Tag Archives: Dialogue

A Visit from Writer Lisa Olech

Today I am so pleased to have  talented writer Lisa Olech as my guest blogger. I met Lisa last year at my first NHRWA meeting, just as her first book PICTURE ME NAKED was being launched. She is a funny, sassy, quick witted gal and writer and it has been my pleasure to get to know her and the characters in her books. Her second novel ROCK SOLID, debuts this month and you can read an excerpt from it at the end of her blog here, along with the links where you can purchase it – and I encourage you to!

Here’s a little about Lisa first.

Lisa A. Olech is an artist/writer living in her dream house nestled among the lakes in New England. She loves getting lost in a steamy book, finding the perfect pair of sexy shoes, and hearing the laughter of her men. Being an estrogen island in a sea of testosterone makes her queen. She believes in ghosts, silver linings, the power of a man in a tuxedo, and happy endings.
          You can find her at: www.lisaolech.com, Facebook: www.facebook.com/Lisa.A.Olech.Writer, Twitter: www.twitter.com/LisaOlech

Author photo (1)

WHAT INSPIRES YOU?

By Lisa A. Olech

Does standing looking over a scenic vista fill you with a deep desire to pick up a paintbrush or a camera? Does the beauty of your lover’s eyes make you long for a pen to capture your feelings in a poem? What inspires you to create?

As an artist as well as an author, I’ve been inspired by a host of things over the years. I’ve created pieces of artwork from a song lyric, a feeling I wish to convey, a lovely face. Sometimes I get an idea for one of my glass projects from just a few words. I’m a very visual person, and images will flash in my mind and take hold until I sketch them or make them a reality.

It is no different with my writing. I get story ideas from everywhere. At times I’ll see a scene in my head, or hear a line of dialogue that sticks with me. I’ve dreamt story lines. Characters speak to me. Yes, there are people in my head all the time! If I’m not insane…then I must be a writer! It’s what moves me to start my stories, to take that small seed of an idea and nurture it until it blooms.

The Stoddard Art School Series began with a smell of all things! I believe I’ve told the story of how we were taking my youngest to visit art colleges and I was brought back to my days of art classes and realized that all art schools have a uniquely distinctive smell. It’s a heady combination of oil paints, wet clay and…inspiration!

I’ve just released the second book in the Stoddard Art School Series. It’s entitled ROCK SOLID. This book was inspired by a name I came across many years ago. An amazing name…MAXIMO VEGA. With a name like that, you need your own story!

MAXIMO VEGA is a “rock” star! The media proclaimed him ‘The Sculptor for the New Generation,’ but he’s a reclusive artist ensnared by fame. Driven and intense, his isolation only adds to his mystique. Couple that with his smoldering good looks and rich Italian accent… Fans sigh his name.

EMILY BASKINS is a gifted graduate student at the Stoddard School of Art. To land an internship at the Vega Studio is her golden ticket. All she has to do is follow the rules. And stay out of trouble. Two things Emily has never been able to do.

As Max becomes trapped in the glare of the limelight, he discovers his greatest muse. He teaches Emily to breathe passion into clay and give marble a soul. But is their fiery relationship as rock solid as they believe? Or will a lie shatter the illusion?

EXCERPT FROM ROCK SOLID

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Maximo Vega gathered his composure. He wore a black T-shirt, gray across the shoulders with dust, worn jeans, and heavy boots under a thick leather apron that reached to his knees. Hanging his head and bracing his hands on his hips, he was a study in frustration. The sleeves of his shirt hugged defined muscles of steely arms. And his hands…they were artist’s hands. Sculptor’s hands. Beaten by stone and scarred by tools. They spoke of years of rugged, blistering work.

He was tall. His shadowed jaw, rigid with anger, cut sharply against the tanned column of his neck. Maximo slapped the chisel on his leathered thigh. “I pay you. You find me good hands! Not idiota!”

“I’m sorry, Maximo. He’s gone. You’ll never have to work with him again.”

“Good.”

The great artist’s gaze slid over Emily. His eyes stopped at the white-knuckled hold she had on the large black portfolio.

He waved a hand toward her. “What are you?”

Emily’s throat slammed shut.

“A new intern possibly,” offered Dante. “She’s here from the Stoddard School of Art.”

Deep brown eyes the color of rich coffee, no cream, speared her beneath frowning brows. He flipped his hand toward the portfolio. “Come. Show me.”

Emily shot a look to Dante. He gave her a tiny nudge, like a parent pushing a frightened child toward Santa’s lap.

“Come, come, come.” He snatched the portfolio from her numb fingers, unzipped it and laid it open across a crowded worktable. He used the rag in his hand to wipe the sweat from his lip as he flipped through photos and sketches of her latest works.

“Nice. Hmm. No.” A nod for this one. A shake of the head for another. “Yes. This one is good. Good.”

He looked away from her sketches and gave her a hard stare before looking down the full length of her and back again in a slow appraisal. Emily released the breath she was holding.

“Let me see your hands.”

She held them out and he grasped her wrists and examined first her palms before turning them over. “Cold,” he said just loud enough for her to hear.

The smell of the heat of his body and the spice of soap drifted past her.

“Nervous.”

He lifted a quick eyebrow. “Good.”

**********

http://www.amazon.com/Rock-Solid-Stoddard-Art-School-ebook/dp/B00NQMUYI2/ref=sr_1_2?s=digital-text&ie=UTF8&qid=1411556802&sr=1-2&keywords=Rock+Solid

 

http://www.wildrosepublishing.com/maincatalog_v151/index.php?main_page=product_info&cPath=195&products_id=5839

http://www.wildrosepublishing.com/maincatalog_v151/index.php?main_page=product_info&cPath=191&products_id=5891

 

 

 

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Script writing vs. Novel writing…

At my New Hampshire Romance Writers of America meeting this month, guest speaker Dana Biscotti Myskowski gave a lecture titled Romancing the Script. Dana is a professional script writer, in addition to being a teacher of film and film studies, and she gave our group a number of insights into writing scripts, how to get them produced, and the pitfalls and turmoils of being a script writer.

Those pitfalls and turmoils sounded a lot like the same ones  fiction writers have.

You’ve got this great script ( novel ) that you want to get made into a film ( published ). In order to do that you need someone willing to read it ( agent/editor ), produce it ( publisher ), market it and promote it. You need to get the right actors ( characters) into  the right scenery ( setting) and  develop a worthy plot that people will want to pay to go see – along the same lines that they pay to buy your book.

You usually don’t get paid until the screenplay is optioned, green lit, and then produced, much like the way you don’t get royalties until after the book is sold, and if you’re lucky enough, to get a paid advance prior to publication.

You pour your heart and soul into your script ( novel ) and most of the time it goes nowhere but to live on your laptop.

The two really are very similar.

They’re similar in concept and construct as well. You need  plot, settings, dialogue, characters, and secondary characters in both.

The major difference – in my opinion – seems to be in the development aspect. In a script you’ve got roughly 120 pages to get the story told, the characters set, and the action moving from page one. Every scene tells a story and advances the plot. ( Okay, that happens in books, too.) But in the novel, the writer has much more page time to develop the characters, give that internal dialogue a voice, and get into the character’s head so that the reader knows what they are thinking and going through on an internal level.

A film is visual. The words of the script are in place to give you a picture – a real one – of what is happening.  It is an external medium.You don’t leave it to the film watcher’s imagination to figure out what is happening, you show them. In a book, you use your words to paint that picture you want to give the reader. This is more an internal medium and you do – to some extent -rely on the reader’s imagination for them to “see” the word pictures you are showing them.

Whether you write scripts, novels,  scripts based on novels, or anything else, the most important thing to remember with all of this is that : you are writing. You are doing something you love, something that gives you unlimited pleasure. And hopefully, something you can share with another that will also give that person the same pleasure.

Writing: it’s a good thing.

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Summer update

At the beginning of the summer I set myself a goal to re-read some of my writing textbooks in order to help me rehash some basic writing tools. Kind of a refresher course for creating. Where to put dialogue tags, common punctuation concerns, even plotting points for setting and theme. The summer is almost gone – bummer! – and so is, I realized today, my time for doing this. I got so involved and wrapped up in preparing for the RWA conference, editing my WIP, and starting a new book,  not to mention my normal non-writing life, that the time I had set aside to devote to studying has gone the way of the dinosaur. Next weekend it will be Labor day. LABOR DAY! Where, oh where, did the summer go?

When I was a kid I remember vividly that summers were way too short. It seemed school just let out and already I was being hauled to the nearest department store to shop for supplies for the new semester. Back then I had no responsibilities other than relaxing and reading my required summer list for the next grade’s teacher. Days would meld into days. And before I knew it, the Jerry Lewis Labor Day telethon rolled around and school started the day after.

Now that I am older and have a lot of responsibilities to tear me away from doing the extra things I want to do, the summer just seems to have flown in front of me, flapping it’s wings and mocking me for my unattained goals as it passes by. I have read only half of one book of the four I chose as my refresher. That is, to put it bluntly, pathetic. If I was an actual student and needed to finish those books as required course work reading, I would be failing out of school right now.

I’m trying not to beat myself up too much about this. After all, I am a grownup,  school let out a  loooooooong time ago for me, and I really don’t have to answer to anyone but myself when it comes to being reprimanded for not doing a task.

But still…

What’s the next holiday after Labor Day? Veteran’s Day?  Halloween? Thanksgiving? I think I need a new goal time line.

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Say it isn’t so…

One of the workshops I attended while at RWA 2014 was one on writing dialogue, taught by fabulous Julia  Quinn. Julia writes mainly historical romantic fiction and does very well at it, thank you very much. She’s appeared on the New York Times Bestseller list over 18 times and has a very faithful fan base. Her class on how to write effective dialogue was a goodie.

I realized ten minutes into the class that I had been doing a lot of things incorrectly with regards to my dialogue tags and beats. She showed, through simple placing of breaks, beats, and tags, how to establish a dialogue chain and keep it fresh and moving on the page without the reader having to go back a few lines or pages to see who, in fact, was speaking. By the use of  well placed TAGLINES, those little informative lines or words that indicate who is speaking, other than the standard “he said, she said” ones, you can keep the dialogue moving across the page at a pace that is easy for the reader to follow and comprehend. Remember, reading is not a visual  media, like watching television or a movie is, where you can visualize ( read, see) who is doing the speaking. Your reader must have total comprehension each time a line or chunk of dialogue is spoken in order to know to whom to attribute the words to.

ACTION TAGS are simply that. Little snippets of description that let you show the reader the tone of the character’s voice, the movement he/she is making and even how another character perceives him/her. Action tags always allow you to show rather than tell what your character is thinking and doing.

EMOTIONAL TAGS are again easily defined. They show what your character is feeling, or how your character is reacting to something in the scene. Showing character emotion is an excellent way of letting the reader know what is in the character’s head, why he is reacting the way he is, and what he is thinking. When interspersed with action tags and attributes, this allows the reader to fully comprehend the scene and understand the subtext in the dialogue you are writing.

Another great part of Julia’s workshop was the nuts and guts part of writing dialogue, such as where to place the punctuation, the correct way to do it, and the tricks you can use to convey a visual scene in a non-visual media.

All in all, the class could have gone on for hours, there was so much useful  and professional information in it. Maybe at the next RWA conference she can do a master class and give us more than an hour of her wisdom. I actually wrote that request on the course survey.

Let’s see if the powers-that-be listen to me!

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Summer reading list

Remember when we were all in school and at the end of every year we were given a summer reading list by next year’s English teacher? I was the dorky kid who actually liked getting that list because reading was, and still is, my favorite thing to do – during any season.

For the past two summers I’ve started up that summer reading list again for myself, but it’s not filled with literary classics, or modern contemporary fiction.  My reading lists now are filled with “how to” books or what I like to call the refresher  series. Those books that I read, every now and again, to remind me of the craft I love. The books that remind me how to “show,not tell,” the power of strong words not adverbs, the structure in plotting books, the dialogue helping books, and the general this is how you do it for “dummies” books.

Writing is a craft, an art, a talent, and a career. Like any career, you must learn the basics, the tools, and the procedures to be an effective worker. Sometimes, when I am lost in the throws of writing ecstasy,  I tend to forget the rules and just write what is in my head. When I edit, I remember the reason I should get rid of that “ly” word and replace it with a stronger one, the reason why saying “he thought” is probably redundant, and the reason saying “she turned her gaze..” instead of ” she turned her eyes..” is a better descriptor.

My crafting books are helpful in allowing me to remember the power of plotting, and how to do it so to reach a maximum of writing force. Plot structure, scene structure, and point of view refreshers are all helpful when I edit, and re-reading the basics of how to do each has benefited my writing enormously.

I love dialogue, probably because I love talking so much in real life. My dialogue refresher books are always helpful, especially when they help me find two words that will take the place of twenty.

Summer reading lists. Not just for kids, anymore.

Some of my favorite re-reads:

Plot and Structure,  James Scott Bell

Showing and Telling, Laurie Alberts

Writing for Emotional Impact, Karl Iglesias

The Emotional Thesaurus, Angela Ackerman and Becca Puglisi

G.M.C., Debra Dixon

Character Traits, Linda N. Edlestein, Ph.D

 

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Filed under Author, Contemporary Romance, Dialogue, Editors, research

You write WHAT?!?

For years I never told people my secret. I kept it between myself and my laptop. No one knew, suspected, or had any inkling what I did with my free time. Then one day, quite by accident,  I let it slip. The look I got from the person I told was comical and just this side of insulting.

“You write WHAT?!?” I was asked.

“Romance,” I replied.

“Why would you write that kind of book? You’re happily married and successful.”

I asked what that was supposed to mean and what connection it had to the kind of book I liked to write. The response floored me. “Romance books aren’t very interesting. I mean, the plot is always the same. Nothing new ever happens. They’re not very stimulating.”

Okay, did I say just this side of insulting? 

Romantic fiction has gotten a bum rap for a number of years, yet the sales statistics are staggering. Over 1.5 billion – that’s billion with a capital B – dollars in revenue in 2012. Compare that to its next highest competitor of mystery sales at just over 7 hundred million, and you can safely say romance sells. So why the bad rep? Why do people – professional writers included – feel that romance novels are the second class citizens of fiction?

You can probably get ten different reasons if you ask ten different people, but I’ll tell you the ones I’ve personally been told by friends and acquaintances.

“I don’t like books that have a lot of explicit sex in them.”

“The basic story line is always the same. The ending, predictable.”

“If I’m gonna buy a book,  I want to read about more than just  the two people in  the story.”

“I don’t like mushy writing.”

These are actually things that have been said to me when I asked. I’d like to address them individually.

“I don’t like books that have a lot of explicit sex in them.” This is so stereotypical that I’m pissed off I even have to address it. Romance novels come in all degrees of heat.  Everything from inspirational novels, where the two “love interests” don’t even kiss, to erotica, and everything in between. Some romance novelists are known for their heat level, jacking it up high and then cooling it down, just to fan it again. This is a normal romance roller coaster. The characters don’t hop into the sack on page one ( well, some authors in erotica do that). Their relationship grows in the novel until it reaches a point where the author either lets them act on their sexual attraction, or finds ways to keep them apart – interested – yet apart. It’s not all sesexsex on every page. That would be a boringly clinical book if it were, with nothing vested in the characters. You might as well read a sex manual.

“The basic story line is always the same. The ending predictable.”  Part of this statement has a smidge of truth – the last sentence. Almost all romance novels end the same way – with the heroine and hero discovering that they want to spend the rest of their days together. Marriage is usually the end product, but not always. The first part of the sentence is just flat out wrong. The basic story line of every romance novel is not the same. Sure, you have two main characters whom you’re rooting will fall in love, but how they get there, how they go on that journey, is different from book to book, character to character. Just like every person in real life is unique, every character in a novel is as well. Every person’s journey is unique, just like every character’s is. Nothing in life is predictable and neither are romance novels.

“If I’m gonna buy a book,  I want to read about more than just  the two people in  the story.”  This statement is surely made by a person who does not read romance. Yes, all romance books have two love interests. But just like in real life, there are people surrounding those main characters. Parents, siblings, friends, bosses, enemies and co-workers. Unless your story takes place on a deserted island and the main characters are shipwrecked, you’re gonna have more than two people in the story. Those secondary characters have their own story lines as well, again just like in real life. How they all intersect, intertwine and effect one another is the basis of sound story telling.

“I don’t like mushy writing.” Well, neither do I. Nor do I read it. What I read is dialogue that sounds natural, as if the two people were speaking in my own living room to one another. What I read is a plot that has a beginning, middle and resolution that satisfies me as the reader. I don’t read flowery sentences and purple prose, or any kind of drivel that makes no sense and makes my groan. I read well written, well plotted, superbly spoken works of talented writers. That these books have as their main premise a romance in them is frosting on the cake as far as I’m concerned.

Romance readers know what they want in a good story and romance writers strive to give them that with each and every book they pen. Numbers don’t lie and romance novels are here to stay.

Thank goodness for that.

 

 

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Individual Speech Patterns

Did you ever read a scene between two characters and not know who was speaking because they both sounded the same on the page? I have and it’s very disconcerting. Now, you can use speaker attributes,or tags, such as he said, or she asked, to denote who is speaking and this is a fine, tried and true method to delineate who is saying what. But no two people speak the same way, even members in the same family. They may use similar words or expressions, but the way they say the words is different. People are unique. Your characters should be, too.

I have a friend who always thinks before answering a question. There’s never any knee-jerking in any response she gives. And she uses a modicum of words to answer that question. I have another friend who – like me – always knee-jerks, never thinks and speaks in a rapid fire fashion using up more words in the dictionary than most people know the meaning to. If I were to write a dialogue between the two I would never need to write a speaker attribution. You would know who is speaking just by the way I’ve written the dialogue. Your characters should be recognizable as well. If you have done your job correctly, and have laid the foundation throughout the story of how they speak – slow or fast, their tone – loud or soft – and the way they use words, your readers should be able to identify them during a dialogue scene.

Certain frequently used phrases, slang and dialect are all individual tags to indicate who is speaking as well.  Think of this statement: “I don’ know nothin’ ’bout birthin’ no babies!” If you are a Gone With the Wind fan, you recognize this as a sentence from Scarlet’s maid Prissy when Melanie goes into labor. Prissy is a slave. Poor, black and uneducated. If GWTW took place in the Regency period, you might expect the maid to be white, poor and uneducated, and her speech would sound something like this: “Oy dow’t know nuffin ‘bowt birthing babes!” Both sound uneducated. Take the same sentence and write it from Scarlet’s voice and it might sound like this: “But I don’t know anything about delivery babies!” Sounds different, doesn’t it? The well educated lady’s maid in England may  sound like this: “I’m sorry, but I am not acquainted with the necessary knowledge to assist a baby  into the world.” Sounds even more unique.

Where your story takes place, the locale or setting, will give you an indication of how the characters speak as well. The common ones are Y’all for the south, Mate for our neighbors to the north and Australia, Eh? for the upper midsection of the country, bloody and brilliant for our English friends. You can come up with many more individual phrases and words used in various sections of our world. If you have a Brit in your book, make him say common Brit phrases, and then try to have the Americans tell him the way they say the same word. That would surely denote who is speaking from who.

I am nosey. I’ve said this too any times now to try and deny it if asked. In my nosiness states I listen to how strangers speak. In a restaurant, at the mall, on airplanes. I enjoy hearing people talk because it is all fodder for my imagination and story telling. The next time you are somewhere pubic, listen to a few people have a dialogue. Note the speed – or lack of it – in the way they talk, the words they use – many or sparse – and any geographical dialect sounding words they say. See if you can translate that to whatever story you are currently working on. Write a couple of pages of dialogue without speaker attributes and have someone read it. Someone your trust and like. See if they can follow who is speaking without the tags. If they can, you have done a great job. If they can’t, figure out why not and how you can fix it. And I’ll bet you can fix it by doing any of the ways I’ve mentioned.

 

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Characters into real People, Part 3

Flaws, habits and idiosyncratic mannerisms. When you see these words do you immediately think of them as negative descriptions? You can, but you shouldn’t, because these are all facets of normal human behavior. And normal human behavior is what you want your characters to exhibit on the page. Unless of course you’re writing about lycans, vampires, or aliens from outer space that don’t exhibit normal human behavior.  And even then, I’m sure those subspecies have their own foibles, et al, indicative of their own, well, species.

Every person is unique, as is every character you develop. One dimensional characters are not fun to read, they are boring. Very boring. Ever notice that in every fairy tale from Sleeping Beauty to Cinderella to Snow White we never get to know the handsome prince who saves our girl from witches, evil stepmothers, and evil stepmothers who are witches? That’s because the storytellers didn’t want the guys’s true natures made known, because they’re perfect. Boringly perfect. Rich – they’re all Princes, after all, of huge kingdoms – handsome – because non attractive guys could never get a girl – and brave – they all slay dragons and fight evil daily. Nothing ever happens after the words And they lived happily ever after. You never hear about the fact that Cinderella now had to cater to her Prince and clean his castle, substituting one kind of indentured servitude for another; or that Snow White’s guy actually liked apples and didn’t want any other fruit brought into the palace – much to her chagrin. Apple pies, apple tarts,  apple butter yadayadyada. She couldn’t get away from them. And don’t get me stared on Sleeping Beauty’s guy and his unnatural predilection for dragons. No, these guys were all one dimensional. They basically had no substance, no occupation, other than to save our princess,  so we never heard about them after they did. ( My apologies to the Grimm Brothers who are probably rolling over in their five hundred year old graves right about now.)

So far I’ve talked about dialogue and speech patterns to try and  make your characters sound believable.  Today, I’ll talk about how to show they’re believable, and this is through they’re behavior.

We all know people who have little habits that drive us crazy. Tooth picking, throat clearing, feet tapping, you name it. I have terrible habits of talking with my hands ( raised in an Irish/Sicilian household- go figure) and for interrupting people. The first is okay. The second is absolutely annoying to people and I know that in my heart and mind, but I’m damned if I can do anything about it. What can your characters do to distinguish themselves, habit-wise, when you write about them? It doesn’t have to an annoying habit, like mine. It can be that your heroine bites her bottom lip when she is nervous, or your alpha male hero dislikes – really dislikes – being told what to do, and flares his nostrils when he is pissed. ( Sounds a little dragon-like, doesn’t it??)

By flaws I don’t mean one eye is smaller than the other ( like me!) but character flaws. Little bits of behavior, thoughts, and actions that tell you this person is not perfect. Far from it. For instance, your heroine is basically a nice person and always volunteers to help others, but just this once she really wishes you wouldn’t ask her to drive the meals on wheels car just because you have a hot date and she doesn’t. Two flaws here by the way : a little jealousy ( she has a date, your character does not) and a little pettiness.

Idiosyncratic mannerisms are little actions  particular to your individual characters that no one else in your story does. Again, I’ll use myself as an example. I check my watch. Often. Sometimes, every minute. This used to really annoy my father-in-law because he said it made it look like I had to be somewhere else and was just biding my time, and also that it was just plain rude. I totally agreed so I stopped wearing a watch. Now I check my phone. Often. Sometimes, every minute. My idiosyncrasy is time. I am consumed with it. No one else in my sphere is time obsessed like I am. I own that one.  Does your character snort when he laughs? Does she play with her hair, unconsciously, all the time? These mannerisms can be used to define your character and give them depth.

And if a character has depth, they are believable, and believable characters come across as Real People.

 

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How do you turn your characters into Real People, Part 2

Part of my website is called Tawk 2 Me. The word Tawk we all know should be spelled as Talk. The reason it isn’t here is because of my Brooklyn accent. I haven’t lived in New York in over 30 years, nor in Brooklyn for close to 42 . But I still speak as if I just got off the local Flatbush train. I don’t pronounce “R’s” at the end of works, substituting  “A’s” for them and my nasal, drifting cadence tells you immediately when you meet me that I am a Brooklyn girl. On the occasions when I go back to NY for a day or so, the accent reverts to a primordial twang and it grows even thicka ( thicker!) See: I even do it when I write!

Long before there was callerID people knew it was me on the other end of the phone the moment I said, “h’llo.”

This is a long winded way of saying one of the best ways to make your characters seem like real people is through:

  • dialogue
  • word choice
  • pronunciation

Where are these two people from?:

Guy 1 “Yo.”

Guy 2 “Yo”

Guy 1 “Where you been at?”

Guy2 “My ol’lady. Been busy. Bangin’ all day.”

Guy 1 “Go scratch.”

Guy 2 “True.”

Okay, I could go on with these two goons, but I think you get the idea from the dialogue, that these are two are not exactly Rhodes Scholars speaking about esoteric world events. They actually sound like guys I grew up with, so if you said they live in NYC or Brooklyn to be specific, you would be correct.

So here’s the same dialogue from a different part of the country:

Guy 1. “Hey.”

Guy 2. “Hey, back.”

Guy 1 “Where y’all been?”

Guy 2 “With my girl. We’ve been getting busy b’tween the sheets, know what I’m sayin’?”

Guy1 “No way, bro”

Guy 2 “Way.”

See the difference? Same speech, different words. They sound different and read differently. When I see this I immediately think midwest – south because of the “y’all.” I can hear the twang and drawl.

Word choice and word placement are two ways to make your character sound real and read as real.

When you read  a Regency romance you will never hear a character say a line like this: “Yo, bitch, what time we gotta be there? ” Instead, the line would probably read like this: “My dear, what time are we expected to arrive?” Same meaning, different time period and word choice.

Dialogue is a powerful way to present your characters.  Here’s a great little tool to use when plotting ( sorry, pantsers) your storyboarding and your characters. Check out the language and communication page: CHARACTER CHART.

Part three is next. I love this topic because I love my characters and the people they are!

 

 

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