Dialog vs Using Proper Grammar

© Can Stock Photo / bradcalkins

One of the things I love the most about writing fiction is creating the dialog. The dialog is what brings the characters to life. However, like any other kind of writing, there is a technique for writing effective dialog. In fact, there are entire books about how to write dialog. If you’re new to writing fiction I highly recommend reading them. In the meantime, I’m going to cover some of the basics, and the way I go about writing dialog.

What is the purpose of dialog?

As most of you already know, fiction writing is all about the conflict. The conflict is what drives the storyline, and the dialog helps build the tension. For example, the more a character talks about their big plans, and how they made everything foolproof, the more we know something is about to go terribly wrong.

Dialog also defines the character’s personality. A character who has a PhD will undoubtably have a different speech pattern than a character who’s a high school dropout. Here in the United States, different regions of the country have their own dialects. A character from Boston will speak differently than a character from New Orleans. Therefore, it’s a good idea to set your story in a location where you are familiar with the local lingo.

Dialog and Grammar

People don’t use perfect grammar when they are speaking. We tend to shorten words. We may say, “gonna,” instead of, “going to.” We speak in incomplete sentences as well as comma spliced sentences. Therefore, none of my characters speak perfect, grammatically correct English. Fortunately, my editor gets this. She’s a fiction writer herself. However, it’s been an issue with some of the proofreaders I’ve worked with.

Gloria, who proofread many of my earlier Marina Martindale romance novels, passed away a few years ago. She was a dear friend who I will always miss, and she also loved my books. While not a writer herself, she had once been a proofreader for a newspaper. Trust me, nothing got past her watchful eye. She also understood the difference between narrative and dialog.

Unfortunately, I wasn’t so lucky with the proofreaders for my next two novels. One was a retired English teacher who not only corrected all the grammar in my dialog, she also argued with me when I pointed out, more than once, that real people do not speak perfect, grammatically correct English. My most recent proofreader was someone who had learned English as a second language. To her credit, she was very fluent in English, and she had also written a few nonfiction books. However, when it came to the dialog, she didn’t always understand slang words and common idioms, which caused some confusion.

The Use of Grammar in First and Third Person Narratives

I write in the third person narrative. When my characters aren’t speaking I use proper grammar and punctuation in my narrative as I describe the events from an anonymous and detached point of view. However, the rules may vary when using the first person narrative. Since your character is telling the entire story from start to finish, you need to let the character speak in his or her own voice. The same is true when writing dialog in the third person narrative. Let your characters have their own distinctive voice.

Gayle Martin

 

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Lying vs Fiction Writing

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I sometimes see the stupidest things on social media memes, such as, “Writers are professional liars because they tell stories for a living.”

Oh, please! Go peddle it someplace else. If you can’t tell the difference between a fictional story and “bearing false witness,” you’re beyond hope.

What’s the Difference?

Lying is knowing something to be false and presenting it as fact. It can also be telling a half-truth, or lying by omission. Simply put, you’re withholding pertinent information about something to slant the narrative in your favor. A good example would be a married man who presents himself a  single, unattached man. He’s a self-serving individual who intentionally deceives others solely to please himself. I included such an individual in one of my Marina Martindale novels. Interestingly enough, it’s titled, The Deception. I’ll just say it didn’t end well for him.

Fiction writing, or storytelling, is presenting a story about people who never existed. Unlike the liar, whose motives are to mislead or deceive, the storyteller is altruistic. Their goal is to entertain, or educate, or both. For example, I read Aesop’s Fables when I was a child. It’s common knowledge that the stories are make believe. They’re told to teach lessons about morality.

The other purpose for storytelling is to entertain. Life isn’t always easy or fair. We all feel overwhelmed at times, and we need to take a break. We’ll turn on the TV, watch a video, or perhaps read a book. As a novel writer, my purpose it to entertain the reader so he or she can take a break from reality.

So there you have it. I also get it. Some people don’t read fiction, and that’s okay. To each their own. However, I have zero tolerance for people who intentionally insult the integrity and sully the reputations of fiction authors. As stated, our purpose isn’t to deceive. It’s to entertain. There is a difference.

Gayle Martin

Watch Out for Exclamation Points!

Filmmakers have certain advantages over novel writers. They get to use musical scores to help build the tension. We’ve seen it dozens of times. The unsuspecting protagonist goes into the seemingly deserted mansion, unaware the villain is lurking inside. As he or she gets closer, the music builds to a crescendo. “Dum dum-ta-dum–BOOM.” The bad guy leaps out of nowhere, confronting the protagonist, who either has to fight or run for dear life.

Unfortunately, novel writers don’t have the luxury of having background music. We have to come up with alternative ways to build the tension. This may create the temptation to use exclamation points. After all, putting a plain old period after, he leaped out of the closet at Joe, looks kind of boring on the printed page. Therefore, he leaped out of the closet at Joe!!, would look a whole lot better. Right?

Well, not necessarily.

What an exclamation point actually means

An exclamation point in the narrative means you’re shouting at your readers, which they may find annoying. A better way to build the tension would be to use more effective verbs and modifiers.

For example, instead of saying, he heard the footsteps and waited until the time was right. Then he leaped out of the closet at of Joe, try using, He heard Joe’s footsteps coming closer and held his breath, not wanting to give himself away. The footsteps grew louder. He could make out the dark shadow of a human form as it entered the room but he was unable to move. The footsteps thumped louder as they came closer. Beads of sweat popped out across his forehead. It was time. He leaped out of the closet at Joe.

By using effective verbs and modifiers in your narrative to build the tension exclamation points becomes unnecessary. Bottom line. Never use exclamation points in the narrative.

But what about the dialog?

An exclamation point in the dialog indicates someone shouting. People shout when they are excited, unexpectedly surprised, under stress, or angry. Therefore, exclamation points should be rarely used in dialog, and only when absolutely necessary.

For example, someone might shout, “Look out!” if they see someone else about to step into the street, unaware that a bus is barreling toward them. This sets the stage for a number of outcomes. The first character pulls the second character back onto the sidewalk in the nick of time. The person stepping into the street sees the bus coming and takes evasive action. The second character looks back and replies, “What?” Or the second character ignores the warning and ends up being hit by the bus. Whatever option you take, no further exclamation points are necessary. The crisis has passed. Any further exclamation points would be redundant

I think of exclamation points as hot chili peppers. A little bit goes a long way.

Gayle Martin

Keeping Readers Engaged

© Can Stock Photo/ sjenner13

We’ve all experienced it. We start reading a novel that got off to a great start. Then we lost interest. My mother was one of those readers who would plow through to end, no matter what. Even if the book was genuinely awful. Me, not so much. Life is too short to waste on a poorly written story.

Keeping readers engaged can be a challenge. Even the best conceived story ideas are useless if your novel becomes slow and boring.

Pacing is an important part of good storytelling. However, excessive back stories, boring or redundant dialog, and trivial details can slow your pace to a crawl. Once the reader loses interest, you’re done. A bored reader will toss your book aside and never come back. So, how do you keep the middle of your story interesting? Here are a few suggestions.

Backstories should only be revealed on a need to know basis

I only include those backstories which are relevant and move the story forward. Then I typically reveal them through dialog. The rest of my backstory remains in my notes.

If it’s been said once it may not need to be repeated

Your character has told another character that his mother died in a car crash. He doesn’t need to repeat himself. If it comes up again, consider using it in the narrative. For example, “as she hit the accelerator, he reminded her about his mother.” Inserting redundant dialog would have ruined a fast-paced narrative. But what if he needs to tell his story to a different character? Consider adding a spin. His mother was driving drunk.

Fine details aren’t always useful information

Readers don’t care if your character is wearing a blue dress or a green dress, or if it has buttons or pockets. Detailed descriptions are only necessary when they enhance the story. For example, “Her royal blue dress with the lace trim would show off the diamond pendant perfectly. She couldn’t wait to tell her friends Jake had given it to her.” Boom. That’s all the reader needs to know. Leave the rest of the details to their imagination, and move on.

I think of each chapter as an episode to move the plot forward. It should reveal a character’s motives, or emotions, or something we didn’t know before. If a scene, or even an entire chapter, doesn’t enhance the overall story I’ll delete it. Each chapter, and scene, needs a purpose. If it doesn’t, then it’s nothing more than filler material which will bore the reader, and the last thing you want is for the reader to toss your book aside and leave a bad review.

Gayle Martin

You Only Have Ten Seconds

So you’d better make them count
© Can Stock Photo/ stillfx

You have about ten seconds to capture a reader’s interest. Ten seconds. So my advice is to make them count. People have short attention spans, and social media is making them even shorter. This means you, the novel writer, had better grab their attention fast. If you don’t hook them within those first few seconds, they are far more likely to toss your book aside.

I think of my opening sentences as, “Lights, camera, action!” I always start with an action narrative. Nothing overly dramatic, such as explosions going off, but with something interesting enough to intrigue the reader so he or she will want to learn more. So, how do I do this? I write an opening sentence that creates tension, and I’ll use the first sentences from some of my Marina Martindale novels as examples.

Strong opening sentences

Rosemary McGee had the next traffic light perfectly timed until a car from the other lane suddenly cut in front of her minivan.

Well, I’m sure that got your attention. What happened next? Did she have a accident? You’ll have to read more to find out.

My openings aren’t always this dramatic, but even if the opening subject matter is more mundane, I can still create tension in my first line.

Emily St. Claire reached for another tissue to dab the sweat off her forehead and grab her water bottle, but the once-cold liquid had turned lukewarm.

Well, that certainly feels uncomfortable. So where is Emily? And why is it so hot? Again, you have to keep reading to find out more.

Opening lines and your characters

No doubt you’ve noticed I’ve included a character’s name in these opening lines, and you certainly want to start introducing your characters as soon as possible. However, you don’t necessarily have to include them in the opening sentences, nor does the opening line have to be about a lead character. Rosemary was actually a supporting character. My lead character is introduced a few sentences later when Rosemary asks her if she’s okay. Emily, on the other hand, is the lead character. My stories are all different, so my openings are different as well.

A descriptive opening line

Some authors like to begin their stories with a descriptive narrative of where the story takes place. However, you still need to create some tension. An opening paragraph that’s nothing more than a flowery, detailed description of the scenery without any action or tension is less likely to capture the reader’s attention. So unless something really interesting happens within the next paragraph or two there’s a good chance the reader will set the book aside. My advice is to end that fluffy narrative with something to suggest things aren’t quite as peachy as they appear. Here is a descriptive opening from another Marina Martindale novel.

The moonlight reflected off the snow-covered mountains, creating a dreamy, picturesque landscape, which could easily hide a deadly hazard.

Yikes! So what kind of hazard could be hiding there? Again, you have to read more.

Remember, when writing fiction, the conflict drives the plot, so you want to create as much tension as you can. The sooner you start creating the tension, the quicker you’ll draw your reader in.

Gayle Martin, aka Marina Martindale

And Now for the End of our Story

Every story ever written has two things in common; a beginning and an ending. It’s at the end of the story where we, as storytellers, deliver the punch lines which will impact our readers.

What readers expect

Regardless of your genre, most readers want, and expect, a happy ending. One which ties up all of the loose ends and leaves them satisfied. Most of the time this is what they get. In my genre, romance, it’s pretty simple. Boy meets girl. They fall in love, but there are conflicts and obstacles to be overcome before they can be together. Once the conflicts are resolved, everyone lives happily ever after. THE END. But then again, some of the most well-loved and compelling romance stories ever written didn’t end with the couple living happily ever after.

Remember Romeo and Juliet? This timeless tale of two star crossed lovers ended with a double suicide, which compelled their two warring families to put an end to their bitter feud.

More recently, there was Gone with the Wind. After thinking she was in love with Ashley Wilkes for all those years, Scarlett O’Hara suddenly realizes she’s been in love with Rhett Butler the entire time. Unfortunately for Scarlett, Rhett’s response is to walk away and slam the door behind him, leaving her to ponder her next move. This ending certainly left us wanting more.

My favorite unexpected ending

My favorite unexpected ending comes from the movie, Casa Blanca, which was actually based on a play called, Everyone Comes to Rick’s. It too is a love story with a twist. Boy meets girl. Girl ditches boy. Boy meets girl a second time, only now she’s brought her husband along. So, along with some unforgettable dialog, “Of all the gin joints in all the places in the world, she had to walk into mine,” we all root for Rick to get Ilsa back. Instead he puts her, and her husband, on a plane and sends them away for good. The final scene ends with the plane taking off while Rick walks away with Louis Renault saying, “You know, Louie, this could be the start of a beautiful friendship.”

Good stories aren’t always about happy endings. Sometimes they’re about doing the right thing, even when doing the right thing isn’t so easy to do. The same can also be said of real life.

Gayle Martin

Naming Names

A banner saying, Your Name Here."
© Can Stock Photo / MSPhotographics

Creating appropriate names for your characters is essential when writing fiction. However, it isn’t always easy. I put a lot of thought into each character’s name. Their age, background, occupation, and their roll in the story all play a part in determining the character’s name.

Choosing with the right surname

I don’t use the surnames Smith, Jones or Johnson for any of my lead characters. Those names are so common they’re almost a cliche. I prefer using other surnames, such as Palmer, Campbell, Bennett, and Walsh. All are common names, but not overly common. 

Sometimes I get stuck, so I keep an old white pages phone book by my desk. When all else fails, I’ll open it to a random page and skim through the listings until something pops out at me. Other times I’ll think back to kids I went to school with, or I’ll hear an interesting sounding name on the news. That’s another way to come up with a surname. We live in a diverse society, so some of my characters will have ethnic names. If it’s a common surname, such as Sanchez, I’ll use it. If I’m not sure, I’ll do an online search. The possibilities are endless.

Finding the right first name

First names are a lot of fun. I think we all have favorite first names. I personally like the names Cynthia, Victoria, Christopher and Jeremy. My first Marina Martindale contemporary romance novel, The Reunion, included two supporting characters named Cynthia and Jeremy. However, I’m still waiting for the right story ideas for Victoria and Christopher. My contemporary romance novels are much like the soap operas I watched years ago, so I sometimes give my characters the same first name as a favorite soap opera character.

I also invested in a baby name book. It contains hundreds, if not thousands of names, including many different ethnic names. It’s a handy tool which I often use.

Naming fictional businesses and places

Naming a fictitious business or location is just as important as naming your characters. Again, you want reasonably common names. I come from a family of entrepreneurs, so I’ll often create mom and pop businesses in my stories. Oftentimes I’ll include a common surname, such as O’Malley’s Grill, only this time I’ll also do an online search to make sure there is no business with the same name in the city or town where my story is set. If there is, I’ll have to come up with a different name. The same rule applies for naming fictitious businesses such as newspapers or ad agencies.

And finally, a disclaimer

With over three hundred million people living in the United States, and billions more on the planet, it really doesn’t matter how you create your character’s names. There will be real people out there with the same names. This is why you need to include a disclaimer in the front matter of your book. Make sure you clearly state that your story is a work of fiction, and that any resemblance to any actual persons, living or dead, is purely coincidental.

Gayle Martin

How to Skillfully Use Flashbacks in Your Novels

A section of a clock placed in front of a starry sky.
© Can Stock Photo / Nikki24

Readers can give us great feedback. Nearly all of the reader reviews for my  Marina Martindale contemporary romance novel, The Reunion, commented on how well the flashback scenes were done.

If used properly, flashbacks can greatly enhance the story. They’re a terrific tool for telling the backstory. Poorly done, however, and they can become a distraction or even a hindrance. They block your story flow and annoy the reader.

How and when to use flashbacks 
  • Use flashbacks sparinglyThe Reunion has fifty chapters, but only four include flashbacks. The story is set in the present time. Therefore, I didn’t want to spend too much time with the flashbacks.
  • Your flashbacks should be relevant. The Reunion is a story of two lovers having a second chance many years later. The flashbacks were a tool to allow the reader to see the characters meet for the first time and get a general feel for their earlier relationship. However, I didn’t include their original break up as a flashback. It’s told in the dialogue. Dialogue is another great tool for telling the backstory.
  • Watch where you place a flashback. Never drop a flashback in the middle of a scene, especially if it’s cliffhanger. This will greatly upset your reader. I set up to the flashback at the ending of a present day chapter. This prepares the reader for the flashback in the next chapter.
How to place a flashback

This flashback from The Reunion includes the ending paragraphs from Chapter One, with the last paragraph setting up the scene. The flashback begins with Chapter Two.

* * *

Gillian looked a good ten years younger than her actual age. Despite all the time which had passed, she still looked much the same. About the only noticeable difference between then and now was her long blonde hair was now a shoulder-length pageboy. As she reminisced about the past her mind suddenly filled with a whirlwind of images of all they had shared, the good times as well as the bad. It was like watching a movie, but the scenes were spliced together out of sequence.

“Calm down, Gillian,” she said to her reflection. “You’ve got to pull yourself together.” As she took a few more deep breaths the events of one particular day began playing back in her mind with crystal clarity. It was the day she first laid eyes on Ian Palmer.

TWO

Gillian jammed her paintbrush into her palette and glanced at the clock. It was almost four twenty-five. Class would be over at four-thirty.

“Damn it,” she said under her breath as she tried to work more white paint into the canvas. This particular painting simply wasn’t coming together, and the more she worked with it the worse it became. It happened to every artist from time to time, but it was never good when it happened in a university art class the day before the project was due, and the painting in question would count toward the final grade.

In conclusion

As you can see, I’ve set the reader up for the flashback by referencing about how the events of one particular day played back in the character’s mind. The reader is well prepared, and expects, the next chapter to be a flashback.

And finally, I only used flashbacks in The Reunion. I’ve not included them in any of my later Marina Martindale contemporary romances. They were only used in The Reunion because of the long interval between two characters’ interactions.

Use flashbacks sparingly, and then only use them when they are absolutely necessary to enhance the plot line.

Gayle Martin, aka Marina Martindale

Good vs Bad Villains

© Can Stock Photo / hjalmeida

Writing fiction is a lot of fun, and I have the best job in the world. I get to play a grown-up version of Let’s Pretend, and make money doing it. This includes creating a bunch of imaginary friends, otherwise known as characters. Some are good. They’re the protagonists. Others not so much. They’re the antagonists.

Fiction plot lines, regardless of genre, are conflict driven, and the antagonist creates the conflict. He is she is there to block whatever goal the protagonist is trying to achieve. Oftentimes antagonists are also villains. The more devious the villain, the more drama and intensity to the story.

Real life, however, isn’t always so black and white. People can and do make poor choices, and some learn from their mistakes. In fiction, they would be redeemable characters. Hal, an antagonist in my Marina Martindale novel, The Journey, isn’t malicious at all. He simply wants something he can’t have, and he’s standing in the way.  Josh, in The Letter, is a con artist. He’s working a Ponzi scheme with two unseen characters. However, as the character took shape I noticed he had some redeeming qualities. This made him likable, so I made him into a redeemable villain who does the right thing in the end.

Most of my villains, however, are unrepentant. Some, like Maggie in The Deception, remain defiant to the very end. Most however, are like Craig in The Stalker. They become their own undoing, and for them it never ends well. They’re unredeemable characters, and readers expect them to have their comeuppance. After all, karma is a bitch. Not only in fiction, but in real life as well.


Gayle Martin

Let’s Just Say No to Sensitivity Readers

and Other Forms of Censorship

© Can Stock Photo / alexandrum

I’ve been hearing a lot lately about a disturbing new trend, particularly in traditional publishing. The use of so-called, “sensitivity readers” to censor the author’s work. Their job is to ferret out any so-called trigger words from the authors’ manuscripts.

Here in the United States, our constitution guarantees our right to freedom of speech and freedom of expression. This would include artistic expression. Our constitution was never intended to protect anyone from being offended. In fact, it’s opposite. It insures our freedom to debate opposing points of view.

What is and isn’t offensive is oftentimes subjective. Let’s say, for example, that I write a scene in my book where two of my characters enjoy a burger together. If a vegan reads this, he or she might be offended. A chef, however, can read the very same scene and be inspired to create a gourmet burger for two.

I’m a woman who writes romance novels. Therefore, I include male characters in my books. I also write in the third person narrative. This means some of my chapters will be written from a male character’s point of view, even though I’ve never been a man. I’m not trying to make a political statement. I’m simply trying to tell a good story. However, to the so-called, “sensitivity expert,” I could be “stereotyping” men. And because I’m allegedly stereotyping men, I’m no longer allowed to write anything from a male point of view. This tramples on my right to freely express myself as an artist

Sensitivity is the new, politically correct word for CENSORSHIP. As a writer and and artist, censorship goes against everything I believe in. Well guess what? I’m a U.S. citizen, and I have a Constitutional right to freedom of speech and freedom of expression. Therefore, I will continue to write the stories I wish to write, and if the sensitivity thought police don’t like it then they can go straight to Hell. 

Gayle Martin