One thing that readers can’t abide is slow-moving, wordy, dull dialogue that doesn’t seem to go anywhere or do anything. We’re looking at creating sparkling, dazzling dialogue that keeps readers interested. When writing dialogue, don’t use the character’s name in every line. Don’t overuse. We’re tempted to do that to keep straight who is speaking. But that’s lazy writing. Click to Tweet #dazzlingdialogue #amwriting
Dialogue is a compression and extension of action. There are certain elements that are essentials to creating dazzling dialogue. Every character has a “want” in the scene. They’re saying something because they want something, or there is something they want to avoid. Click to Tweet #dazzlingdialogue #amwriting
They key to writing a page-turner novel is creating scintillating scenes––they shine, they’re dazzling, unforgettable, and brilliant. Writing sparkling scenes make the story something the reader can’t put down and will read long into the night. Click to Tweet #amwriting #scintillatingscenes We wrap this up with another scene model: reading scenes in context.
You hear it more and more these days. Your manuscript must be “publish-ready” in order for it to be considered. Click to Tweet What does “publish-ready” mean? #amwriting #publish-ready #self-editing
For the next few blog posts, we’ll look at this and how you can improve your raw writing into something closer to “publish-ready.” I’ll be using several resources for this. Today’s resource is The Scene Book, by Sandra Scofield.
First, let’s take a look at what it means. Continue reading
I used this resource a while back to talk about Point of View. Because point-of-view is something a lot of writers struggle with. I know I did.
But there’s so much more to this book. I’m going to focus on dialogue, because that’s another area where beginning writers turn potential editors and agents off. Now, I’m not an expert, I’m just sharing this resource with you. And I learn from it as I share it with you.
From pg. 83-84 “Imagine you’re at a play. It’s the middle of the first act; you’re getting really involved in the drama they’re acting out. Suddenly the playwright runs out on the stage and yells, ‘Do you see what’s happening here? Do you see how her coldness is behind his infidelity? Have you noticed the way is womanizing has undermined her confidence? Do you get it?’
“You get it, of course, and you feel patronized. You’re an intelligent theatergoer, and what’s happening on the stage is clear enough. You don’t need the writer to explain it to you.