Tag: writing tips

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One Quick Tip to Improve Your Dialogue

A QUICK TIP ON IMPROVING YOUR DIALOGUE

 

Whenever there is an entrance or an exit (from a scene in your story, no matter the format)…

 

Relationships change.

 

In theater, we call this a French scene. It’s not necessarily marked off in a script, but directors or actors might recognize it because every time there’s an entrance or exit, relationships change.

 

When relationships change, so does the dialogue.

 

Imagine two teenage girls in one of their bedrooms, talking about Chunk Squarejaw, the hot new high school quarterback. Without giving you any more details, can you hear them? Can you hear how they sound? Can you hear the words they might use? Can you envision how they’re relating to each other in that scenario?

 

Now, Dad walks in and says, “Did you finish your homework yet?”

 

The exact tone doesn’t matter for now; just that Dad walks in. Can you hear the slight difference in how the two girls relate now? Notice the change in word choices and the way they talk to Dad and the way Dad talks to them because a new person has entered the scene.

 

If this were a script or a novel, we might label the two girls’ interaction as “French Scene Number One.” When Dad enters, it becomes “Scene Two.” You wouldn’t delineate this in your manuscript; it’s just a way to think about your dialogue.

 

Scene Two involves a discussion with Dad. When Dad exits and closes the door, “Scene Three” begins, and the language changes again.

 

Every time someone enters or exits a scene, the language and relationships shift. This understanding can help you craft more dynamic and realistic dialogue.

If this was helpful, you’ll love my book HOW TO WRITE AWESOME DIALOGUE! FOR FICTION, FILM & THEATRE

https://www.amazon.com/dp/B00WZWMW5W

 

 

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Craft

Battling Writer’s Block

Battling Writer’s Block

6 Tips and 1 Big Secret

Photo by Bernard Hermant on Unsplash

Before we address your writer’s block, we need to consider what kind of writer you are and what kind of writing you do.

More specifically, where do you want your career to go?

If you are currently at the hobbyist level, meaning you love writing for fun and have these characters you enjoy working with, that’s great. Maybe you make maps and character drawings and post them on your favorite website. But today, you’re stuck, and you’re looking up how to fight writer’s block. That’s awesome — we’ll talk about the techniques you need to employ to get through it because there are many.

On the other hand, if you are a writer who fully intends to get paid for your work, whether full-time or part-time, we have to address writer’s block from a different perspective.

Here’s the reality:

If you are someone who writes fiction to make money, you don’t get writer’s block.

You don’t have the luxury of writer’s block. Whether you are going the traditional route, the indie route, or a hybrid, you’re doing it at a professional level in exchange for funds. You are a professional writer.

You may experience “project” block, as my friend Michael Stackpole once said. You might be working on a project and get stuck for a second. What’s the solution to that? You go to another project.

Most of my writer friends in the indie world have more than one project going at any one time for just such an occasion. Maybe your urban fantasy isn’t working for you this morning, so you shift to your YA romance. For those in traditional publishing, if you’re doing a book a year, you still probably have more than one project going because you don’t know which one will sell.

In any case, you’re a professional. You are expected to turn over fiction for your audience. There’s no room for writer’s block.

I recently wrote a 90,000-word novel in three months. The first month was for research and outlining. The other two months were for writing. Almost every day, I got up, looked at where I was, figured out what part of the story I was in, and dove in, getting 2,000 to 3,000 words a day. I followed an outline, and when you’ve crafted a really good outline, you don’t get writer’s block.

You might get tired, which is different. Physical or personal setbacks are not writer’s block.

When under contract for that novel, I overwrote as much as I could to build in time for unforeseen events. Things happen, so I wrote as much as I could when I was in the zone. I don’t believe in writing every day as a necessity. For me, I write when I can. But having a solid outline and writing like hell when you can means there’s no room for writer’s block.

I beat my deadline by a week.

Now, let’s talk about the more fun side: What if you’re just working on something as a hobbyist, enthusiast, or apprentice? When you’re stuck, there are a few things I always recommend to my students.

First, get out of your space.

You probably have a space that you typically write in. If the routine isn’t working for you, you need somewhere new. Go to a library, a park, a coffee shop, or even a different room in your home. Change your visual and sensory perspective to kickstart your creativity.

Second, have an outline.

If you have a solid outline, you don’t have to worry about writer’s block as much. You know what’s next. If you’re not excited about a scene in your outline, it probably shouldn’t be there.

Third, get to the good scene.

There’s no rule that says you have to write in order. Write what excites you the most.

Fourth, engage with your favorite media.

Watching favorite movies, reading favorite books, listening to favorite music, or reading poetry can be really good for breaking up a solid logjam in writer’s block. But avoid mindless scrolling on social media. Be deliberate in your engagement.

Your Voice was influenced by movies, by media, by songs, by other things that you’ve read.

So invest back into those. Go read your favorite book. Take an hour, make your favorite food, sit in your comfy chair and get back into the thing that led you to today. Other authors, other storytellers, guided you to today. Go revisit them, hang out with them, read them, watch them.

Which is not the same thing as, “Well, Tom said take a couple hours…” and look at YouTube.

No, no, no, no.

Don’t go to YouTube. Don’t go to TikTok. Don’t go to any of these places. Don’t mindlessly scroll and call it work. That’s not work. You know it and I know it. I’m talking about the deliberate, intentional act of taking an hour or two hours to relax, get back in touch with your self, get back in touch with your heroes, your mentors, and then see how the scene progresses.

Fifth, get outside.

A ten-minute walk or just being outside can change your mindset. Engage with your surroundings deeply, using all your senses. Be safe, obviously. But get out. Get out and get moving. A ten minute walk. A 30 minute walk can change all kinds of things. Put your phone away. Don’t put your earbuds in. Just walk as you’re walking. Or if you can’t walk for whatever reason. Cool. Just be outside and just sit. But as you’re sitting or as you’re walking, notice and take note of the things around you. But dive deep! Don’t just look at the pretty flowers. Stop. Literally smell those roses. Smell the snapdragons. Touch them. What’s it feel like? What does it remind you of? Listen to everythin. Can you if you break off the twig of of a tree, just a little bush — what does that sound like?

What is the texture of that little stick that you just broke off? What does it smell like? Get that stuff into your brain. Don’t worry about the book. Don’t worry about the scene. Just get those sensory things going. And I’m I can’t guarantee, but I’m confident that when you sit back down, you will find a new sort of freshness to the writing.

Lastly, write something else.

If you’re stuck, work on another project or take one of your characters and put them in a new, challenging situation. This can reveal new aspects of your characters and invigorate your creativity.

If you don’t have another project on on the back burner, take one of your characters from this current project and put them in a locked concrete room with some of their character, either one of yours or a character that you like from literature or movies

Lock them in this room and let them start talking to each other and just see what happens. One of my favorite stories about this, about breaking writer’s block, is I took a 17 year old girl who was an artist from my novel ZERO. I put her in a room with a 30 year old space pirate and locked them in a concrete bunker just to see what would happen.

And while you’re never going to see that scene because it’s never going to be published — it was just a three-page thing that I wrote really quickly –the dialogue revealed so much about both of those characters that there are still little elements of that exchange in those two books. It’s weird, but it works. Just throw them in a room, see what happens.

Remember, if you’re a professional, you need to think about writer’s block differently. If you’re just a hobbyist, don’t worry about it too much. You’ll get there. But if you’re at the professional level or planning to be, your approach to getting through writer’s block will change because your livelihood depends on it.

I hope some of this is helpful. Leave me questions or comments. I’m just glad you’re here, and we’ll do this again soon. Take care.

If you found this article helpful, may I point you to STORYCRAFT. Ten hours of hanging out with two successful hybrid authors, talking about everything from story structure, to approaching agents and dealing with traditional contracts, to the highs and lows of indie pub. Check it out: https://tomleveen.store/b/storycraft

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Craft

First Words Matter

First words matter!

 

Opening number one in my WIP “Red Planet Gunsmoke” goes like this:

 

“Approaching the Treaty’s new war cruiser filled Cadet Ramona Keegan with something like religious awe.”

 

This sentence works and is functional. However, it forms part of a very chunky paragraph, spanning seven lines. It’s not typical for me, but it’s a different genre, something I’m trying a little differently.

 

Given that, let’s try a different one. Here’s the opening of chapter one from the same story:

 

“Pirate Captain Ramona Keegan ran a calloused hand over her bald head, palm lingering over the crimson hourglass of a colossal black widow spider tattoo, whose tarsi ended at the corner of the captain’s ice-blue eyes.”

 

The second line follows: “‘I want that ship,’ she said to her crew, ‘and I mean to have it.’”

 

In this version, we already have two paragraphs. The first line, though long, is only three lines. By comparison, the first example is seven lines on my Word document.

 

Neither is necessarily better or worse, but there is an adage in advertising and marketing that you want to attract the right people and repel the wrong ones. The same is true of our fiction.

 

In a bookstore or on a website like Amazon, you have the benefit of a cover and blurb, which help attract readers. On a website, you might also have reviews. But most readers, whether browsing in a store or online, will look inside the book. The first thing they’ll likely see is the first page. While most readers won’t make a decision based solely on the first sentence, it’s beneficial to make that first sentence remarkable.

 

If you’re a writer seeking traditional publishing, that first sentence matters even more. An agent will only read so much, and if the first sentence doesn’t grab them, they might move on. Agents have piles of submissions, both physical and digital. You have mere seconds to capture their attention and compel them to keep reading. For book readers and purchasers, there’s a bit more leeway, but why not make that first sentence exceptional? It can make the difference in hooking your reader.

 

For example, I was working with a student who had a solid opening about a creature in the bushes. It was intriguing, but not as engaging as it could be. A few paragraphs down, the student mentioned the character imagining a gunfight with Jesse James. By moving that line to the top, the opening became much more compelling. Immediately, it created curiosity and made me want to read more. If you’re not interested in Jesse James or the Old West, you can put the book down, which is fine because it means the book isn’t for you.

 

It’s important to realize your book isn’t for everyone.

 

It might appeal to millions, thousands, or even hundreds, but it won’t appeal to everyone. Writers, particularly those pursuing traditional publishing, need to understand this. Telling an agent your book will be a bestseller because “everyone will love it is unrealistic.” Focus on finding your actual audience. Crafting an irresistible first line can help attract the right readers and repel the wrong ones.

 

For instance, starting with “Pirate Captain Ramona Keegan” grabs attention. It hints at a space opera setting without explicitly stating it. Even though the cover might show a spaceship or a woman in a spacesuit, the narrative needs to establish the genre quickly. The first sentence doesn’t need to reveal everything, but it should hook the reader and be honest about what to expect.

 

Consider the difference between the two openings: the first, “Approaching the Treaty’s new war cruiser filled Cadet Ramona Keegan with something like religious awe,” is functional but doesn’t grab you. In contrast, “Pirate Captain Ramona Keegan ran a calloused hand over her bald head, palm lingering over the crimson hourglass of a colossal black widow spider tattoo, whose tarsi ended at the corner of the captain’s ice-blue eyes,” is much more engaging.

 

Take the time to write your story, but also craft that first line, paragraph, and page meticulously. Consider paragraph breaks, word choices, and every detail. A well-crafted first page can attract the right readers and, crucially, literary agents.

 

I hope this advice is helpful. Stay in touch and take care.

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Craft

Create Memorable Characters in Writing Fiction

If you want to create a memorable character, I need you to taste them.

Hold on. Stay with me. I promise this is going somewhere.

This is just a quick little exercise to round out or give some depth to your characters, to your protagonists.

Go to the beginning of the story. It doesn’t matter if it’s a short story or a novel or a series. If you’re working in a series, then start at the beginning of the series, page one of the series, and go all the way to the end of the series. Whether you’ve gotten that far or not doesn’t really matter.

Describe your protagonist in crippling detail in that first page.

Not for the writing, not for the novel. You’re not necessarily going to put it into the book. This is just for you. This is just an exercise. Take some time and describe that protagonist in excruciating detail.

I want you to taste them.

What would they taste like if you licked their cheek or their arm? Like what? What kind of sensations? Not just what they look like. Not her long, beautiful blonde hair. What does she actually smell like at the beginning of the story? Give as many sensory details as you possibly can. Dispassionately, no judgment. This is just for you.

Go in deep with all of your senses, as much sensory stuff as you can possibly squeeze into this description for page one, where they start the story.

Then, very simply, repeat this exercise for them on the last page of the story or the book or the series.

Now what do they taste like, now what do they smell like, now what do they sound like? And of course, what do they look like? Does she have a scar on her face now that she didn’t have before? Does he have a limp now that he didn’t have before? Whatever those things were, how are they different at the end?

Those things should be different because your character has been on a journey, and every successful story has to do with the character going on a journey, right?

Let’s say we’re writing a horror story, and some terrible things are going to happen on that camping trip. How does this character look, smell, taste, feel – all those things – at the beginning of this journey, in the car, on the way to the woods; do you smell the coffee? Versus the last page of a horror story: what do they look like now, what do they smell like?

I am not necessarily advocating for you to include all of these vivid descriptions in the story. You certainly can. They are there to be used, and that’s fine. But the purpose, the goal of this particular exercise isn’t just to create new and exciting ways to describe your character.

It’s to more concretely establish in your mind, as creator of this universe, the journey that your character has been on, having those kinds of sensory details in your mind that you can call upon. “I have to remember that at the end of this book, the end of the story, the end of this series, the target goal I’m aiming for here is somebody who is stronger (or somebody who is weaker), somebody who’s been through hell, but come out on the other side.”

How can you physically indicate what they’ve been through emotionally?

It’s just an exercise. It’s not necessarily something you want to put into the book, although once you have those sensory details, maybe it is something you want to put in the, maybe just in the process of doing this sort of exercise, you’ve discovered something about the character that you hadn’t thought of before. Discoveries are so much fun, especially for those of us who are pantsers rather than plotters.

Having those sort of concrete details can really root you as a creator and show us as the reader the journey that they have taken.