Tag Archives: self

Dec 27

Young Adult Fantasy Novelist, Rainforest-Dwelling Writer, Tahlia Newland Guests with Mike Angley

MA: I have an intriguing guest today, so please extend a warm American welcome and Merry Christmas to Tahlia Newland. Tahlia is the author of the Young Adult fantasy novel Lethal Inheritance, the first in the Diamond Peak series.

She lives in an Australian rainforest south of Sydney and is a refugee from the Performing and Visual Arts. For 20 years, she created and performed in Visual Theatre shows and she makes Venetian style masks, which you can discover here: http://tahliasmasks.wordpress.com.

Now that she growing grey, she’s given all that up to become a writer. That is, when she’s not being an extremely casual high school teacher.

She has written scripts for theatre in education, a book of short stories for children and a few other short stories (one a semi finalist in the Aussiecon 4 Make Ready fantasy/scfi competition 2010), but her love in writing is novels.

Welcome, Tahlia! So you live in an Australian rainforest? I’m fascinated (and jealous). Tell us what you did before writing.

TN: I trained as a teacher after leaving high school, taught briefly then gave that up to become a professional dancer actor, mime and mask performer. During the 20 years that I lived off these talents, I also made masks and studied how our mind works. Specifically how what we think and how we deal with what rises in our mind affects what we feel, what we perceive, how we behave and what we experience.

MA: You’ve always been around the arts, so I suppose it was a natural decision to write novels?

TN: It wasn’t so much a decision, more something that just happened. I had wanted to write novels when I was younger, but I got into other creative areas and never had an idea that screamed to be written like Lethal Inheritance did. When the idea first came, it percolated for a while, then scenes began appearing in my mind and I just had to write them down.

MA: Tell us all about the story.

TN: Lethal Inheritance is a Young Adult Fantasy novel, the first in a four part series called Diamond Peak.

It’s a combination quest, love story and surrealistic journey into the mind, with sexy characters, flashes of humour, terrifying battles and a mix of fantasy and reality. It’s set in our world in the present day.

If last night was real then Ariel should be dead, but her mother has disappeared, there are bruise marks on her neck and that hideous beast in the photo looks frighteningly familiar.

When demons kidnap her mother, Ariel is catapulted into a mysterious realm in a hidden layer of reality. Stuck on a rescue mission she doesn’t want, she must negotiate an intriguing and unpredictable world where demons who feed on fear are hunting her, and they’re aiming to kill.

She needs help fast, but can she trust the quirky old guide who says he can teach her how to fine tune her mind into a powerful weapon? And what should she do about Nick, whose power is more than he or she can handle?

Ariel’s journey challenges her perception, tests her awareness and takes her deep into her heart and mind to confront, and ultimately transcend, her fear and anger.

MA: Nice tease! I take it Ariel, your heroine, was a carefully-crafted character?

TN: She just developed as I wrote the first two drafts. It wasn’t a conscious thing, rather she emerged from my creative mind as if she already existed.

MA: Well, that’s interesting. What makes Ariel strong as a protagonist?

TN: Strengths –she’s intelligent, willing to learn, cautious, has a sense of responsibility for her family, self reliant, determined. Weaknesses – At the start of the book, she is emotional, untrained, doesn’t believe in her own abilities, doesn’t know anything about the hidden realm, is sometimes over cautiour and naive.

MA: You mentioned a beast in a photo, I assume that’s the antagonist?

TN: Yes. Bitah the demon. He feeds on human’s fear and anger and tries to kill Ariel to prevent her from finding his master and rescuing her mother. There are various other demons and entities working for him as well, but he’s the main one she has to defeat in this book.

MA: So, I take it you haven’t been a real-world demon hunter…but do you have any real-life experiences that somehow influenced the plot?

TN: Not specifically, but my understanding of the workings of the mind form the basis for the methods the Warriors use to kill demons.

MA: What’s next in the Diamond Peak series?

TN: There are three sequels to this novel. I’ve written them to second draft stage and will work on them again once I get a publishing contract. I’m also working on another novel, that has a greater degree of romance and leans a bit more towards adults , but still deals with the mind and a combination of modern and older style realities. It’s called Captive. The main characters will remain the same and some characters who are relatively minor in this book will feature more predominantly.

MA: I have to ask, can you describe the demon for my readers?

TN: A black, flowing form, human in size and shape, dropped onto the path without a sound. Its slimy skin, hanging in folds like the fabric of a long hooded cloak, rippled from the impact. White flames, flicking like snake tongues, blazed from two slits in its hideous face, casting an eerie glow as the head swung from side to side, as if searching for its prey. Another slash of flaming white formed a thin-lipped mouth curled into a sneer. Long loose arms dangled at the creature’s sides and its clawed hands repeatedly flexed and unflexed. A putrid smell, reminiscent of rotting potatoes, emanated from the beast. Ariel’s nose wrinkled and her stomach felt queasy.

MA: Well, there you have it! Thanks, Tahlia. Folks, please visit Tahlia Newland’s website for more beastly information: http://tahlianewland.com. Read More

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Dec 10

“No Chinook” Author, K. Sawyer Paul, Swings by to Visit with Mike Angley

MA: I’d like to welcome today’s guest blogger, K. Sawyer Paul. Mr. Sawyer is the author of the novel, No Chinook. Please tell us about you and your writing.

KSP: I think my first few stories were all plagiarisms and remixes. When I was in junior high and high school, I’m not sure I had a single original thought. I’d take characters, stories, and plots from various books and movies and video games that I’d enjoyed and play with them in different environments. It was basically the equivalent to playing with action figures from different cartoons. I didn’t know why I wrote, but I always had it in my head that I could write well if I just stuck at it for long enough. You know, the idea that perspiration would eventually lead to inspiration. So I wrote a lot. I wrote a short novella in high school, printed it out, and sold it for a couple of bucks. I sold it for a dollar if the person wanted it on a CD. I basically had my first ebook in 2000, in the form of a Word 98 file. I went to the University of Toronto and decided to take professional writing as a minor. It was a great experience, and it taught me many things about what not to do. I felt I was a little allergic to preconceived ideas of success in writing, especially Canadian writing, where the expectation is that you’ll never really make any money and you sort of make people suffer through your work. I’m very against that. If my story isn’t gripping, put it down, you know? There’s more books being published every year than anyone could ever read. Why waste time if you’re not enjoying it?

MA: Well, amen to that! Why did you choose to write short novels?

KSP: I write short novels, because I don’t like to waste people’s time, but I like novels because even if they’re short, they feel like an accomplishment to read and write. I generally hit the 50 or 60 thousand word mark in the first draft, then cut it down to 45 or so. That makes for a 200-220 page book, which I think is enough. I’m a big fan of not wasting time, wasting words. I’m a big fan of Cormac McCarthy’s style in that respect, where he purposefully leaves out areas of his stories that really could use a sweeping emotional explanation. Hemmingway, too. I like that I can go back and read A Farewell to Arms or Francis Macomber and I’m done in a weekend and better for it. There’s something really crisp and biting about a terse novel.

MA: How did you approach your two novels?

KSP: I made a really set decision when I started writing Everything We Haven’t Lost and then No Chinook to never get unbelievable, so I write about relationships because I think I know my way around them pretty well. So you can say I do romance, but if you read my books you know they’re not typical romances. The fight scenes are uglier. The sex scenes are rougher. The dialogue that connects the exposition seems pulled from real people. At least, I’d like to think so. That’s what people tell me. I want it to feel like you’re actually peering in on a real conversation between real people in a contemporary setting, and while these people are adults they still have emotional hiccups and can really hurt one another.

MA: Tell us about your hero in No Chinook.

KSP: With No Chinook, I developed Scott out of how I saw myself out of the kind of guy I saw a lot of at college: someone who’s grown in every way, but still has a few hang-ups regarding his scars. He’s not a finished adult yet, and No Chinook is in many ways him working his way out of that. So Scott is still hung up over a girl from high school, and he thinks he’s over it until she comes back into his life and they sleep together. What’s interesting about Scott is he sees how immature this girl is, and still can’t eject himself from the drama, because he’s fighting the urges of his younger self.

MA: What should we know about Scott? What makes him strong, and what makes him weak, if at all?

KSP: Scott’s big strength is that he’s a truly nice guy, who’s capable of going a long way for a friend, a lover, and even an ex-lover. His weakness is pretty well as I said above, his inability to really break free of a toxic situation. The relationship he has with Shawn is pretty toxic, and the only way he’s really capable of breaking free is by removing the love he has for this man and just using him. Basically, by figuring out how to cure himself of his biggest weakness, he has to rid himself of his greatest strength. That might seem like a convenient plot progression, but I don’t know that I’ve ever even thought of it that way until recently, now that the book has been out for two years.

MA: Interesting. And what about an antagonist?

KSP: Kate, Scott’s girl from the past, is definitely the antagonist. She’s in many ways Scott’s Tyler Durden or Ferris Bueller, a free character that helps him out of his shell. But she also crushes him over and over. Also, she never reveals where she works. Would you date someone who kept their job from you?

MA: Uh, oh…do I detect an old flame influencing the “bad girl” in No Chinook?

KSP: Yeah, there was definitely a girl I was into who didn’t like me back. But who doesn’t have that? I tapped into other people’s stories more than my own, and built conversation after conversation on the pain of my friends and colleagues. It’s a writer’s job, I think, to plaster those sorts of things together, to make sense of it.

MA: Since No Chinook has been out for two years now, what’s next on your plate?

KSP: I sent my next novel off to my editor just recently. The editorial process always takes longer than you want it to, but it’s in the pipeline. It’s called A Record Year For Rainfall. It’s about a paparazzi and a celebrity blogger who live in Las Vegas. I’m a big fan of Las Vegas, but I’m young so I’ve only ever seen the modernized Disney-like Vegas, so my characters exist in it, in 2006. It’s still sleazy, but there’s all these ironic angles where it’s family friendly now. But there’s still girls in sexy outfits everywhere, and celebrities still go there to go crazy. It’s a fun book that’s about trying to escape yourself and the things you love but not really being able to. There’s a lot of comedic violence and sex and there’s a gay governor and I think people will think the book is a lot of fun.

MA: Are your novels all standalone types, or will you write using some of the same characters in the future?

KSP: There aren’t any continuations of character, but A Record Year For Rainfall and No Chinook definitely exist in the same “universe.” You can think of it like the Kevin Smith movies or Final Fantasy video games, where there’s a new cast, but there’s a lot of familiar aspects. In Rainfall, you’ll find that Bret, the main character, used to work at a job that he’s not allowed to talk about. It’s the same place Kate from No Chinook works, but that’s not obvious from reading either book necessarily. To sum up, I guess: I don’t do sequels, but I do enjoy planting Easter eggs.

MA: I happen to love Easter eggs J. Is there anything else you’d like to add?

KSP: I think I want to talk about publishing here. There isn’t any stigma in being an independent graphic artist, an indie band, an independent charity, an independent chef, or almost any other art form or business. Lawyers go into business for themselves all the time. Doctors open up their own private practices. Soon, in less than ten years, people will absolutely not care who published your book. I don’t think readers care who published your book now. If you design a book properly, if you edit it professionally, if the package looks and smells and registers like a real book, then I don’t see the difference between an indie book and something by Harper. There’s a big difference between vanity publishing and independently publishing. Gredunza Press is a business. We publish books. I publish my books through it. Does Dave Eggers get slack for publishing his books through McSweeney’s, a press he built? The only people who care these days are authors who are more swept up in the “industry” than in writing their own books, publishers who want to stay on top, and pundits looking for a juicy story. Readers and writers don’t care, and soon enough nobody else will either. You can buy my book on your Kindle or Nook or whatever, and you can order the physical copy from me and soon from Amazon. You read it, and you’d never know I didn’t get published by one of the big guys. Not every author is capable of completely going into business for themselves. They need help editing, designing, and promoting their novels. That’s where publishers like ours come in. We offer services to authors trying to make it. We’re the future.

MA: Thanks, K. Sawyer. Folks, please visit his website and the site for his press: www.ksawyerpaul.com, and www.gredunzapress.com. Read More

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Nov 19

All the Way from Australia, Please Welcome Narrelle M. Harris to Mike Angley’s Blog

MA: My guest today, Narrelle M. Harris, is a multi-talented person. She’s a Melbourne-based writer with four novels, one play and several short stories under her belt to date. Her latest book is The Opposite of Life, a vampire novel set in Melbourne. She is about to launch a new iPhone app, Melbourne Literary, a guide to books, writing and literature in Melbourne, which was designated a UNESCO City of Literature in 2008. Narrelle lives in the city centre of Melbourne, Australia, with her husband, Tim Richards, and their apartment-bound cat Petra.

Welcome, Narrelle. Please tell us how your involvement with writing began.

NH: I think I’ve been writing pretty much ever since I knew how to make the letters. I even recall one of my brothers and I getting a tape recorder and telling a story about the life of a little germ, which we made up as we went along. I don’t remember much about that one, except that at one stage the germ was having a great time tumbling out of a carton of milk and swimming around in a bowl of cereal. He was a fairly harmless germ, as I recall. Anyway, I always loved assignments where I had to make up stories, and I wrote them to entertain myself in exercise books as well. Eventually I discovered science fiction TV shows and fandom, where stories you wrote could be published in fanzines and people would write in with feedback. That was fantastic, a great training ground on developing technique. Eventually I got too restless writing with other people’s characters, so introduced a lot of new ones of my own, and that morphed into writing my original fiction.

MA: It sounds then, like writing novels was not a difficult transition for you.

NH: Novels came about as a natural extension from the short stories I’d been working on – I was enjoying world building and I liked my characters and wanted to do more with them, so over time the plot ideas and themes I had grew more complex and needed more time to explore.

MA: Tell us what you’ve written so far.

NH: I’ve been a bit all over the shop, really. My first book was a crime thriller called Fly By Night. It had two novellas in it with the same characters, Frank and Milo, musicians and a gay couple. That was published by Homosapien Press in 2004. (The two novellas are now available separately on Kindle). Then I wrote the two fantasies, Witch Honour and Witch Faith. Like Anne McCaffrey’s dragon books, they are fantasy with a touch of an SF back-story. They were published in the US by Five Star. Then I was inspired to write a book about how being a vampire isn’t as sexy as its reputation would suggest, and wrote The Opposite of Life, about a girl who has suffered a lot and a short, chubby, geeky vampire called Gary. That was with Pulp Fiction Press, and there’s a sequel in the works.

My latest project, though, is a non-fiction iPhone app, Melbourne Literary, which is a guide to literary Melbourne. I’ve done other non-fiction – I had an essay on what’s called The CSI Effect in a true crime collection called Outside the Law #3, about whether watching too much forensic TV affects juries. I’ve also been working on some short stories lately, mainly in the comic-horror genre. One, about a girl whose brother gets turned into a zombie and she’s trying to fix him before Mum finds out, will be published later this year in Best New Zombie Tales Volume 2.

Comic horror seems to have become a bit of a thing since The Opposite of Life, which has a lot of humour in it, as well as an exploration of what makes life worth living even though it can hurt beyond bearing sometimes.

MA: With so many projects, how do you go about developing your characters?

NH: Characters in my earlier books were often inspired by people I knew, or at least amalgamations of people I knew. The Opposite of Life was different, in that Gary the Vampire came up as a response to being tired of seeing all the thin, glamorous vampires in all the films. I just wanted to write about an ordinary guy who was really uncool and didn’t get any cooler just because he was undead. Lissa, the female protagonist, arose out of the kind of story I was telling. I wanted her to be young, a bit funky but also a someone outside groups because her experiences of loss and grief had left her not quite fitting in anywhere completely. She’s a librarian mainly because I thought someone who had lived her life would find great comfort in the escapism of literature, and that she would love the idea taht she could maintain order in some part of her life, at least. She’s one of the few librarians who really loves cataloguing and shelving. She loves imposing order in a tiny corner of her chaotic world.

MA: Are your characters as superhuman as they sound?

NH: I try to make all my characters very textured and human, so they have different kinds of flaws. Frank, for example, gets impatient and can be bad tempered while Milo has a tendency to just sail through life and be a bit thoughtless. He’s not intentionally mean, but he just doesn’t think sometimes.

Gary’s flaws – well, he’s a bit slow on the uptake sometimes. He’s a nice enough guy, really, but he just doesn’t always know what’s appropriate in conversation. He didn’t have those social skills when he was alive, so he can’t blame being a vampire for that. But as the story develops he learns to be more thoughtful. He’s a very straightforward guy too – I don’t think he knows how to lie. It’s one of the things that Lissa likes about him – she might not always like what he has to say, but she knows he’s honest with her. Lissa is courageous and loyal, but also stubborn and a bit impetuous. It gets her into terrible trouble. She has to confront one of her worst flaws by the end of the book – she’s a bit self obsessed and everything she goes through forces her to come up out of the grief and anger she’s been lost in. Both of them, really, have to learn how to engage more with life.

MA: Any recurring nemeses?

NH: The Opposite of Life is written in the style of a crime novel, so the ‘bad guy’ is the person or persons who have been killing people around Melbourne. It’s obviously the work of a vampire, and the vampire community isn’t pleased by that – they try to live under the radar these days. But while there’s an actual bad guy doing bad things, I guess the real bad guy is thematic, the idea that you can avoid life’s pain by withdrawing from it, refusing to engage, and the kind of person that decision makes you become.

MA: I assume you’ve not had any real experiences with vampires (wink), but did your life inspire your writing in any way?

NH: My books are full of real life things, from characters being inspired by friends, to things I’ve read in the news becoming part of the plot. I put a lot of landscapes in. The Opposite of Life is full of places I love (and sometimes loathe) in Melbourne. The Witch books contain landscapes that I travelled through or lived in when I spent three years abroad. I lived in Egypt for two years, and in Poland for one (my husband and I were teaching English as a foreign language) and so much of what I saw and did there has been incorporated into the stories.

MA: Given your prolific writing career so far, I take it you aren’t finished yet, right?

NH: I’m working on some short stories at the moment, as I’ve been invited to submit some to a potential anthology project. I want to write three books about Gary and Lissa as well, so after the current sequel I have to start work on the third. I have ideas for a third Witch novel and some more Frank and Milo stories too. I also have an idea for a rather more complex crime type novel. I’m also planning to create a few more iPhone apps once Melbourne Literary is out there. I have note books full of ideas too, so I don’t think I’ll run out of things to do for a while.

MA: Very interesting and varied. Anything else you’d like to add?

NH: One of the things I’ve been doing, to entertain myself as much as anything, is using Gary and Lissa outside of their books. They are huge fun to write, and their (most definitely not sexual) friendship comes out so well in their conversations. Gary actually collects vampire films and books, and Lissa as a librarian has a lot of comments to make on fiction generally. This meant that when I see vampire stuff now (or sometimes just interesting things, like art exhibitions) I get a triple viewpoint. There’s what I think of it, but also what I think Gary and Lissa would think of it. I started writing up their observations and now I have a semi regular part of my blog called the GaryView, where the two of them discuss pop culture from their rather unique point of view. Gary mainly complains about how most vampire fiction is nothing like the reality of being a vampire. Surprisingly, a certain amount of their back story gets revealed this way, and sometimes these funny little reviews get unexpectedly poignant. They’re a popular part of my blog, but really, I do it because it’s fun and because it’s a really useful writing exercise.

Gary and Lissa also have Twitter accounts, for the same reason that it’s an interesting writing exercise. They occasionally have tweet-chats with other people. That’s fun because I don’t know what people are going to ask, so again it’s a good exercise to consider how Gary and Lissa might respond to issues that I might not have previously considered. It was through doing the tweets that I realized that Lissa never goes to the cemetery to visit the graves of her loved ones. That’s the place where she had to say goodbye to them, and it gives her no comfort. Instead, I realized that she would go and do the things that she used to do with them while they were alive. She might go to a particular cafe to spend a moment thinking about her Nanna, or to a library where her eldest sister used to find books for them to read.

MA: Thanks, Narrelle! Please visit Narrelle’s website: http://www.narrellemharris.com
and Blog: http://narrellemharris.wordpress.com
Read More

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May 19

“A Writer’s Self-Esteem” by Child Finder Trilogy Guest Mary Deal

When ego gets in the way.

My very first short story sent out received rejection after rejection. I always had faith in my writing and kept producing new pieces. Eventually, I sent out all of my stories, but they received rejections as well. I was crushed.

I began to feel that as a writer, I must not be writing anything that anyone wanted to read or know about. Maybe my writing wasn’t entertaining enough. I convinced myself that I wasn’t knowledgeable enough to have anything worth writing about to say to the world. Deflated, I set my stories aside.

After months of not writing, but still feeling the urge to do so, I received one of my SASEs in the mail. I thought sure I had already received as many as anyone cared to return.

To my surprise, the hand-written message on my cover letter, being returned, read:

“I’m sure this will fit into the issue we’re planning for next June. How does $20 for 1st Rights sound to you?”

The Senior Editor of that magazine sent a personally written note! I was stunned that my story fit in one of their planned issues. You bet I agreed. The next June was over seven months away, but that little note told me so much and plumped up my writer’s ego once again.

The story that had garnered the most rejections happened to fit into their future. So it wasn’t really a matter of whether or not my story was good enough. It simply had to fit somewhere.

I began to write again and the flood of pent up stories poured out.

I mailed them all. Christmas was quickly arriving, but I sent out a Christmas story anyway, knowing it would be too late to make it into any magazine in the next three weeks. My writing was good and I just wanted people to know it. At that point, I would have sent anything out.

To my surprise, in the second week of January of the New Year, I got a note back saying a magazine accepted it, saying:

“Thank you so much for submitting this piece far enough in advance. We’re working on this year’s Christmas issue now and would like to have it. Christmas is almost a full year away. Would you be willing to sign an agreement giving us FNASR anyway?”

Timing is everything. Not timing as in getting the stories submitted fast, but getting them sent at a time when a magazine can use them.

When I think about how my self-esteem felt squashed by rejection, how egoistic! It had nothing to do with my ego. Acceptance is about writing the kinds of stories that various magazines can use. It is about getting our stories into the right hands. Of course, the stories must be the best that we could produce, but the rejection itself is never meant to tear down faith in our abilities. Read More

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Apr 14

“Let the Dialogue Speak” by Mary Deal

Proper use of “said” and the use of “beats” will keep a story flowing smoothly.

Books and articles turn up touting the value of replacing the use of the word said. She said. He said. Many claim said is overused and tiresome. They supply an endless plethora of verbs, nouns and adjectives to use instead. But my opinion is that, in most cases, there are no substitutes, given what said does when used properly.

Said is acceptable enough to hide in the background and not call the reader’s attention to dynamics of speech that would best be shown with proper punctuation. Said is simply a speaker attribution and tells us who said what in the course of conversation.

However, said can become grossly overworked. This is why many people have tired of it. This is an example of overuse:

“Hola, Papi,” Pablo said. “When do we eat?”

“About ten minutes,” his father said.

“I’m going back to the street then,” Pablo said. “I’m winning all the races.”

“Hey-hey,” Rico said. “Be on time for dinner.”

“Si, Papa,” Pablo said.

Taken from my novel, The Tropics, this conversation flows much better when written this way:

“Hola, Papi,” he said, eyes eager and smiling. “When do we eat?”

“About ten minutes.”

“I’m going back to the street then,” Pablo said, starting to run away. “I’m winning all the races.”

“Hey-hey,” Rico said. “Be on time for dinner.”

“Si, Papi.”

Each sentence, both dialogue and narration contains slight variations. The description of actions included with dialogue is referred to as beats. The characters are not only talking. They are involved in doing something at the same time they speak.

When the actions of characters are included, the writer must be careful not to overuse beats. They serve the purpose of avoiding dialogue with a running string of “saids” or speaker attributions.

I wholeheartedly agree with Renne Browne and Dave King. In their book, “Self-Editing for Fiction Writers,” they say:

“If you substitute the occasional speaker attribution with a beat, you can break the monotony of the ‘saids’ before it begins to call attention to itself.”

A beat is not necessary in writing, but it makes for smoother reading and understanding of the characters.

For example, if you are speaking in live conversation with someone, you hear their words and watch their body language, or watch what they direct your attention to. The beats are their gestures.

In reading, beats allow for a silent pause; a moment to digest what is being said and the action emphasizes the dialogue.

On the page, a speaker attribution identifies who is speaking. The word said is accepted because it remains in the background. It does not make us pause to visualize or try to understand the way that the character speaks. Here’s another example when said has been replaced:

“What more?” Ciara questioned. “I know what I have to do. Rico also had a sister he never talked about. Help me find her—”

“Senorita,” Lazaro interrupted. “There’s a reason why he never spoke of her.”

“You know about her?” Ciara quizzed.

“Si, si. She had breast cancer,” Lazaro sympathized.

Now the same conversation from The Tropics, written another way:

“What more?” Ciara asked. “I know what I have to do. Rico also had a sister he never talked about. Help me find her—”

“Senorita,” Lazaro said. “There’s a reason why he never spoke of her.”

“You know about her?”

“Si, si. She had breast cancer.”

Another aspect of smooth writing is that when only two characters speak, you need not identify each by name each time they say something. You also need not include any speaker attribution at all, unless the dialogue string is too long. Simply establish who spoke first, who responded, and the reader will follow along. Also, a good place to insert a few beats is in any string of dialogue where speaker attributions are not used.

This gets more complicated when you have three or more people sharing conversation. A few more speaker attributions are acceptable, and a beat both aids in showing us the characters actions and prevents a string of attributions each time a new voice is written in dialogue. Here’s another example of over-use:

“I haven’t seen Larry for months,” Ruby said.

“I thought you two were tight as thieves,” Brad said.

“Not that tight,” Ruby said.

“Guess we all had it wrong,” Denny said.

“You guys and your assumptions,” Ruby said.

Here’s a better example:

“I haven’t seen Larry for months,” Ruby said.

“I thought you two were tight as thieves,” Brad said, as he pressed a hand against the gun inside his jacket.

“Not that tight!” Ruby looked around the room, all the while feigning nonchalance and looking like any other customer in the bar.

“Guess we had it all wrong,” Denny said as he took another sip of his drink.

“You guys and your assumptions….”

In the revised example, when a speaker attribution is not included, we still know who is speaking. Using a beat makes it easy to know to whom the dialogue belongs, so leave off the attribution.

Notice, too, that “chimed in” or “quipped” or “volunteered” or “whispered” and such other attributions did not substitute for the word said. What really happened among the “saids” in the second example is that the word said receded into the background and allowed us to fully comprehend the urgency of the conversation. Because of the punctuation, we didn’t have to be told about voice inflection or any other way that the speaker spoke, which would have made us stop and visualize the action or the tenseness of the conversation.

The choice of words and punctuation in the dialogue did that for us, with the help of said, which quietly did its part, as it should. Our eyes read the important words, while said registers only subconsciously. All we need to further the action is to read on.

Attributing dialogue to certain characters need not be overdone. Proper punctuation does that for us. For example:

“You klutz!” he exclaimed.

The exclamation point tells us the remark was an exclamation and not a quiet statement or a question. It is not necessary to repeat to the reader that it he exclaimed. Readers do not like redundancy. It’s very off-putting; as if the writer is sure the reader won’t get it. In that incorrect assumption lays the erroneous motivation for writers to use attributions other than said. An experienced reader comprehends the first time through with proper punctuation.

Many writers make the mistake of thinking they can add impetus to dialogue by including many and varied attributions. This is as bad a practice as using your hands and arms in front of your face when you speak. When talking, words and intonation speak for themselves and most hand gestures, at best, are rude. So, like hand gestures, a writer may irritate a reader through redundancy.

Yet another incorrect usage of attributions has become quite common:

“I hope you like it,” she smiled.

“It’s way over there,” he pointed.

“I’d like to take you home with me,” she lilted.These are unemotional sentences that do not need further modification. “Smiled,” “pointed” and “lilted” did not speak those words. Such verbs have no place as speaker attributions. Only in a few instances can said be replaced correctly. One way those sentences can be written properly, and sparingly, is given below. Notice the punctuation:

“I hope you like it,” she said as she smiled.

“It’s way over there,” he said, pointing.

“I’d like to take you home with me.” Her voice was low and lilting.

Here are two last examples of incorrect punctuation and attributes that just don’t convey what they were meant to:

“Fire…,” she exclaimed.

“Fire,” she screeched.

And correctly written if we already know who is speaking:

“Fire!” he said.

Or simply…

“Fire!”

With many other places writers can get creative, speaker attributes are best left to the time-tested said, accompanied by proper punctuation in the dialogue.

Please visit Mary Deal’s website for more wonderful articles like this one: Write Any Genre. Read More

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Mar 26

Steampunk Author Emilie P. Bush Drops In To The Child Finder Trilogy

MA: My very special guest today is the former host of Georgia Public Radio’s “Georgia Gazette,” Emilie P. Bush. Emilie has traded in writing the news for writing Steampunk. For those not familiar with this type of writing, it is a sub-genre of science fiction that typically takes place in the 19th Century, but features anachronistic technologies (like digital electronics during the industrial revolution).

Emilie’s debut novel, Chenda and the Airship Brofman, sends Chenda and her companions up in the air, across a desert, through a mountain and under the sea in a thrilling adventure. Emilie P. Bush lives and writes in Atlanta. Welcome to the Child Finder Trilogy! Read More

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Feb 05

Award-Winning Mystery Writer Stacy Juba Joins Mike Angley Today

I am pleased to introduce today’s guest-blogger, Stacy Juba. Stacy is the author of the mystery novel Twenty-Five Years Ago Today. She is a freelance writer and former daily newspaper reporter with more than a dozen writing awards to her credit, including three New England Press Association awards and the American Cancer Society New England Chapter’s Sword of Hope Media Award. Her young adult novel Face-Off was published under her maiden name, Stacy Drumtra, when she was 18 years old. Read More

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Jan 19

The She-Rain Dossier, A Wonderful Treasure Of Information About The Book And Author Michael Cogdill

A child living as prey to an opium-addicted father, drowning in a gene-pool of lowest expectations, feels shackled for life to the tobacco farms and cotton mill poverty of 1920’s western North Carolina. Some of the only beauty he knows rises in the eyes of a girl, surviving times harder than his own. Emerging from their adolescent love, the narrative rises far out beyond that opening milieu of violence, ignorance, and language-literal religious fundamentalism. It branches toward likely the least expected figure ever in a Southern novel. Her mystery begging the question — what might have been, had an African-American infant born of scandal been placed on the arms of one of the grandest American fortunes of the early 20th Century? Raised utterly cloistered in the clefts of Appalachia, steeped in her adoptive mother’s Vassar education, classical piano, the refinements most mountain people considered as distant and alien as the stars. When that son of an opium addict happens upon her — each in uniquely desperate times — they set off the beginnings of seismic change to the worlds they’ve known. Driven by what Faulkner might call human hearts conflicted deep within themselves — the feel of it terrifying and beautiful at once. What overflows them distills to ways of life that melt the hard rocks of racism, classism, the self destruction of living down to the worst human expectations. By its contemporary end, the telling of this story has moved readers of both genders to tears of our best human possibility. I’m deeply humbled by this, and by how the story entertains with humor, the grit of real adventure, and forms of love least expected. Read More

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