A Rundown on Dialogue

A couple weeks ago, I posted a Q&A between myself and Evelyn Duffy, my editor. There was one question she asked that was cut from the final post:

In all your work that I’ve read so far, your characters do best when they have someone to talk to — you rely on and use dialogue extremely effectively. I find that many first-time authors struggle with dialogue. Do you have any tips for them?

I do have some tips. I cut the question, though, because as I answered it, my answer became quite lengthy and I decided to share it via blog post.

I love writing dialogue. I love it so much that sometimes I have to watch myself if a manuscript starts to look more like a straight-up script. But writing dialogue helps me understand what my characters think, do, and feel more than any narration I write on the first attempt.

I think one reason dialogue is difficult is because the nature of speaking is so different from the nature of writing. You can think about how you speak and how you react to what’s spoken, but that’s all one sided. A conversation is between two, and writing is a solitary craft.

As such, I recommend one tactic that you can do in the privacy of your own home and one I find to be very helpful: talk to yourself and pretend that you’re speaking to someone else. Ask yourself questions and answer them. Do it out loud, even if it’s just muttering to yourself. Do it at home or somewhere alone so you can really let loose.

This is helpful because talking to yourself is what you do when you write dialogue.  You’re creating a conversation between two (or more) people whose thoughts, feelings, motivations, and personalities are all in your head. By talking out loud to yourself, you’re practicing this in the more natural form of speaking instead of writing.

This also helps with what I think is the biggest hurdle to writing good dialogue: writing reactions as opposed to explanations. The clunkiest dialogue I’ve read (and written) is dialogue that narrates. I took an electronic media writing class in college, and one of our assignments was to write commercials. One of my professor’s cardinal rules was to never have the characters serve as the spokespeople. They should speak like normal people, and only the spokesperson — ie, the voiceover — should describe and sell the product.

This is applicable to fiction and dialogue. The narrator describes the story, but the characters live it. They live it by speaking within it like everyday people. And to speak like everyday people is to listen and react, not narrate and explain (well, not only explain — more on that later). No one likes talking to someone who only explains and never listens or responds to anyone but themselves. No one wants to read that someone either.

As such, I find that dialogue is always better when the next line is a direct build from the previous one, as opposed to just being the next step in advancing the story. I see lines of dialogue as stairs. Stairs build up, but rest on the edge of the previous one in order to climb. So do good lines of dialogue. This can come in the form of a question or clarifying statement, or some form of “Oh, I know — I do [blank] and this is how I do [blank] uniquely.” Sometimes I see an opportunity for jokes or tangents in response to a line, and add them even if they don’t advance the plot or reveal anything important. Not all dialogue has to. It does, however, need to sound natural (and it helps if it’s funny — even dramas or dark stories need good jokes).

calvin-conversation
Calvin may have been off-the-mark on conversations, but he does have some good advice on writing dialogue. Try not to have your characters interrupt each other too much though (unless they’re fighting — that’s more realistic).

Dialogue is at its least natural when it’s narrating — and this is where my final tip may be a little infuriating, because it will sound like I’m negating that observation. It’s the narrator’s job to explain things like setting, internal thoughts, and background. But sometimes, these things are better left to the characters to share via dialogue.

Now, I don’t think this should happen with prolonged explanations and backstory. It’s very, very easy for a character to start talking about their history and have them sound like a James Bond villain waxing on about their evil plans. If a character is going on and on, maybe consider giving that character their own section narrated from their point of view (whether first or third person). Such monologues can also be broken up by another character reacting — asking questions, saying what they think or what they would do, etc.

But no matter how it’s broken up, if a character’s background is being shared or revealed, it’s best to let them do it themselves. I find this applies whether or not a story is in first or third person. Narration should explain things about the protagonist (or, if switching focus/points of view, the person that is the focus in that section or chapter). But anyone else should speak for themselves.

I witnessed this particularly when writing Please Give. It’s told in first person, from Beth’s point of view. One of my most common revisions was to go back to a scene where Beth explained everything about everyone, and change it so that everyone else spoke for themselves instead. This made Beth seem more realistic, since she was no longer psychic and all-knowing about everyone else; and it also resulted in more realistic dialogue and narration.

This was especially true in Chapter 2, where Beth is at a staff meeting and listens to three nonprofit presidents — Mary Chau, Justin Moore, and Sally Wood — give presentations. In the first draft, Mary and Justin didn’t speak much on paper. Beth narrated their backgrounds and their organization’s backgrounds, leaving very little space for their own words. In turn, Beth’s narration both explained their history and her thoughts on them. This was clunky and didn’t read realistically at all. It read like an article or a blog post summarizing a presentation.

But narration shouldn’t be a summary, and dialogue helps it to not be one. This was the case with Sally, who spoke more even in the first couple drafts. She spoke for herself, and Beth’s narration was mostly in response to what she was saying — a reaction as opposed to an explanation. It flowed much better, and I realized that in order for the chapter as a whole to flow better, I needed to extend the same courtesy to Mary and Justin.

So, I went back and let them say what Beth previously described. They spoke about just enough history to sound like a presentation, as opposed to narration in a book (much like you want your make-up to look like you’re not wearing any, you want your dialogue to read like it wasn’t written). And rather than serve to explain, Beth’s narration broke up these lengthy speeches with her responses and thoughts — which in turn served to clarify and fill in the context for what they had to say. Because she had reactions as opposed to explanations, the scene read more realistically to me — and it did so because these explanations became a form of dialogue between Beth and the people speaking.

Dialogue is an effective tool, and one that many writers seem to fear the most. I think this comes from thinking too hard about what should be said or how what’s said fits into the narration as opposed to the narrative. At the end of the day, dialogue should fit into a conversation, not the narration. So let your characters loose — let them speak, let them react, and let them converse until it’s time for the narration to come back in. You can always go back and whittle the conservation down in a second or third (or eighth) draft.

And, try talking to yourself. Trust me, it works.


I’ve talked a lot about talking, but if you want to read a little more, I’ve shared similar advice on the blog before — namely, on talking to yourself in the form of interviewing yourself.

I also recommend checking out the actual conversations between me and Evelyn Duffy. It’s a conversation in two parts: Ask the Editor and Ask the Author.

Thanks for reading!

Ask the Author: A Q&A with Sonora Taylor

sonora taylor
“While I want to go into my stories with some sense of what will happen, I also don’t want to go in so sure of how it will go that I’ll get stuck and write myself into a corner. It’s better to write and see where it goes — and if you see it going somewhere else, follow it. More often than not, you’ll be lead in the right direction.”

(It’s weird writing a headline about myself in the third person, but not as weird as writing “A Q&A with Me”)

Last week, I posted a Q&A with my editor, Evelyn Duffy. In addition to answering my questions, she turned the virtual mic around and asked some questions of me. Read on to learn more about what it was like writing my first book, how I navigate through both the writing and publishing parts of the process, and how comic strips and sitcoms influence my literary work.


Evelyn: What is your writing process? How has it varied or stayed the same from your short stories to your novels?

Sonora: It’s a simple step, and yet some days, it’s the hardest one to take: I make myself write something every day. Even if it’s just a sentence, or a note, or a revision, I need to engage with a piece every day to keep the momentum going. I can’t count the number of times I put off actual writing because I thought I had nothing, and then when I made myself do it, I got something — something that often surprised me. The story needs to get out of my head in order to form fully, and I need to write it to get it out of my head.

I work better with set, numeric goals — a specific end date, a number to reach, etc. When writing a novel, I set a goal of 1000 words a day. When writing a short story, I aim for 500 to 1000 words. I often surpass these goals — at its peak, I was writing closer to 2000-3000 words a day for my novel, Please Give — but there are also plenty of days I fall short. This is okay. What’s more important to me than a word count is engagement with my work.

Evelyn: What is your revision process? Who do you share your work with pre-publication, and how do you decide? Can you tell us how you incorporate an editor, beta readers, friends and family, and/or your cover artist?

Sonora: Whether a novel or a short story, I always wait until I have a draft I’m mostly satisfied with before sharing it with others. I do this because I don’t want to give someone something to read that I still have a lot of issues with. I want to send it to others when I’ve reached the point where I can’t do more without hearing from someone else. I often say to people reading it that what the story needs now is another set of eyes. My stories usually reach this point after three or four passes on my own.

Beta readers usually give me general thoughts and some copy-edits. My editor is very thorough, with longer assessments on what is and isn’t working in the story, and what I need to draw out or revise. I highly recommend that self-published authors get both beta readers and an editor. You need that span of feedback to really make your story pop.

Evelyn: Please Give is your first novel, but not your first book. What are some of the differences you’ve found between writing a novel and a collection of short stories? Are there any that took you by surprise?

Sonora: The biggest difference was what each piece started as when I wrote the first words. Even when the story was vastly different, I knew Please Give would be a novel. However, I didn’t write the short stories in The Crow’s Gift and Other Tales with the intention to publish them together. When I decided to publish them together, I was pleasantly surprised by how closely connected they turned out to be. Funny enough, that theme was connection: each of the protagonists in the four stories has a goal of making a connection with someone else, and each get different results.

Evelyn: I understand your knowledge of the nonprofit world of Washington D.C. influenced Please Give. Can you talk a little about that?

Sonora: I’ve worked in the nonprofit sector for almost ten years. I interned for an animal welfare organization while I was in graduate school, and have worked for two foundations and an advocacy organization since entering the workforce full-time.

Some may think that working for a nonprofit means your 9-to-5 is saving puppies, or going to protests, or traveling the globe to help save the world. For some nonprofit workers, that’s the case; but for many of us, it’s going to the office, sitting in meetings, writing drafts, doing busy work, going to more meetings, fielding phone calls, and going to one or two more meetings before you leave for the day. If you think that sounds like any other office, you’re right.

In every nonprofit office I’ve worked in, though, staff have cared deeply about the organization’s mission. There’s also an overall sense of camaraderie — one that isn’t exclusive to nonprofit offices, of course, but one that I think is heightened by the nature of the field. This can be both a good and bad thing. It’s good because you’re part of a team focused on a goal rooted in service, and everyone wants to work together to achieve that. But it can be bad if that common goal is used to try and justify things that wouldn’t be okay in any office, with the excuse that it’s the mission or the greater good that’s more important. This isn’t exclusive to nonprofit offices, but like camaraderie, I think this is heightened in a mission-based office. Why should we complain about things like pressure to work too hard, or frequently missed deadlines, or excessive micromanagement, or lack of promotions or benefits, when The Mission is there and we have so many more important things to think about? But you can care deeply about the greater good and still want better in your office, because it’s still an office and it’s still okay to ask for better in your work environment. I hope that anyone working or thinking of working in the nonprofit sector remembers this.

Evelyn: As I wrote to you when I edited your book, the protagonist of Please Give is refreshing and complex. Beth has a clear, distinct voice. She owns her unique hobbies and interests, and is sexually confident. She has no physical hang-ups and isn’t trying to define herself based on a relationship with a man. At the same time, she’s also one of the most anxious characters I’ve ever encountered in fiction. What went into writing her? Is she the same character now, after multiple drafts and revisions, that she was when she started?

Sonora: When I started Please Give, I was thinking less about Beth and more about where she worked. Her observations on her job — ones that were much snarkier in the initial drafts — were more my own than hers. While I never intended Please Give to be a memoir, a story that was inspired by my own experiences was going to start with a blurred line of where my story ceased and Beth’s began. This line became more defined as I gave Beth her own world. As her story opened up to me, she did too; and I was better able to step back and write about her instead of me.

A lot of what you like about her are things I see in women, yet don’t see enough of in fictional women. For instance, 95% of the books I read have women say something about eating too much and getting fat, no matter their size or their self-esteem. I find myself thinking, can’t I just read one frickin’ book where a woman eats a burger and doesn’t say “Oh no, I’m going to get fat”? Same goes for Beth’s sexual confidence. I wasn’t interested in yet another story where a woman is either super awkward or weird about sex (sure it’s real, but it’s not the only reality of sexual women); sleeps around with the hope that maybe this guy will want to commit (because we can’t have a woman who dates to date — she must be looking for a husband or a long-term boyfriend, and the men must always be the ones who are reluctant to commit); or else sleeps around because she has emotional baggage that drives her libido, giving her a reason other than her own gratification. Beth has sex because she enjoys it, and it’s something she both likes and knows she’s good at. I want to read more about women like that.

At the same time, Beth is very anxious. She fears offending others and polarizing them; and also fears that she’s not actually deserving of the things she wants. This is most apparent in her office, but it seeps into how she interacts with her friends and her dates (outside of sex, at least). This combination of anxiety and confidence creates its own special brand of despair. Beth very much wants more, and wants this because she knows what she’s capable of — and yet, she still wonders if she can actually do what she wants to do. This leads to a battle in her head between what she thinks, what she thinks others think, and what she thinks she should think to make everyone happy.

It’s exhausting to go through these motions — and they’re motions I’m very familiar with. Even though Beth is her own character, I wrote her inner workings with a clear understanding of them because I go through similar thinking almost every day. It’s a train of thought that can make you feel very lonely. I tend to internalize these anxieties because I hold to the times I’ve opened up about them and been told to just get over it or that I was being ridiculous. While such anxieties aren’t fixed overnight, it helps when I hear from others that they know how it is, or feel that way too, or at the very least understand. This applies to books as well as people, characters as well as friends. I started writing Beth and her story so I could tell a good story. But I hope that by including something personal to me — something hard to share, but necessary — that I can do my own part to let others who go through this know that they’re not alone.

Evelyn: As the author, what is your favorite thing about Please Give? As a reader, do you think it would be different?

Sonora: One of the reasons I loved writing Please Give was because it made me happy to inhabit its world and spend time with its characters. I found several of the scenes hilarious, and would laugh to myself as I wrote them or said the dialogue out loud to myself. It seems odd to say that, given it’s about a woman anxiously navigating through her own head to get through her day-to-day. But I’ve found that my own rough day-to-day’s, ones that can be very rough when my anxious thoughts are getting the better of me, are improved when I find something funny about them. I can make them better with a joke, or a snarky observation, or talking to an understanding friend and making light of everything we’re going through. So while the book isn’t a laughfest from beginning to end, it’s also not a pit of despair. Many things happen in the world of the book, things that sometimes feel like nothing but downs after the ups; but all can perhaps still feel okay because of a good joke and some good people to share it all with. I felt that way while engaging with the book and its characters, and I hope that readers will feel the same.

Evelyn: “All the Pieces Coming Together” is a sexy, funny, dangerous short story, and one of the most unique I’ve read in 10 years of editing. How long did it take you to write? What gave you the idea? Who do you hope will read it, and what do you hope they’ll take away from it?

Sonora: “All the Pieces Coming Together” was the first short story I wrote when I got back into writing in 2016. I’d nursed the idea for a year or so beforehand, focused mainly on one of the first lines: “It’s the perfect place to hide a body. The trouble is, there isn’t anybody to hide.” I found the idea of a wannabe serial killer finding a hiding spot so perfect that no one was around to kill to be darkly hilarious. I wrote down a few notes, including the line, his course of action, and the first part of the ending. Everything else fell into place as I wrote it. Once I started writing the story, it took me a little over a month to complete. I hope people with morbid senses of humor read it, or perhaps people who don’t think they’re into horror or dark comedy. It delves into themes of control and making things just so, something I think we’ve all gone through in less morbid ways (well, hopefully less morbid ways).

Evelyn: Both Please Give and The Crow’s Gift have gorgeous cover art. What can you tell us about your cover artist?

Sonora: Both of my books’ covers, the cover for “All the Pieces Coming Together,” and the illustrations in The Crow’s Gift were done by the immensely-talented Doug Puller. He is an illustrator and graphic designer, and I highly recommend him. You can see examples of his work on his website.

I am also collaborating with Doug on a graphic novel. It’s called Wretched Heroes, and will be released as a multi-volume series. We expect Volume 1: The Man in Rags to be released later this year. You can learn more about it on Facebook.

Evelyn: You’ve mentioned that you attend meetups and classes in the D.C. area related to writing and publishing. What about them did you find helped you? You’ve also learned a lot in a relatively short period of time about self-publishing and promoting your work online. What are your suggestions for someone who has a book finished and wants to self-publish but isn’t sure how to get started?

Sonora: I’ve been going to Write2Publish classes, which meet once a month at my local library. An assortment of writers attend the classes, and they are led by Robin Sullivan, whose husband, Michael J. Sullivan, is a popular fantasy author. She is his business manager. The classes are focused on the business end of writing — how to market your book, query-sending strategies, tips for which publishing avenue to pursue, and more. The classes have been extremely helpful in guiding my foray into self-publishing, while also giving me a primer of what to expect if I ever decide to pursue traditional publishing.

Much of what I’ve learned about self-publishing has come from a combination of writing blogs and these classes. When Robin shares her tips, it’s easy to feel overwhelmed, especially if you are handling all of your own marketing. While I have an eye for marketing, I am a writer first and foremost; and everyone will tell you that the author’s job is to write. Thus, it sometimes feels like I’m always going to come up short meeting every recommendation people like Robin make to ensure self-publishing success — and subsequently come up short in getting my books into the hands of readers. However, one of the nice things about books is that they don’t get just one chance to be read. Think about your favorite author. You probably didn’t hear about their first book — you probably heard about them after their third or fourth. Books stick around, and can gain traction over time.

I think it’s important to remember, then, that while doing it all is helpful, so is doing some of it. Your self-publishing prospects aren’t D.O.A. if you don’t have a full website, social media presence, Google Analytics report, multiple reviews, and well-placed promotion on blogs and in newspapers all before launch day. Maybe aim for two of those things, and the two that come most naturally to you. I’ve had a Twitter presence for years, and while I still use it to talk about non-writing things like hockey and beer, I also use it to talk about my writing. I also started a writing blog where I talk about my projects as well as general writing thoughts. That blog eventually became my website. I’d like to do more to market my work, and when I have some more pieces to promote, perhaps I will. But for now, I have a website and a social media presence, which is a great first step to getting my work out there.

Evelyn: Generally speaking, you draw a lot from film and pop culture. You also read voraciously. Who or what are your greatest influences?

Sonora: I really enjoy both humorous and dark stories, such as Augusten Burroughs’ memoirs and essays. I read Running with Scissors in high school and loved every word. Burroughs has a knack for drawing you into such darkness and sadness but with a laugh and a wink throughout; and his sense of humor is incredibly biting. My favorite authors (with my favorite book by each in parentheses) include John Irving (A Widow for One Year), Anita Shreve (Fortune’s Rocks), Rainbow Rowell (Landline), Toni Morrison (The Bluest Eye), and Thomas Hardy (Far From the Madding Crowd). I also read a lot of comic strips growing up, which were very influential on my writing and my humor — in no small part because of the way the dialogue flows. I spent many an afternoon reading Foxtrot and Calvin and Hobbes; and owned many Archie anthologies.

Sitcoms have also had a big influence on my writing. Growing up, my favorite shows were The Golden Girls, The Nanny, That ’70s Show, and Mystery Science Theater 3000. I’m also a big fan of sitcoms without laugh tracks. The speed and naturalness at which the jokes come is just so good in the right hands. They’re an excellent primer on how to write good, convincing, and funny dialogue in stories. Some of my favorites include 30 Rock, Scrubs, and Master of None.

Most of my favorite stories are about generally everyday people going through generally everyday things; or else things out of the ordinary being shared as if they were an everyday occurrence, because to that person, it is their everyday. Even a show like Mystery Science Theater 3000 made it a point to emphasize the averageness of Joel and Mike (and now Jonah) in the face of their circumstances. These stories showed me people I’d know, telling jokes and going through things I could at least see myself going through, even if I didn’t actually go through them. Those are the stories I like writing the most.

I am also a horror fan, in case anyone was wondering how my love of Golden Girls and Archie resulted in a story like “All the Pieces Coming Together” (though Riverdale would lend itself well to that). I’ve been a Tim Burton fan since I was a kid, and of course read Stephen King. I am also a big fan of Neil Gaiman and the way he builds worlds and turns a phrase. He makes the darkest corners of the imagination beautiful, even when they’re deeply unsettling.

Evelyn: What do you know now that you wish you’d known when you started writing?

Sonora: I’ve read so many author interviews where they say the final version of their book was almost nothing like it was when they started. I read an interview or two like these as I was just getting started on Please Give, and thought, “Well, my story isn’t changing. It’s going to stay exactly the same, and I’m going to follow everything I outlined or noted exactly.”

What a joke. It changed drastically, and many times. I kept some things intact — Beth’s job, for instance; and Beth as the protagonist, and most of the main characters. But at one point, I had a speaking cast of thirty. I still remember a character about whom Beth said, “I don’t know why she was there. She had no reason to be.” One of those magic moments where your characters talk to you and you should listen. Beth was also running an advice blog in an early draft, which will make you laugh very hard when you learn more about Beth and how she feels about sharing her opinions.

But Please Give changed a lot — it even changed titles — and changed even more when I got it back from being edited. It changed despite my naive, stubborn self thinking my novel would be the first rough draft that stayed the same into final form beyond copy clean-up. It’s that stubbornness that makes me wish I’d known how much a story can change sooner. While I want to go into my stories with some sense of what will happen, I also don’t want to go in so sure of how it will go that I’ll get stuck and write myself into a corner. I came around on what did and didn’t need to change in Please Give, but there were pieces I definitely hung onto longer than necessary so I could follow a notion I had of what the story was before I even wrote it. It’s better to write and see where it goes — and if you see it going somewhere else, follow it. More often than not, you’ll be lead in the right direction.

Evelyn: I know you have several other irons in the fire. Would you like to tell us about some of your upcoming books and short story collections?

Sonora: While Please Give was out for edits, I wrote several short stories. I’m publishing five of them in a new collection, tentatively titled Wither and Other Tales. Many of them are on the darker side, like the stories in The Crow’s Gift. It’s currently being edited and revised, and I plan to release it in September.

I’m also hard at work on my next novel. Right now, it’s called Without Condition. It follows a woman named Cara, who tempers her mounting fears and frustrations in less-than-savory ways; and her mother Delores, who’s proud of the way she handles herself. It explores the idea of unconditional love, but in a dark and twisted way. It also explores how Cara reconciles with who she really is — a piece she hides from everyone but her mother, because her mother loves her no matter what — and how that reconciliation affects Cara when she meets and falls for a man named Jackson. It’s dark, bemused, and tender — my favorite kind of story.


Both Please Give and The Crow’s Gift and Other Tales are available now. Thanks for reading, everyone.

The Rejection Collection

I received my first rejection letter yesterday. I’m not sad about it. Every writer in the history of time has been rejected by someone or some institution. It’s all part of the process, and I almost feel a sense of accomplishment at having gotten one. It’s a first step, another writer milestone to cross off the list.

I enjoy reading accounts of authors who save their rejection letters. I wanted to do the same, but was at a loss at how to do so. I liked Stephen King’s nail on the wall (which later became a spike to hold all the letters), but I didn’t want to copy that, if only because hanging them on my wall didn’t really feel like me. I thought of boxes, notebooks, photo albums (which is how I save postcards) – all good means, but means that didn’t feel right for these letters.

What finally felt right, though, was a means of presentation from one of my favorite Calvin and Hobbes strips:

binder-1

The strip is part of a series where Calvin has to write a report on bats. He approaches the project with the same care he usually takes with schoolwork, meaning zero to none. The whole series (which starts here) is a scream, but what tickled me most was Calvin being convinced that the key to success was a Professional Clear Plastic Binder.

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Naturally, that was not the key to Calvin’s success. He failed the report, but even in the end, he was still convinced the binder had power – it was just ignored:

binder-2

I remembered this series as I thought of ways to collect my rejection letters, and after laughing at the memory of the whole series, I decided that I had to collect them in one of my favorite running jokes.

binder-full
The binder itself is not clear, but it is filled with clear plastic sleeves which will hold my letters with pride.

I had a lot of fun putting this together. In addition to Calvin and Hobbes, the title also pays tribute to Pearls Before Swine and the running gag of creating an Item o’ Something (such as the Box o’ Stupid People). I chuckled almost the whole time as I printed the cover and placed the clear plastic sleeves in their rings. I smiled as I christened it with my first rejection letter.

I could wax poetic about the deeper meaning of presentation versus substance that Calvin’s report signifies; as well as the fact that he buried the report and moved on (though I’d like to think I learn more from my shortcomings than Calvin usually does). Honestly, though? I chose this collection method because it made me laugh. I laughed all over again as I loaded the comic strips to the blog post and read them on Go Comics. I laughed and had fun in the face of rejection. Ultimately, that’s what the process needs to be – and collecting them in one of my favorite jokes, one that always makes me smile, will help me do that.

I truly look forward to filling my Professional Clear Plastic Binder o’ Rejection with more letters. I look even more forward to starting the Binder o’ Acceptance. But, one collection at a time.