Story Sensei

HEARTBEAT INTERN CONTEST for Pre-Pubbed, Pre-PRO Romance Writers Accepting entries starting January 1, 2007! This is a brand new contest aimed at beginners. In other words, if you’ve been published in any format at any time, or have achieved RWA-PRO ( Romance Writers of America ) status, you’re not eligible. CATEGORIES & JUDGES Romantic Suspense: Patience Smith - Silhouette Suspense. Erotic Romance: Alicia Rasley - Red Sage Anything Romance w/ Medical Elements: Sheila Hodgson - Harlequin Mills & Boom Medicals Inspirational Romance: Melissa Endlich - Steeple Hill Series Romance (long & short): Scott Eagan - Greyhaus Literary Agency Single Title Romance: Hilary Sares - Kensington First place winners in each category will receive a critique from Lois Winston, Agent with Grayson Literary Agency. TIMELINE 1. Entries accepted from January 1 - February 1 (Entries with a postmark of February 1 or before will be accepted until February 6). 2. If a deadline falls on a Saturday/Sunda

Oh, goodness! Sara’s heart pounded in her chest. “Josephine! I didn’t even see you there!” While just 10 years ago, books had tons of exclamation points all over the place, these days, most editors prefer limited use of exclamation points, especially in dialogue. They typically suggest using them only if someone is screaming or shouting, rather than just a raised voice. Some are nazis about it, some aren't. I would suggest getting rid of as many exclamation points as you can just in case you come across someone who's picky about it.

Separate from your own unique writer’s voice is each individual character’s voice. Sometimes writers will not make each character’s own dialogue distinct enough to be able to tell characters apart. Many times, if you remove the dialogue tags and action beats from a scene of dialogue, the two characters will sound exactly alike, whether it’s two men, two women, or a man and a woman. Each character should be so individual that even their speech patterns are distinct. I’m not talking about dialect or slang. Lots of things can contribute to character voices--pacing and rhythm, word choice, grammar, sentence length, casual versus formal. Don’t cop out and give one person a lisp or a dialect—try to make them unique just by their words alone. You, as the writer, know who is who as you hear each character talking in your head. The challenge is to convey the distinction on the page to the reader. One exercise I like to do is to take an incident and have different characters tell it. Often, I ca

When reading contest entries or manuscript for critiquing, sometimes dialogue goes on for too long. This can affect pacing, and it can also disengage the reader if the dialogue isn’t necessary to character development or the plot. Look through your own manuscript to see if a few interchanges in a scene of dialogue might be unnecessary. Sometimes things like that are needed to set tone, or reveal character, but look through your dialogue to see if anything can be cut. You as the writer have a good feel for what's vital to your voice and the tone, and what might be just fluff. Most writers say that anything that can reduce word count will usually only make the story better. Anything that can speed up the pace a bit during action scenes (dialogue) will help glue the reader to the page.

Rather than listening to me talk, why not read a few good articles on dialogue: http://www.jamesscottbell.com/Site/Dialogue%20Tips.html http://www.sff.net/people/alicia/artdialogue.htm http://www.pammc.com/dialogue.htm (good examples of proper punctuation for dialogue) http://www.charlottedillon.com/Articles.html http://www.writing-world.com/fiction/index.shtml These last two are websites with several articles on various topics, including dialogue. These links were current as of the publishing of this blog post. If any are broken, please e-mail me or leave a comment to let me know.

Mark Goodyear made a great point that one way to learn to write good dialogue is to read good dialogue, and one of the best resources are good plays. Specifically, the Tony winners, since aren’t those the best plays written in America? If you go to his blog post about it , he gives the website of the Tonys and how to search for plays to read. Plays can be found in your local library. They might also be in the drama department of your local high school and available for loan, so send your child on a recon mission. Another good resource is online stores where you can buy cheap used copies (which you can then flag and mark up with notes). Look for dialogue that moves you, then look through it again to discover why. Look at pacing, sentence rhythm, word choice—especially word choice specific to certain characters. Judicious use of sentence structure and sentence length also make up good dialogue. Once you analyze good dialogue, you’ll find you’ll be more critical of your own writing as y

All dialogue should have some type of conflict. Exchange of information or small-talk is boring and slows the reading flow. The characters don’t need to be fighting with each other, but there should be something one of the characters is fighting FOR. Fighting to hide information, fighting to obtain information, fighting to right a wrong, fighting to convince the other. In the words of Randy Ingermanson ( Advanced Fiction Writing E-zine ), “Dialogue is war.” A dialogue with two strong forces has the energy to propel the story forward. It tends to be highly emotional, but at the same time very simple and direct (unlike actual conversation in real life). The best way to have both emotion and simplicity is to lay the dialogue down first and then go back later to refine, cut, clarify. Because dialogue is emotional, it also tends to be more give-and-take, more back-and-forth. In our modern publishing industry, it’s rare to have a character go on and on without the other character responding.

“I know you did it.” He slammed his fist on the table. She fingered her long necklace with manicured fingers. “I never said I did.” “We have you on tape.” He reached out to touch the micro-recorder. “I told you, I was only joking when I said that.” She wouldn’t look at him. He crossed his arms and glared at her. “People don’t joke to kill someone.” “That’s not true. People joke about killing their friends all the time.” She crossed her arms and stared him down. Even though we vary the sentence structure and the position of the dialogue, the action beats in this conversation are a bit much. You don't need to identify the speaker every time he speaks. You can have back and forth a bit and still know who's speaking. Action beats should have a purpose --to show inner emotion or characterization, not just as filler in between lines of dialogue. “I know you did it!” “I never said I did.” “We have you on tape.” “I told you, I was only joking when I said that.” She wouldn’t look at him

“As you know, Bob, your mother left you at the age of five to run off to California with the family lawyer, leaving you to be raised by your bohemian grandparents. Do think it’s affecting your judgment about this child abandonment case?” Be careful about dialogue that’s there just to inform the reader. Bob would know what his mother did, and wouldn’t need to be told or reminded. “You’re too close to this case, Bob.” “What do you mean?” He crossed his arms. She spoke with a hitch of hesitation in her voice. “You were the same age as this kid when your mom . . .” She didn’t have to say it. As a child, he’d prayed for an earthquake to swallow up both his mother and the ex-family lawyer in California. Maybe he was too close to this. Some things won’t seem like telling at first, but at closer look they might: She spoke with a hitch of hesitation in her voice. “You were the same age as this kid when your mom left you for the family lawyer.” (Does Bob need to be reminded whom she ran off with

Not all these exercises will work for every writer, but some might enable you to find and/or further develop your voice. (Most of these exercises are taken from Finding Your Writer's Voice: A Guide to Creative Fiction by Thaisa Frank and Dorothy Wall ) Keep practicing. Voice is developed by writing, writing, writing. Try doing a voice writing exercise each week. It only takes a few minutes, and that weekly stretching and warm-up will help your writing the rest of the week. And not just short exercises--use your manuscript as practice ground for unleashing your raw voice. Take a scene, or a page of your manuscript. Work some of the exercises with that piece of your writing. Not only will you be developing your voice, you’ll also be working on beefing up your manuscript. Don’t be discouraged if the exercises don’t seem to be showing dramatic results. Often a writer’s voice comes out subtly, in waves or glimpses. Some writers’ voices are loud, others are soft and more subtle. Don’t a

Not all these exercises will work for every writer, but some might enable you to find and/or further develop your voice. (Most of these exercises are taken from Finding Your Writer's Voice: A Guide to Creative Fiction by Thaisa Frank and Dorothy Wall ) Speak your voice through characters. Like a ventriloquist, you throw your voice into a story character so that it's you and yet not you speaking. More than anything, it should be the character's voice that dominates, but your own voice will add vibrancy to your character. Your heroine will have her own unique way of speaking, and it will also depend on her audience. She may speak one way to her mother and a different way to the hero. Through it all, don't be limited by her personality--rather, let her individuality unleash your own raw voice. Take a persona and notice if you speak directly in his voice--in his skin--or describe him as if you're in the room. Sometimes, this can indicate a preference for first person v

Not all these exercises will work for every writer, but some might enable you to find and/or further develop your voice. (Most of these exercises are taken from Finding Your Writer's Voice: A Guide to Creative Fiction by Thaisa Frank and Dorothy Wall ) Take a lesson from children's storytelling. When children tell stories, they improvise with things connected to their emotions, urgent and important to them at the moment. The duckie in their lap, the blue carpet, the stinky smell from the diaper bag, the lint under the table. It doesn't have to make sense, it doesn't have to be polished. What makes their stories compelling is that it's raw and free. Our writers' voices come out when we can emulate their storytelling mindset. This is related to what we say in public and private. There are certain things we will only say to our families, or sometimes just to ourselves. I'm not talking about foul language or unpleasant bodily functions. Opinions, one-line zinge

Not all these exercises will work for every writer, but some might enable you to find and/or further develop your voice. (Most of these exercises are taken from Finding Your Writer's Voice: A Guide to Creative Fiction by Thaisa Frank and Dorothy Wall ) Discover your natural rhythm. All of us have a natural cadence to our speech and thoughts. It's a combination of our genes and environments. For every writer, it's unique. Write nonsense words in grammatically correct sentences, or do free-writing--keep the pen moving even if you just write nonsense or the same sentence over and over. You'll discover things about your voice. Your sentence length, your word choice. Alliteration, metaphors, similes. Twists of phrase, dialect. Learn to be aware of these aspects of your voice's cadence.

Not all these exercises will work for every writer, but some might enable you to find and/or further develop your voice. (Most of these exercises are taken from Finding Your Writer's Voice: A Guide to Creative Fiction by Thaisa Frank and Dorothy Wall ) Write your voice with your whole body. An opera singer or a screaming child uses his entire body to project his voice. It's a comprehensive, total physical feat. A writer is the same. You want to use your entire being--your whole body--to bring out your writer's voice. This will mean different things to different writers. The important thing is to discover your own all-encompassing combination of rhythm, force, and music that is your voice. The key is all-encompassing--try to involve all of you, not just your mind. Try to imagine what it's like for you to write from your gut, from your toes, digging in with your shoulders, straining with your spine. Make it an energetic feat, requiring force and strength, pulling in aspe

Not all these exercises will work for every writer, but some might enable you to find and/or further develop your voice. (Most of these exercises are taken from Finding Your Writer's Voice: A Guide to Creative Fiction by Thaisa Frank and Dorothy Wall ) Unusual situations and a sense of urgency will bring out voice. External stimuli: Create a certain setting or mood by surrounding yourself with objects that will put you emotionally in different states. Try laying on your desk several things that make you mad. Or maybe things that make you sad. Be creative and utilize all five senses. Create different atmospheres that run the gamut of your emotions--don't hold back. Explore difficult emotions, intense emotions. Internal stimuli: Use your mind to put you in different places, at different times. A cold, lonely prison cell. A loud, crowded prison cell. An abandoned warehouse during WW2 with bombs exploding. A desolate cornfield during the Depression. What's important is to put

One vital way to make your writing stand out is voice. In many of the contest entries I've judged and manuscripts I've critiqued, writers have muted their natural voice to sound bland and generic. Writing that's alive with its own distinct vocal flavor is a joy to read. The prose is richer and more vibrant, the characters more three-dimensional--all because the writer opens herself to her own writing style and revels in it. However, voice can also be the most difficult and slippery aspect of writing craft to discover and perfect. Raw, creative voice often doesn't result in a polished piece. The key is to first lay down the story with your unhindered voice and polish later. But how to unleash your voice? Many times, a writer's internal critic is hampering the free reign of his unique style, but certain exercises can help him lift all restraints, open the cage door, and let the lion roar. Not all these exercises will work for every writer, but some might enable you to

Howard Books fiction editor Terry Whalin has started a "Writing Tip of the Day" where you can insert html code into your blog or website and have his writing tip automatically change each day. He has 31 tips now, and intends to write more later. Information is at this blog post . I've inserted it in my sidebar so you can see what it looks like. It's a terrific idea and Terry's background and expertise makes him an ideal person to write these tips for writers.

This is a page or two listing books similar to yours but different in some way. This is to show how your book would both fit in and stand out from the books already in print. Make sure the books you list aren’t too old. List recent titles over older ones. Show clearly how the books are similar, but also show clearly how yours differ. For example: Embryo Factory: The Stem Cell Wars by Rev. Richard A. Humphrey and Dr. Loren J. Humphrey, ACW Press, 2003. This Christian suspense dives deep into the complex moral and technical issues surrounding stem cell research, using a minister and a physician as protagonists. Bitter Dragon also deals with stem cell research, but takes the issue a step further into human cloning and fetal tissue harvesting for disease therapy, with a backdrop of action and adventure pushing the Asian heroine into danger.

Don’t list things like “willing to appear on Oprah”—well, duh. Plus so few authors actually make it on Oprah, period. Be specific about what you personally can do. What groups do you belong to, and what can you realistically do to use your connections to promote your book? For example: Do you work in a school and can you influence the librarian or other schools’ libraries to carry your book? Do you belong to any national organizations and can you give workshops on your book topic at your local chapter? Do you have an active blog or website and can you utilize that to spread the word on the internet?

If you don't have many writing credits, don't point it out. If you have a lot, point only to the relevant ones. If you wrote an article on abuse in Woman's World and an article on stretching in Runner's World , include the Woman's World but not the Runner's World . If you belong to a national writers organization like RWA, ACFW, SFWA, MWA, then include it. Also include if you’ve ever worked in a publishing house or for a magazine. Don't ramble on for paragraphs and pages about your family and experiences—keep it to only those things that are pertinent for your story. If the main plot of your story is about hang-gliding and you've done that several times, then include it. But if your story is about the stock market, then don't include the hang-gliding experience. Your social connections can also have pertinence. If your story is set in medieval Scotland and you belong to a local Scottish Heritage group, then mention that. However, if the main plot o