the context makes it unquestionably clear who’s talking. People who bark, spit, grunt, or burp their words need to see a doctor. Or a veterinarian. Clever attributions can divert attention from the dialogue to the attribution itself. You don’t want this to happen. “Trust me,” he puked.
Don’t Be a Puppet Master – In real life, people bring assumptions and prior knowledge to a conversation. This is also true for your fictional characters. Don’t force dialogue through your characters’ throats because you need to tell the reader something. If the information wouldn’t naturally be revealed in the context of the conversation, find another way to deliver it. Your characters aren’t puppets; they’re people. Treat them as such.
Maintain Believable Pacing – Most conversations aren’t like a game of ping-pong, despite how convenient it would be to use ping-pong as a visual metaphor. Unlike ping-pong, the back and forth of conversation is uneven, sometimes dominated by one party, sometimes rapid-fire, sometimes languid. Context should always determine who’s talking and what they’re saying. There is a rhythm to good dialogue, but it’s rarely something you can set  your metronome to. Don’t force characters to speak just because you’re uncomfortable with their silence. Always let the moment decide its own pacing.
Avoid Long Monologues - I know. One of your characters is a blowhard. He likes the sound of his voice and this is important to the character development or plot. Let him have his way. But don’t make a habit out of long speeches unless the story requires it. Dialogue usually requires two people. And while one may say little while the other says a lot (see pacing, above), giving characters pages of monological diatribes risks boring the reader. And in my experience, long-winded monologues are frequently evidence of a kind of laziness on the part of the writer. Rather than revealing important information contextually and through creative “show, don’t tell” opportunities, they make their characters dump it on the page for them (see puppet note above).
Kill (Most) Adverbs – Do I need to say it again? Only use adverbs when they actually add something to the dialogue. If it’s clear the character is upset and yelling, you don’t need to add that she’s yelling “loudly.” Yelling is, without further qualification, loud. That said, you might actually find use for adverbs in the dialogue itself. Real people use them in conversation (though not as much as you might think). That’s fine. Just don’t staple them willy-nilly to all your attributions.
Use Contractions – Unless you’re writing a period piece or a novel that otherwise demands the stiff-upper-lippedness of contraction-free speech,  please use them without apology. They just sound more natural. This, by the way, holds true not only for dialogue, but also for the rest of your narrative. If you want to challenge this advice, that’s fine. Please have your well-thought-out reasoning notarized by at least three editors who agree with you before presenting it to me. Thanks.
Don’t Give Readers Whiplash – “A lot of newbie authors,” he began, turning to look her mascara-streaked face, “suffer from this malady.” He looked down. “They break up a single piece of dialogue,” he continued, “with so many little ‘asides’ that the reader gets whiplash.” He looked up into her eyes again. “Do you know what I mean?”
There’s a time and place for action in the middle of dialogue, and when done right, that action can greatly enhance a scene. A well-timed look or touch can speak volumes. Just don’t use action to distraction.
Use Dialects Sparingly – Some of the best novels ever written are packed with well-defined characters who speak with dialects that by their very nature reveal a certain level of education or perhaps a country (or region) of origin. Characters with unique or easily-recognizable dialects can add a great deal to a story. However, crafting believable characters with any sort of dialect is no easy task. In part, this is because the dialect you see with your eyes (on the page) has a much different “feel” than a dialect you hear with your ears. In some cases, dialect can detract rather than enhance a story. If your character’s speech is hard to understand (and this isn’t due to an intentional plot point), consider dialing back on dialect. And whenever you do use it, just be sure you’re consistent both to the way such a person would speak in real life, and from scene to scene in the story itself. Otherwise your characters will sound like Kevin Costner in…well…any movie where he attempts an accent.

Again, this article was originally created by NovelDoctor.com. You can read the whole article there.

ADMIN NOTE: This post has been taken from an article originally created by NovelDoctor.com

selkierps:

Good Dialogue

The things stated below were not written by me. A friend of mine had found this information and thought that it could be useful for writing. I do not know where the information originally originates from, but all credit goes to them. I’m just trying to make the information available to all who will find it useful. 

Simplify Attributions – As much as possible, just use “said” and “asked” and their variations in dialogue scenes. Or use nothing at all when the context makes it unquestionably clear who’s talking. People who bark, spit, grunt, or burp their words need to see a doctor. Or a veterinarian. Clever attributions can divert attention from the dialogue to the attribution itself. You don’t want this to happen. “Trust me,” he puked.

Don’t Be a Puppet Master – In real life, people bring assumptions and prior knowledge to a conversation. This is also true for your fictional characters. Don’t force dialogue through your characters’ throats because you need to tell the reader something. If the information wouldn’t naturally be revealed in the context of the conversation, find another way to deliver it. Your characters aren’t puppets; they’re people. Treat them as such.

Maintain Believable Pacing – Most conversations aren’t like a game of ping-pong, despite how convenient it would be to use ping-pong as a visual metaphor. Unlike ping-pong, the back and forth of conversation is uneven, sometimes dominated by one party, sometimes rapid-fire, sometimes languid. Context should always determine who’s talking and what they’re saying. There is a rhythm to good dialogue, but it’s rarely something you can set  your metronome to. Don’t force characters to speak just because you’re uncomfortable with their silence. Always let the moment decide its own pacing.

Avoid Long Monologues - I know. One of your characters is a blowhard. He likes the sound of his voice and this is important to the character development or plot. Let him have his way. But don’t make a habit out of long speeches unless the story requires it. Dialogue usually requires two people. And while one may say little while the other says a lot (see pacing, above), giving characters pages of monological diatribes risks boring the reader. And in my experience, long-winded monologues are frequently evidence of a kind of laziness on the part of the writer. Rather than revealing important information contextually and through creative “show, don’t tell” opportunities, they make their characters dump it on the page for them (see puppet note above).

Kill (Most) Adverbs – Do I need to say it again? Only use adverbs when they actually add something to the dialogue. If it’s clear the character is upset and yelling, you don’t need to add that she’s yelling “loudly.” Yelling is, without further qualification, loud. That said, you might actually find use for adverbs in the dialogue itself. Real people use them in conversation (though not as much as you might think). That’s fine. Just don’t staple them willy-nilly to all your attributions.

Use Contractions – Unless you’re writing a period piece or a novel that otherwise demands the stiff-upper-lippedness of contraction-free speech,  please use them without apology. They just sound more natural. This, by the way, holds true not only for dialogue, but also for the rest of your narrative. If you want to challenge this advice, that’s fine. Please have your well-thought-out reasoning notarized by at least three editors who agree with you before presenting it to me. Thanks.

Don’t Give Readers Whiplash – “A lot of newbie authors,” he began, turning to look her mascara-streaked face, “suffer from this malady.” He looked down. “They break up a single piece of dialogue,” he continued, “with so many little ‘asides’ that the reader gets whiplash.” He looked up into her eyes again. “Do you know what I mean?”

There’s a time and place for action in the middle of dialogue, and when done right, that action can greatly enhance a scene. A well-timed look or touch can speak volumes. Just don’t use action to distraction.

Use Dialects Sparingly – Some of the best novels ever written are packed with well-defined characters who speak with dialects that by their very nature reveal a certain level of education or perhaps a country (or region) of origin. Characters with unique or easily-recognizable dialects can add a great deal to a story. However, crafting believable characters with any sort of dialect is no easy task. In part, this is because the dialect you see with your eyes (on the page) has a much different “feel” than a dialect you hear with your ears. In some cases, dialect can detract rather than enhance a story. If your character’s speech is hard to understand (and this isn’t due to an intentional plot point), consider dialing back on dialect. And whenever you do use it, just be sure you’re consistent both to the way such a person would speak in real life, and from scene to scene in the story itself. Otherwise your characters will sound like Kevin Costner in…well…any movie where he attempts an accent.

Again, this article was originally created by NovelDoctor.com. You can read the whole article there.


writingbox:

The simple answer is no. The useful answer is no, but it should appear naturalistic.

Listen to people speaking in everyday situations. They don’t finish sentences, they stumble over their words, they backtrack and repeat themselves. In conversation people speak in a way that an outside observer wouldn’t know what they were talking about, they use in-jokes and slang particular to their family or group of friends.

It is these things that you want to filter out of your written dialogue (unless using it for a specific effect).

Let your dialogue appear naturalistic without being naturalistic.


Anonymous asked: > I am having trouble with the way all my characters talk < I already have tips on accents, so that is not what I am looking for. But they basically all talk the same way in a not-so-constant manner and there is not deference in speech than voice.

For some writers, dialogue comes naturally. It’s a gift often taken for granted, and when you don’t have it, dialogue can be the hardest part about writing. There are a few things you can do, however, to develop your skill and allow your characters to speak in their own unique voices.

  1. Eavesdrop. Listen to everyone. Go out in public and write down snippets of conversation you hear. (Coffee shops are particularly useful in this respect, since it’s not uncommon to see people with notebooks or laptops.) Note speech patterns does one person tend to speak in fragments? Is there a rhythm to their speech? Listen to two or more people having a conversation and note the differences in the way each person speaks. Listening to real people will allow you to better understand real dialogue.
  2. Know who your characters are. A nuclear physicist educated at MIT will probably speak differently than a high school cheerleader from Nebraska. What demographic do your characters fall into? How old are they? Where are they from? This isn’t just about accents — someone from Kentucky will use different language than a Bostonian. Are they educated? What are their occupations? Who are they speaking to? From the vocabulary to the tone to the actual content of the conversation, the way people speak to their parents is normally different than the way they speak to their friends which is different from the way they speak to their teachers or bosses or enemies or customers or strangers on the train and on and on. People, it turns out, are complicated, and their speech patterns should reflect that.
  3. Read it out loud. It always helps when you can hear your dialogue, rather than simply seeing it on a page. As you’re writing, say the dialogue out loud. If it doesn’t sound like your character, try something else. Contractions, slang, word omissions, and colloquialisms allow speech to sound more natural, and these distinctions separate diagonal from the surrounding prose.
  4. Note the style of your action. If your writing resembles Catcher in the Rye and your main character is a teenage boy, your dialogue is probably going to sound a lot like the action surrounding it. And that’s okay. If, however, your writing reminds you of James Joyce and you’re writing about a homeless man in Albuquerque, your character’s speech and your voice should be different.

Here are a couple exercises that you can do for practice:

  1. Write a short piece that is dialogue only without any indicators of who is speaking other than the dialogue itself. This will force you to look at the different ways your characters speak.
  2. Fanfiction. (Ignoring the stigma around it, it’s an invaluable tool to improving dialogue.) Take two characters that you’re familiar with and have them talk to each other. Can you hear their personality in their voices? It helps if the characters aren’t too similar, but still work well together. Think Spock and Kirk.
  3. Write down a real conversation you’ve had with someone. Once you have the dialogue established, add action and description. Pulling from reality can help you determine what sounds realistic.

And here are some more resources you might want to check out:

I hope this helps!

-Elizabeth


Anonymous asked: I’m having trouble punctuating dialogue correctly. Can you help me out?

BOOM!

KNOWLEDGE BOMB! 

Thank you for your question! If you have further questions or a comment to add, hit us up!

-C


ellisabelle asked: Hey ^^ Could I request a world list of adjectives for ‘To Ask’?

Sure thing!

Disclaimer: I will agree to provide examples if you will all agree to acknowledge that I am laying it on a bit thick here and maybe even taking a few liberties in order to drive my points home. Okay? Okay.

Read More


by Rynne

(You can also read this tutorial in the Harry Potter Version. Brilliant!)

Ah, the dreaded dialogue formatting—something that many people get right, but many more get wrong. Where do you use a comma and where a period? What should be capitalized and what shouldn’t? And why? Dialogue formatting isn’t easy to get right, and it’s easy to forget the rules, especially when published authors do it too. But, just as in the rest of the rules of grammar, dialogue formatting has its own reasons for what’s correct and what’s not, and hopefully once you know why commas go here and periods go there, and this is capitalized and that isn’t, you can keep this in mind when you write people talking to each other. Note that most of my examples are canon pieces of dialogue, but some are off the top of my head.

Let’s start with something simple. Here is a piece of correctly formatted dialogue:

“No, I am your father,” Darth Vader said.

Look at the word “said”. That is what’s known as a dialogue tag; tags are verbs that connect the dialogue itself to the rest of the sentence. Other tags include “asked”, “exclaimed”, “replied”, and all those variations. Dialogue tags are ways of describing the dialogue, if it’s being said, or asked, or screamed, etc.

Read More


Source: thebackgroundhum.com

flashysparklesonthewater:

larkiethings:

writeworld:

I’ve heard the advice about using descriptive verbs in the place of adverbs a lot lately. For example:

He ran quickly.

becomes

He sprinted.

and

She gave him the papers angrily.

becomes

She thrust the papers into his chest.

I see the wisdom of this because the language is more concise. A good verb choice can also take on the workload of adverbs in many cases.

I have also heard lately that any of the more descriptive verbs for “said” are gauche, purple prose, amateur, etc.. 

Now, I’ve got to wonder—because the same people who give the former advice to writers are likely to give the latter—why this disparity occurs.

If she ordered or crowed or snickered or murmured, aren’t those words stronger and more descriptive than the vague, albeit utilitarian ”said”? And which advice is right? Which advice should writers take when it comes to dialogue tags—use descriptive verbs or use only “said” and “asked”?

I may not have a point here, but if I do, it’s this: advice from writers about writing is flawed. It pulls from the style and preferences of the writer giving the advice, and is therefore stupendously subjective. A writer can give you advice in one breath that will firmly contradict the advice in his next. 

Beware, my fellow writers, of those stating their opinions as fact, especially if they fail to include why they have that opinion. One writer’s style choice is not and should not and can not be the style choice of another. The words we use may be the same, but the way we choose the wield them is not. 

Please do not give in to what I call “fad advice”—advice which is not so much bad as it is a trendy opinion. Your style is your style, and the only person who should be making judgment calls about your style is you. 

-C

I like this post a lot, because I feel like it addresses a pretty serious issue with writing and common writing advice. Since I should be sleeping, this is an excellent opportunity for me to give my two cents on the issue.

Firstly, I agree that it’s generally more interesting to use more descriptive verbs - “thrust the papers into his chest” versus “gave him the papers angrily”. It’s more interesting to me, as a reader, and adds more life and color into the writing. 

However, I don’t think you should be afraid of using ‘said’. I’m not about to call anybody who uses other things than ‘said’ an amateur, but it stands out when every time somebody opens their mouth, they do so in a different way. If somebody says something, then somebody else declares, then somebody else states, then somebody else proclaims, then somebody else enunciates…it feels like the writer is trying too hard. But that doesn’t mean you should avoid these words. 

The different ways to say ‘said’ are different for a reason: they imply different things. For example, ‘stated’ sounds more like an official, important message that leaves little room for argument. It’s something final, definite. ‘Declared’ indicates an announcement, you’re also saying something important but it’s more to let people know. They all have their different nuances that go along with the words. 

So, if your characters are having a discussion that’s deviating from the main point. One character could say something, another character could counter it, a third could add to the second’s point, the second could say something else, and then to try and put an end to the silliness, the first character could state or declare something definite and inarguable. But if they’re just having casual conversation, ‘said’ becomes just another part of the dialogue. 

On another note, to spice it up, you can also show who’s speaking without using any kind of speech indicator at all. Things that the characters are doing can indicate what their tone of voice might be.

She sighed and pinched the bridge of her nose. “Look, can we just get back to the point?”

Basically, write what you want to write, and if you want people to enjoy it you should try not to sound too repetitive or flat (the whole show, don’t tell thing). But don’t be afraid to use a certain word because you think other writers might call you an amateur. I’m sure you could read any book and find plenty of ‘faults’ in the writing, despite the fact that it’s an enjoyable book, if you keep your rules too strict. Writing and reading are supposed to be fun. Breaking the rules can be fun. 

Also, just think about the way you speak.  Sometimes you really do state or declare things.  You might comment, remark, or chirp.  You may even declaim or bemoan.  But mostly, in an average conversation, you really do just say things.  ”Said” is too a valid dialogue tag.


Source: writeworld

These opinions came to our ask box in response to our post entitled Contradictions, Your Style, and “Fad Advice”. I’mma put them here for safekeeping. Enjoy!

pshawyourmuff asked: Totally agree with you about following your own style (though I do think you can pick and choose advice to help refine your skills). Just a quick thought though: A big part of the reason people say to avoid synonyms for “said” is that your dialogue should be able to express emotion/intent on its own without needing clarification. I choose to drop most dialogue tags all together, but that’s just my style.

gentilico asked: What differs the “no adverb, yes verb” and “just say ‘said’” rules is that, for example, it may look silly to use “he asked” after the character makes a question, because it’s obvious. But I completely agree with what you say about personal style.

I will add to this post as more asks arrive. Thank you to everyone who has (rationally and genially) shared their thoughts with us!

-C


Anonymous asked: Can you help with conversation starters? Like how to get your character interacting with a character who is more on the recluse side?

Sure thing, anon! Here a a few tips for encouraging believable interactions between reclusive characters and their peers:

  1. Ask a question. This is my favorite tactic. Right off the bat, at the very onset of dialogue, have a character (not the recluse) show up and ask a question. A few examples:
    • “What are you doing here?”
    • “How can I help you?”
    • “How do you take your coffee?”
    • “Where were you this morning?”
    These questions all have two notable things in common.
    1. They are about the recluse. They use the word you. Get the recluses to talk about themselves or things that they know, and you’ll have a much easier time of it. If they have to respond to questions when they don’t know the answers, reclusive characters may not be prone to productive runs of dialogue.
    2. They’re open-ended. The more outgoing character is asking a question that must be answered with something other than a “yes” or a “no”. You want it to be something leading, something that forces the reclusive character to either give a legitimate response or be totally rude.
  2. Give them something worth talking about. If you hand her a bomb or him the front page of the September 11th, 2001 issue of the New York Times, you’re essentially passing along a conversation piece. Now the characters have something in common: they’ve both witnessed something worth exploring through dialogue. It might be that they’ve both encountered an odd person or survived a plane crash or witnessed a crime or eaten crappy pizza. Regardless, give them something notable in common, something worth taking about, and the reclusive character might even kick off the dialogue!  
  3. Physically give or take away. This is a bit more specific than handing a reclusive character something worth talking about. If the reclusive character wants or doesn’t want something, and the more outgoing character is the person that can give or take away that thing, there’s a conversation there. You might start by the more outgoing person presenting a thing like:
    • hot tea
    • pen
    • gun
    • textbook
    • infant
    Now have the reclusive character react through dialogue.
    • hot tea: “Wow! That’s so nice! You didn’t have to do that…”
    • pen: “Thanks. Mine just ran out of ink. How did you know?”
    • gun: “Why would I need this?”
    • textbook: “That’s not the right edition.”
    • infant: “Can’t you get someone else to watch your kid?”
    In a few of those responses, the reclusive character did an interesting thing: they asked a question. Questions are a cheap and easy way to keep dialogue going. Get both sides asking open-ended questions that the other can answer or that they can answer together, and you’ve got a full-on conversation started.
    Enough with the giving. What about the taking away? Imagine if the more outgoing character was taking that thing away. How might your reclusive character react to having an infant grabbed from his arms or xer hot tea spilled or the pen taken right out of her hand while she’s try to write? That would make for some dialogue, no? How can you invent interesting situations for your characters to have items taken away or given to them in such a way that it would spark a verbal reaction?
  4. Super-size the awkward factor. So much so that they have to actually say something. If you’ve got two people trapped in an elevator, for instance, or if they’re sitting side-by-side in the only two seats left on the bus, or if someone just fell off of their horse into a pond, there might be room for some dialogue in there.
  5. Don’t forget why dialogue exists. Dialogue exists, at least in part, to reveal a character’s motives and personality, give the reader information about the plot, and move the reader through the narrative in an interesting way. If you stray from these goals with your writing just to coax a reclusive character out of their shell, you might not be using your dialogue most effectively. A reclusive character can stay quiet for chapters without any problem if you have no good reason to make them speak.

For more on dialogue, check out This is a Towel: Dialogue. Also consider reading The Passion of Dialogue to learn more about why a character, and by extension a writer, might choose to communicate through dialogue.

Thank you for your question! If you have any comments on this article or other questions about writing, you can message us here!

-C


Anonymous asked: Hello! Do you have any tips on writing military dialogue, both tactical and casual?

Since I don’t know from your question what country, branch of the military, or time period you need, I’m going to focus on the United States, which has the most information out there on its jargon and slang. The time period I’ll be covering is mostly modern, and I’ll give you some resources for all the branches. I think this is going to be a super-linkstorm, so just bear with me.

Read More