Chapter 12 Dialogue Element Writing good dialogue is hard, but formatting it is easy. Dialogue, which is always mixed case, single-spaced, typically runs margin to margin and follows the character name on the next line.
The result is that I basically wrote Predator: South China Sea in two months. I had more than six months to work on it, but only spent about eight weeks at the computer and writing longhand. In my twenties, I was known to spend six months on a single short story or novella. Factored into this time span, however, were all of the editing, publishing, nonfiction, and hours spent at a full-time job.
These factors helped in writing a novel so quickly for me. However, there were other little tricks and other factors that allowed me to work this fast without sacrificing quality.
For this reason, what I learned really has less to do with writing a tie-in novel than just with having to quickly writing a novel and trying to make sure the quality control is still there.
I hope some of this is useful. This ranges from small stuff to huge stuff. For example, Dave Larsen was my gun and heavy artillery guy, and he came through in a big way.
I think his expertise probably saved me something like 20 hours of work. However, I also had sources for information on a small scale. Bishop was able to give me info on the rough parts of Bangkok. I have to admit I exercised less and drank more during the two months than is normal for me. However, I still managed to exercise intensely for two-to-three hours three to four times a week and limited the drinking to a couple of drinks a day most of the time.
Eating healthy also helped keep my energy level up. Most of the time, I wrote new scenes in the mornings, revised existing scenes in the afternoons, and spent my evenings on line-edits and rewrites of individual paragraphs here and there. They should not all be fellow writers.
A good percentage of them should be pure readers, because you are not really looking for the kinds of things a writer may be more invested in than a reader. Writing-Related 1 Make sure your initial synopsis is detailed enough that you can divide it into chapters when you start the actual writing, and, if possible, make sure at that point that you have a one- or two-line description of the action for a particular chapter or scene.
Know going into the writing for a week exactly what each scene is supposed to do and why. If you know that, you will find it is still possible to be highly creative and surprise yourself in the individual scenes.
Perhaps I should clarify in that I just needed to know the action that would occur, more than anything else. The layering process, otherwise, will take too much time.
I know it sounds paradoxical, but it turned out to be a very effective way for me to generate depth of character, almost like having some of the work done for me, but not all of it. In the novel, there is a character named Horia Ursu, the same name as one of my Romanian editors.
Horia is a dear, dear friend who I correspond with via email and who Ann and I have met twice. We have spent perhaps a total of seven days together. With Horia, there is a space there, a lack of knowledge in certain ways, that allowed me to create a very entertaining character in the novel by riffing off of what I did know and then filling in and making up details.
I used this technique with at least three characters in the novel and it worked extremely well. Usually, thinking about character would take a lot more than two months—it, along with structure, would be the biggest impediments to finishing a novel in such a short time.
But, with the help of these real people who are my friends, by literally invoking them through using their names, I was able to find an effective shortcut.
The quickest way to make sure a scene is truly dramatic is to make sure that the character with the most at stake is the viewpoint character.
It soon became clear this would not work in the short term. It might have if I had time to think about it more and to work it out on the page. So I switched to the idea of shorter chapters, with several viewpoints threaded through the novel.
Each time, the viewpoint was of the character with the greatest stake in the scene in some way. This is especially true in the last half of the novel, which of course has a crescendo of action.
I just made sure the island had a semi-tropical climate like Florida and then I riffed off of the Florida landscape, with a few altered details.
This allowed me to put some description that read like specific, accurate detail, to provide apparent authenticity. There was really no point.festeringMongoose August 2, at am. I came here to learn how to do dialogue better and I ended up learning how to write better.
The whole bit on semi-colons told me that you have to write with meaning, you need to write with feeling. You’re not the only one, Grenac. My own story suffers from similar flaws, but I expected from the beginning to have to rewrite the whole thing to turn it into a polished story. A dialogue is a discussion between two or more people (or perhaps even one person and their conscience, or a better self).
It is written much like a stage play is written. The Oxford dictionary defines dialogue as ‘a conversation between two or more people as a feature of a book, play, or film’ (OED).Yet the ‘or more’ (dialogue between more than two characters) is often confusing to write.
The next step about how to write dialogue in an essay, we look at the format of dialouge essay. If a dialogue has more than one paragraph, put the quotation marks at the start of every paragraph and only at the end of the final paragraph. If you want to use a dialogue involving more than two people, then put the other person’s speech.
When choosing between a limited and omniscient perspective, it may be easier to use third-person limited, which still adheres closely to one person's point of feelthefish.com can start with third-person limited, then, if you like, switch over to omniscient if you find you need more than one .