Writing bad dialog is almost an art form unto itself.
Recently I read a couple of stories where it felt as if the author was struggling to come up with bad dialog. So I thought I should give a few tips on how to do it properly.
The easiest way to write wretched dialog is to use dialog for the wrong things. In other words, when a scene calls for description, narration, transitions, introspection, characterization, or other things—simply do it all with dialog.
Let me give you an example. Our character, Joe, has just reached into the pocket of a dead man that he found washed up on a Florida beach. Now, the natural way to handle the scene would be to show the readers what Joe pulls from the dead man’s pocket. But instead you can do it in dialog, in this case, with another character, Ron:
Ron: Hey, what did you just find in that dead man’s pocket? Joe: Why, it looks like . . . gold pieces of eight, dated 1702!
Can you see how well that works? I mean, if you pulled a piece of ancient gold from a dead man’s pocket, you’d probably take a bit of time wondering what it was, studying it, and turning it over in your hand. But you can handle it faster if you simply have a character blurt a perfectly accurate description. So if you want to win awards for bad dialog, keep putting your descriptions into dialog!
Here’s how to write a terrible transition. We have just had two men meet, and one asked to meet in private. Let’s have Joe and Ron again.
Joe: Well, here we are in the Redwood National Forest. Sure is a foggy day, what with the wind coming in off the Pacific. What did you want to talk about, Ron, that made you drag me all the way out here, three miles into the trees? You afraid that our offices are being bugged or something?
In this case, the average author might start the scene with the two walking deep into a forest in the early dawn, smelling the fog off the sea, freezing from the cold. Personally, if I were Joe, I’d be a bit nervous, and I’d be wondering if Ron planned to murder me, but maybe that’s just me.
One of my favorite misuses of dialog is the spoken dialog that should be internal. For example, let’s say that Joe goes to the funeral of Ron’s mother. He walks into the foyer and is approaching the deceased, with people both ahead and behind him. He sees the old crone in her casket, dressed nicely, and then whispers to himself, “I never did like the old bag, but she looks pretty hot today. . . .”
Now, most folks would think that Joe would have to be literally insane to say something like that in public. But as a master of bad dialog, you just might get away with it. After all, I think that by now you’ve established that Joe has diarrhea of the mouth and never can shut up, so maybe readers won’t notice that you’re trying to tell your story through dialog alone.
Then of course, you can always characterize people by having one character talk about another. For example, Joe might tell Ron, “You know, my daughter Kary is so introverted, I can’t understand why she would want to become President of the United States.”
“She is introverted,” Ron says, “but you know, she also wants to save the country from fracking, and I don’t think that she can come up with any other way to do it.”
That one always works.
Just remember, if you want to become a master of ridiculously bad dialog, the first rule is to use dialog for everything—for descriptions, for internal thoughts, for narrating your scenes, for transitions and deep characterization. Wretched dialog has a million uses!
I do not wish them [women] to have power over men; but over themselves.
Mary Wollstonecraft, A Vindication of the Rights of Woman. Mary would have turned 257 years old this week. (via oupacademic)
Hablando se entiende la gente ¿Realmente se entiende la gente
Yo, cuando entro a medios sociales!!... hahaha Ah no pos si! ya entendí!
Esto es un ejemplo de las buenas comunicaciones en los medios sociales, y hay que seguir el ejemplo!
Lots of us have been there: you're merrily plotting or writing along, thinking you know who your character's love interest is, and suddenly there's another possibility. Maybe even a few possibilities, and now you have to choose. Here are some exercises to help you narrow it down...
1) Do a Chemistry Summary
For each potential love interest, summarize the chemistry they have with your character. What are their similarities and differences? What do they have in common? What do they like about each other? What is it about them that just... works?
2) Look at Plot-Relevant Decisions
Make a list of plot-relevant decisions your character will make throughout the story. For example, let's say your character goes to dinner at a steakhouse and bump into someone who inadvertently offers a clue to a mystery your character is trying to solve. Deciding to go to dinner--and to that particular restaurant--is a plot-relevant decision.
Now, once you have your list of plot-relevant decisions made, look at how each potential love interest might affect that decision. For example, if Love Interest #3 happens to be vegan and that's an important part of his character, how does that impact your character's choice to go to a steakhouse on that fateful night? If you were planning to have them at the steakhouse because they're on a first date with the love interest, Love Interest #3 being vegan would certainly impact that choice. And not to say it doesn't work... steakhouses serve salads and vegetables after all... but it's still something worth considering.
3) Consider Your Character's Internal Journey
If you're writing a story that is partly or fully character-driven, you know that your character's internal conflict and character arc are an important part of your story. Since your character must go on an internal journey, changing as a result of the story's events, it's worth considering how each love interest might positively or negatively impact that change.
4) Do a Romantic Scene List
You may not yet know all the scenes that will be in your story, but you should have some idea of the romantic scenes that will need to happen. First meeting, first realizing their mutual interest, bonding, first time touching in a loving way, first date, first kiss... these kinds of scenes are important to developing a relationship in a story. So, list the scenes you know you'll want to have (like: first kiss), then for each one, consider what that moment might look like with each potential love interest.
5) Do a Pros and Cons List
This may sound obvious, but if you haven't done it yet, try doing a physical pros and cons list for each relationship, especially taking the previous exercises into account. Think about everything from the pros and cons of them actually being together (as people), to the pros and cons of them being together in terms of how it affects the story.
Try these exercises, and hopefully you can at least narrow it down. If not, or if you still find no one stands out as the better option, try drawing a name out of a hat. Truly!
Have fun with your story!
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Sometimes after I post a piece of advice or a suggestion for improving your craft, I see a lot of you guys in the reblogs talking about how you wish you could be a good writer and take said advice, or that you feel like a failure for not already doing it.
Now listen here, look me in the eyes, you are doing enough.
The last thing I want is to discourage anyone from writing, so I need you to internalize this. You are doing enough as a writer. Yes even if you haven’t written in a while, even if you’ve never been published, or have been rejected a million times, or have never finished a draft. You guys are enough for even trying, and I need you to start recognizing yourselves and being proud of the work you do and/or the ideas you have.
At the very least, start practicing not getting down on yourselves when you hear advice or read someone else’s work. You will only ever get better, don’t start doubting yourself now.
Let’s do a little exercise. Reblog this with three things you think you are totally nailing as a writer, I’ll go first:
I have a keen sense of pacing.
I create interesting dynamics between complex characters.
My ideas are weird and fun and reflect me as a person.
Now go forth with positivity!
Como diria, en una noche estrellada En un camino solitario... Las palabras A aquel amor Que le hace suspirar Con un sello propio Muy de suyo Para denotar esos sentimientos Que surgen Entre la noche bella y oscura
Cascade Handcrafted offers different building styles for beautiful log homes. A couple of the different styles are known as “Piece en Piece” or “Staggered Flares”. Piece en Piece is where the traditional cross corners have been replaced by large cedar flared posts. Staggered log flares, is where the root butt of the logs are exposed on every second wall log at the corners.
cascadehandcrafted.com
College librarians have some work to do!
Here you will find some of the things that I really like. I like writing, music, poems, and producing any idea that comes to my mind. I hope you like it!
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