Each novel manuscript I edit for my day job is a learning experience. It either reveals what doesn’t work in fiction writing or reinforces what does. In this post I want to talk about the speech tag. I briefly wrote about it in this post, but I wanted to expand on some key ideas here. Why? Because strong dialogue is so important for good fiction. It reveals character, it depicts drama, it reveals vital information, and it pushes the story forward. Used correctly, it can do so much for a story. But use it unwisely, and it can really be a drag. Of course, the primary purpose of speech tags is to ID the spakers, but I’ll just come right out and ask it. Are speech tags even necessary? What do they accomplish other than giving the reader more words to read? Because, I would argue, there’s a better way…
NOTE: Don’t miss the drawing for a free book, mentioned below. I always enjoy reading the latest Christian thriller by Brandilyn Collins; in fact, her novels are part of the inspiration that got me started writing my own stories. Not to mention that each novel offers a wonderful blueprint of how a Christian suspense novel should be written. Each time I read another of her novels, I learn more about plotting, pacing, and all the other necessary ingredients for a good plot to work. But this novel especially caught my attention when I read the back-cover burb. The novel I’m working on now, my third, has a few similarities to Brandilyn’s premise (the protagonist needs brain surgery and gets an implant that offers more than anyone expects). So when I read her blurb, I thought, Oh no. Somebody beat me to it. But thankfully her story goes in a very…
I was recently editing a novel and came across a recurring problem I thought would make a good, informative post about fiction writing. Here’s an example of what I want to address. John yelped as Mitch smacked him hard across the jaw while he was watching his baby sister. This sentence poses several problems for the fiction editor and the reader. Do you see what’s wrong with it? First, way too much is going on in this sentence. 1. John yelps. 2. Mitch smacks John hard across the jaw. 3. And one of the guys is watching his baby sister, but we don’t know which one because “he” is unclear. Who’s the babysitter—John or Mitch? A lot of beginning writers think they can join all sorts of details using the word and as if the word were Scotch tape. Technically, this is true—the sentence may make fine grammatical sense. But if…
