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Do you need help to get your novel started or finished? Four of us experienced scribblers talk about how we stay creative through the tough times and reveal our secrets for drafting, fixing and finishing, not to mention keeping our confidence. Solutions include running, composing music, meditation and lying on the floor scribbling on sheets of A4 using the hand you don’t normally write with.
My co-conspirators are Orna Ross (who is the author of Go Creative, several literary novels and leader of the Alliance of Independent Authors), Kevin Booth (who’s a translator as well as an author and trained as an actor before he took up writing), and Jessica Bell (who runs the Vine Leaves Literary Journal as well as having a parallel career as a singer-songwriter, which you might well know already from her appearances on The Undercover Soundtrack).
We’re forming the creative posse at IndieReCon, a free online conference for writers at all stages of their publishing careers. Do come over – and check out the other terrific events in the line-up. There’s info from all kinds of experts in publishing, writing and marketing.
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This weekend I guested on John Rakestraw’s Google writing hangout. He sent me a bunch of questions about dialogue, and I wrote so much in preparation that I got an epic post. Then when we got nattering on air with his co-conspirators, we delved off into other questions anyway. So I thought I’d run a dialogue special in the next few weeks. If you’d like to watch the hangout the link is at the end of this post.
(That pic is not Mr Rakestraw and friends, BTW. Tis Husband Dave at the BBC, pretending to read the news with his writing partner Jamie Thomson.)
Meanwhile, here’s today’s topic -
How do we get the characters talking?
Some manuscripts I see have no dialogue, or very little. There will be plenty of description, back story and even action, but the writer won’t have allowed the characters to step out of the narration and express themselves and interact with others. If there are conversations, they will mostly be reported instead of shown ‘live’ -
‘he told her that the best thing he’d ever done was to buy that log cabin in the woods – especially now they needed somewhere to hide until the stalker stopped watching the house’
Of course, sometimes there are good reasons to report a conversation. It’s by no means forbidden. But if all or most conversations are reported it can feel like the characters are being shepherded by the book and never acting independently – and so they don’t seem as real.
Dialogue makes characters real
Dialogue scenes let characters come to life. We see them acting, responding to other humans, experiencing events. For the reader, it’s like the difference between reading a report and being an eyewitness. They feel a personal, vivid connection with the moment.
And it’s a rich connection. Dialogue scenes allow you to demonstrate human complexity – what the people feel about each other, what their innate responses are according to their personality. (This can often create trouble for the writer, as I’ll discuss in a moment.)
What about first-person narration?
First-person narratives might need less dialogue because we already feel the character. Every piece of description, back story or other prose will be seen through the filter of that person’s psyche. So will their encounters with other people. But it will seem odd if there are no scenes where other characters are allowed to breathe, act, emote and be real.
Readers often look for dialogue before they decide to buy
Some readers flick through a book and are put off if there isn’t a good proportion of dialogue. Dialogue is easier to read than screeds of prose. But that’s not just because the paragraphs are more spaced – it’s because good dialogue is vivid.
So why do writers find it hard?
Some don’t of course. And if you’ve been reading this with a halo of confidence, could I ask if you find non-dialogue prose difficult?
This difference is usually where the problem lies.
Writing dialogue requires a specific frame of mind. When you’re in the flow of setup, action, back story or description, it’s tricky to switch to dialogue. In every other kind of narration, you control the camera, the voice of all the in-between stuff. For dialogue you have to let other minds in. That’s quite a gear-change. Especially if you have to inhabit several people, with different agendas and personalities.
Sometimes you realise, as you put yourself in their shoes, that they don’t see things the way you do. The lines you want to give them feel false. Or they run away with the story because of their responses. You have to let them find their own way, and maybe adapt what you wanted them to do. You realise a plot event is impossible because the characters won’t do it and you can’t work around it. This sense of frustration rarely happens with other types of scenes.
How to get your dialogue scenes running smoothly
Write dialogue scenes on different days from narration. Give your brain time to adjust.
Don’t put too many characters in the scene. In novels, it’s hard to manage more than three people who are all talking and responding. In fact, three’s a crowd because someone usually has to take a back seat. I’ve often seen writers try to emulate the opening scene of Reservoir Dogs where seven characters are sitting around a table. In the movie it works, but in prose it usually becomes an unmanageable mess.
Be prepared to rework a dialogue scene over and over. I’ve often had to spend several days on a dialogue scene, trying to get it truthful and authentic (not to mention interesting). Some characters can be particularly stubborn; Gene Winter in My Memories of a Future Life was exciting to use because he was unknowable and unpredictable – but this made him a devil to handle. He sounded wrong until I found something he’d agree to do. This struggle, of course, made me write better scenes.
This is the great challenge and reward of dialogue. Because you’re taking a step into the characters’ psyches, you find out what they’re really made of.
Next post: dialogue is more than talking. Watch the full discussion with John Rakestraw here.
Thanks to Budd Margolis for the pics of Dave and Jamie
There are more tips on character creation, character voice and dialogue in Writing Characters Who’ll Keep Readers Captivated: Nail Your Novel 2
Do you have trouble writing dialogue scenes? How do you approach them?
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‘Roz from the land of Harry Potter’ – an otherwise serious discussion of writing with John Rakestraw
When Americans interview Brits in sweltering summer heat, their thoughts turn to Harry Potter, the Beatles and the Queen. But we do also get down to serious matters. My host, John Rakestraw, had got his mitts on the characters book and wanted to quiz me about creating fictional people, killing darlings, editing, dialogue and subtext.
John was one of the earliest blogger-podcasters to pick up on Nail Your Novel. He demonstrated this by waving his copy – the primitive edition I made on Lulu when I first published it four years ago! Folks, you may overwrite your early designs and wipe the files, but you can never hide from them. (Watch for the moment when one of the other guests says ‘um, why doesn’t book 2 look like book 1…’)
Anyway, come on over to see us. And if you remember the original coffee-and-blue 6×9 edition of Nail Your Novel, give me a wave here!
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Why is all good fiction driven by characters? How can we widen our repertoire so our fictional people aren’t carbon copies of ourselves? What kind of research can give us greater understanding of situations we have no experience of? Should we bother to create our villains with as much empathy and insight as we lavish on our protagonists? If our MC’s enemy is utterly evil, how can we possibly crawl inside their minds – and why would we?
In the yellow corner is Joanna Penn. In the pinkish corner is me, answering her questions. We’re at her blog The Creative Penn, and you can read a text summary, download a 50-minute audio podcast or watch us grin and and wave our hands while we discuss how to write convincing and compelling fictional people. Do come over.
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I’m at Chila Woychik’s Beyondaries ezine today, musing about what it might have been like to take ABBA’s back catalogue and try to write the plot of Mamma Mia. Those of you who’ve followed this blog since its first days might recognise the post. It was one of my very earliest, but evapourated when I moved from self-hosting. So here it is again with hand-waving. (If you remember it from – gulp – 2009, wave back in the comments.)
As before, I’m in stimulating company at Beyondaries. Dan Holloway writes about fusing perfume and poetry. Shannon Elizabeth Hardwick talks about tackling the blank page. Grace Bridges talks about stories as ‘the thin places where realities merge’. Small press editor Gray Rinehart describes life as gatekeeper of a slush pile. And proprietrix Chila talks about creativity in the very atoms of the air.
In the meantime, I’m taking a blogging break this weekend while I plough on with the next book. Nail Your Novel: Bring Characters To Life is due for release in May, so if you’re interested to know more, sign up for my newsletter.
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How long does it take to write a novel? Years, months, a Nanowrimosecond? I’m riffing on this idea today at Beyondaries, the ezine of Port Yonder Press.
Port Yonder is one of those publishers whose remit I could have written myself. It looks for strong, original crossover books with award-winning potential. In charge is managing editor Chila Woychik, who recruited for her ezine a bunch of writers who like their rules thoroughly bent and kicked.
Among the other contributors is Dan Holloway, who often stops here with a challenging take on whatever I’m talking about. His video is about the music of words. Also at Beyondaries you’ll find Shannon Elizabeth Hardwick talking about finding poetry in the everyday, and Grace Bridges comparing Witi Ihimaera to Doctor Who. And of course, Chila herself on the stubborn, self-driven qualities that mark out a true creative.
If you fancy a trip beyond the usual, pull up at Beyondaries.
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How to self-publish an ebook and get a traditional book deal – guest spot on The Write Lines podcast
When I was first discovering blogs – and looking for a home for my own fiction – I discovered The Write Lines on BBC Radio Oxford. Presenter and novelist Sue Cook brought together experts from UK publishing to give advice, information and resources for new writers.
Fast forward through a few revolutions and the latest series (now a podcast) is exploring indie publishing – both as a leg-up to a traditional deal and a viable option in itself. Some of the authors whose blogs I was reading as the first series aired are her experts this time – including Nicola Morgan and Catherine Ryan Howard – and me. I feel like I’ve graduated. Exciting times…
In my episode I’m sharing a studio with indie superstars Mark Edwards (one half of the Edwards/Louise Voss partnership) and Mel Sherratt. You can either listen on the site or download….
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Oh yes it will. Or so my novel asserts. I’m proud to be interviewed today by Washington journalist Bill Thompson for his new site The Bookcast. He put me through my paces with all the big questions – reincarnation, hypnosis, destiny – and whether we seek answers from fiction. Oh, and whether any of my novel came from real life (mine).
Bill’s also looking for indie authors to interview – so if that’s you, head over to his site and drop him a line.
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Put through my paces by Guys Can Read: literary writing, storytelling and the brave new world of indie books
Today I’m back at Guys Can Read, the weekly podcast books discussion hosted by Luke Navarro and Kevin McGill. Luke and Kevin adore fiction, period. They review everything from Jonathan Franzen to Star Wars novels, with equal expectations of great storytelling, strong characterisation and robust themes. They’re not afraid to pick apart what doesn’t work, regardless of how hallowed it might be, to venture into genres outside their usual tastes (which are pretty wide anyway) and to celebrate a darn good book even if it’s in a genre that’s normally sneered at. Kevin’s also just released his own rip-roaring fantasy adventure, Nikolas and Company: A Creature Most Foul, now available on Amazon.
I’ve been on their show a few times and was thrilled they wanted me along now that I’ve released My Memories of a Future Life. We started by talking about the novel but soon ventured into wider discussion. We nattered about aspects of literary writing that can get in the way of the story and characters. We talked about indie publishing – as a choice to connect more closely with readers, whether it’s risky for writers with an established career, and how readers and writers will in future be setting the publishing agenda just as much as commercial publishers. Oh, and whether I get away with opening my novel with a whinge scene. Come on over.
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Today – roughly 24 hours ahead of schedule if you saw the note on the red blog – I’m at Joanna Penn’s online home, The Creative Penn. Joanna’s one of my favourite podcasters and her interviewees run the gamut of book marketing specialists to fiction authors to creativity consultants to anyone else you never knew you needed to know. A recent podcast of hers is on how to write fight scenes – which is cued up on my Creative Muvo to accompany my run today. (If you meet me, don’t get in my way.)
Earlier this year, when she was writing her best-selling religious thriller Pentecost, she interviewed me about my book Nail Your Novel. Now she’s invited me back to quiz me about writing My Memories of a Future Life – and we discuss the differences between literary and genre fiction, developing characters, using research and honing prose style. We also laughed rather a lot.
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I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- Ghostwriting FAQs: should you get a ghostwriter, do you want to become one? July 20, 2014
- ‘Abhorrent combinations… fear not as the music writes the story for you’ – The Undercover Soundtrack, Josh Malerman July 16, 2014
- How to fix a plot hole July 13, 2014
- ‘Music of raw power, pulling back from chaos and feedback’ – The Undercover Soundtrack, David Penny July 9, 2014
- Studying Ray Bradbury: a beat sheet of Fahrenheit 451 July 6, 2014
- ‘Sadness and longing in the wildest pleasures’ – The Undercover Soundtrack, Rohan Quine July 2, 2014
- Which courses should I take to become a writer? June 29, 2014
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