It's All in What You Say: Writing Dialogue

"A dialogue is more than two monologues." Max Kampelman

My favorite part of fiction writing is dialogue. It serves many purposes. And so much can be revealed about a character through his thoughts, actions and especially words he says or doesn't say. Each word clues the reader in to that particular character's identity.

I love old movies and Casablanca is one of my all time favorites! William Bayer, in his book The Great Movies, classifies it as one of the 60 greatest motion pictures of all time. Bayer says it is one of the few adventure films where the adventure takes place indoors. There are no fights or outdoor adventures. "There are, instead, adventures of verbal jousting, of dialogue and innuendo, and they are dominated, in fact ruled, by a supreme adventurer, Rick."

What makes us know Rick is an adventurer is his dialogue. Bayer outlines several snatches of it that reveal glimpses into Rick's character:

His Irony
When asked to explain why he came to Casablanca, Rick says,"I came to Casablanca for the waters."
"What waters? We're in the desert."
"I was misinformed."

His Sex Life in Casablanca:
As seen with a girl in a brief exchange. She asks," Where were you last night?"
"That's so long ago I don't remember."
"Will I see you tonight?"
"I never make plans so far in advance."

His Bitterness:
When he accuses Ingrid Bergman of having had other lovers: "Were there others in between? Or aren't you the kind that kisses and tells?"

His Urbanity:
"What is your nationality?" Major Strasser asks.
"I'm a drunkard," says Rick.

His Mystique (my favorite quote):
Claude Raines explains to Ingrid Bergman: "Rick is the kind of man that if I were a woman, I would be in love with Rick."

Besides revealing insight into your characters, dialogue moves your story along by providing important information. That's why the lines are there in the first place, and that's what keeps the reader reading!

Keep your dialogue natural sounding. Reading it out loud is a good test to hear if it sounds like a real conversation. As far as dialect, a little goes a long way. It makes your reader work too hard by having to intepret what you've written. Just throw in a few words, then leave the rest to the reader's imagination. They'll get the message regarding the character's speech pattern.

Hope this insight into dialogue has been helpful! If you haven't seen Casablanca, rent it over the weekend! It's worth it!

What's some of the best dialogue you've seen or read lately?

Thanks for visiting and have a great week!

He Says, She Says

Men and women are different--especially where communication is concerned! Ever struggle with gender specific dialogue in your fiction writing? Hope these tips will help!

Men are more direct and brusque in tone. They use simpler vocabulary with fewer modifiers, and are likely to use one word responses and shorter sentences.  Instead of talking about people and feelings, they’d rather talk about things.  

Women, however, love talking about people and relationships.  Their language is softer, and they’re more likely to talk around a subject.  “I’m not too happy about this,” she might say, while he says, “I’m mad as hell!”  Women express themselves in complete sentences, and want to share their feelings.

Today, I thought I'd pass this article along from the website Your Tango, written by Richard Drobnick of The Mars and Venus Counseling Center. It provides some information to keep in mind when writing dialogue from the perspective of the opposite sex.

He believes communication should have a clear purpose. Behind every conversation is a problem that needs solving or a point that needs to be made.

She uses communication to discover how she is feeling and what it is she wants to say. She sees conversation as an act of sharing and an opportunity to increase intimacy with her partner.

He prioritizes productivity and efficiency in his daily life, and conversation is no exception. When he tells a story he has already sorted through the muck in his own head, and shares only those details that he deems essential to the point of the story. He might wonder, "Why do women need to talk as much as they do?" Often he will interrupt a woman once he has heard enough to offer a solution.

She uses communication to explore and organize her thoughts — to discover the point of the story. She may not know what information is necessary or excessive until the words come spilling out. But a woman isn't necessarily searching for a solution when she initiates a conversation. She's looking for someone to listen and understand what she's feeling.

Do you have any tips to make dialogue sound more feminine or masculine?

Thanks for visiting and have a great week!  

Save the Cat: A Great Resource for Any Writer!

Save the Cat is a great book for any writer! Even though the subtitle is The Last Book on Screenwriting You'll Ever Need, it's a helpful tool for any writer!  Check out what writer editor Tim Stout says: 

The Blake Snyder Beat Sheet is the best plot structure template I’ve come across.

It breaks down the three-act structure into bite-size, manageable sections, each with a specific goal for your overall story. It’s a great resource! 

Below is an explanation of each beat:

THE BLAKE SNYDER BEAT SHEET (aka BS2)

Opening Image – A visual that represents the struggle & tone of the story. A snapshot of the main character’s problem, before the adventure begins.

Set-up – Expand on the “before” snapshot. Present the main character’s world as it is, and what is missing in their life.

Theme Stated (happens during the Set-up) – What your story is about; the message, the truth. Usually, it is spoken to the main character or in their presence, but they don’t understand the truth…not until they have some personal experience and context to support it.

Catalyst – The moment where life as it is changes. It is the telegram, the act of catching your loved-one cheating, allowing a monster onboard the ship, meeting the true love of your life, etc. The “before” world is no more, change is underway.

Debate – But change is scary and for a moment, or a brief number of moments, the main character doubts the journey they must take. Can I face this challenge? Do I have what it takes? Should I go at all? It is the last chance for the hero to chicken out.

Break Into Two (Choosing Act Two) – The main character makes a choice and the journey begins. We leave the “Thesis” world and enter the upside-down, opposite world of Act Two.

B Story – This is when there’s a discussion about the Theme – the nugget of truth. Usually, this discussion is between the main character and the love interest. So, the B Story is usually called the “love story”.

The Promise of the Premise – This is when Craig Thompson’s relationship with Raina blooms, when Indiana Jones tries to beat the Nazis to the Lost Ark, when the detective finds the most clues and dodges the most bullets. This is when the main character explores the new world and the audience is entertained by the premise they have been promised.

Midpoint – Dependent upon the story, this moment is when everything is “great” or everything is “awful”. The main character either gets everything they think they want (“great”) or doesn’t get what they think they want at all (“awful”). But not everything we think we want is what we actually need in the end.

Bad Guys Close In – Doubt, jealousy, fear, foes both physical and emotional regroup to defeat the main character’s goal, and the main character’s “great”/“awful” situation disintegrates.

All is Lost – The opposite moment from the Midpoint: “awful”/“great”. The moment that the main character realizes they’ve lost everything they gained, or everything they now have has no meaning. The initial goal now looks even more impossible than before. And here, something or someone dies. It can be physical or emotional, but the death of something old makes way for something new to be born.

Dark Night of the Soul – The main character hits bottom, and wallows in hopelessness. The Why hast thou forsaken me, Lord? moment. Mourning the loss of what has “died” – the dream, the goal, the mentor character, the love of your life, etc. But, you must fall completely before you can pick yourself back up and try again.

Break Into Three (Choosing Act Three) – Thanks to a fresh idea, new inspiration, or last-minute Thematic advice from the B Story (usually the love interest), the main character chooses to try again.

Finale – This time around, the main character incorporates the Theme – the nugget of truth that now makes sense to them – into their fight for the goal because they have experience from the A Story and context from the B Story. Act Three is about Synthesis!

Final Image – opposite of Opening Image, proving, visually, that a change has occurred within the character.

THE END

I used the Beat Sheet method in writing my last novel and it was a big help! Are you familiar with Save the Cat? Thanks for visiting and have a great week!  

It's All in What You Say: Writing Dialogue

"A dialogue is more than two monologues." Max Kampelman

My favorite part of fiction writing is dialogue. It serves many purposes. And so much can be revealed about a character through his thoughts, actions and especially words he says or doesn't say. Each word clues the reader in to that particular character's identity.

I love old movies and Casablanca is one of my all time favorites! William Bayer, in his book The Great Movies, classifies it as one of the 60 greatest motion pictures of all time. Bayer says it is one of the few adventure films where the adventure takes place indoors. There are no fights or outdoor adventures. "There are, instead, adventures of verbal jousting, of dialogue and innuendo, and they are dominated, in fact ruled, by a supreme adventurer, Rick."

What makes us know Rick is an adventurer is his dialogue. Bayer outlines several snatches of it that reveal glimpses into Rick's character:

His Irony
When asked to explain why he came to Casablanca, Rick says,"I came to Casablanca for the waters."
"What waters? We're in the desert."
"I was misinformed."

His Sex Life in Casablanca:
As seen with a girl in a brief exchange. She asks,"Where were you last night?"
"That's so long ago I don't remember."
"Will I see you tonight?"
"I never make plans so far in advance."

His Bitterness:
When he accuses Ingrid Bergman of having had other lovers: "Were there others in between? Or aren't you the kind that kisses and tells?"

His Urbanity:
"What is your nationality?" Major Strasser asks.
"I'm a drunkard," says Rick.

His Mystique (my favorite quote):
Claude Raines explains to Ingrid Bergman: "Rick is the kind of man that if I were a woman, I would be in love with Rick."

Besides revealing insight into your characters, dialogue moves your story along by providing important information. That's why the lines are there in the first place, and that's what keeps the reader reading!

Keep your dialogue natural sounding. Reading it out loud is a good test to hear if it sounds like a real conversation. As far as dialect, a little goes a long way. It makes your reader work too hard by having to intepret what you've written. Just throw in a few words, then leave the rest to the reader's imagination. They'll get the message regarding the character's speech pattern.

Hope this insight into dialogue has been helpful! If you haven't seen Casablanca, rent it this weekend! It's worth it!

What's some of the best dialogue you've seen or read lately?

Thanks for visiting and have a great week!

Save the Cat: A Great Resource for Any Writer!

Save the Cat is a great book for any writer! Even though the subtitle is The Last Book on Screenwriting You'll Ever Need, it's a helpful tool for any writer!  Check out what writer editor Tim Stout says: 

The Blake Snyder Beat Sheet is the best plot structure template I’ve come across.

It breaks down the three-act structure into bite-size, manageable sections, each with a specific goal for your overall story. It’s a great resource! 

Below is an explanation of each beat:

THE BLAKE SNYDER BEAT SHEET (aka BS2)

Opening Image – A visual that represents the struggle & tone of the story. A snapshot of the main character’s problem, before the adventure begins.

Set-up – Expand on the “before” snapshot. Present the main character’s world as it is, and what is missing in their life.

Theme Stated (happens during the Set-up) – What your story is about; the message, the truth. Usually, it is spoken to the main character or in their presence, but they don’t understand the truth…not until they have some personal experience and context to support it.

Catalyst – The moment where life as it is changes. It is the telegram, the act of catching your loved-one cheating, allowing a monster onboard the ship, meeting the true love of your life, etc. The “before” world is no more, change is underway.

Debate – But change is scary and for a moment, or a brief number of moments, the main character doubts the journey they must take. Can I face this challenge? Do I have what it takes? Should I go at all? It is the last chance for the hero to chicken out.

Break Into Two (Choosing Act Two) – The main character makes a choice and the journey begins. We leave the “Thesis” world and enter the upside-down, opposite world of Act Two.

B Story – This is when there’s a discussion about the Theme – the nugget of truth. Usually, this discussion is between the main character and the love interest. So, the B Story is usually called the “love story”.

The Promise of the Premise – This is when Craig Thompson’s relationship with Raina blooms, when Indiana Jones tries to beat the Nazis to the Lost Ark, when the detective finds the most clues and dodges the most bullets. This is when the main character explores the new world and the audience is entertained by the premise they have been promised.

Midpoint – Dependent upon the story, this moment is when everything is “great” or everything is “awful”. The main character either gets everything they think they want (“great”) or doesn’t get what they think they want at all (“awful”). But not everything we think we want is what we actually need in the end.

Bad Guys Close In – Doubt, jealousy, fear, foes both physical and emotional regroup to defeat the main character’s goal, and the main character’s “great”/“awful” situation disintegrates.

All is Lost – The opposite moment from the Midpoint: “awful”/“great”. The moment that the main character realizes they’ve lost everything they gained, or everything they now have has no meaning. The initial goal now looks even more impossible than before. And here, something or someone dies. It can be physical or emotional, but the death of something old makes way for something new to be born.

Dark Night of the Soul – The main character hits bottom, and wallows in hopelessness. The Why hast thou forsaken me, Lord? moment. Mourning the loss of what has “died” – the dream, the goal, the mentor character, the love of your life, etc. But, you must fall completely before you can pick yourself back up and try again.

Break Into Three (Choosing Act Three) – Thanks to a fresh idea, new inspiration, or last-minute Thematic advice from the B Story (usually the love interest), the main character chooses to try again.

Finale – This time around, the main character incorporates the Theme – the nugget of truth that now makes sense to them – into their fight for the goal because they have experience from the A Story and context from the B Story. Act Three is about Synthesis!

Final Image – opposite of Opening Image, proving, visually, that a change has occurred within the character.

THE END

I used the Beat Sheet method in writing my last novel and it was a big help! Are you familiar with Save the Cat? Thanks for visiting and have a great week! 

Breaking the Rules

I was giving someone a little writing advice last week and this post came to mind. If you missed it the first time around, hope you'll find it useful now! 

"Devotees of grammatical studies have not been distinguished for any very remarkable felicities of expression." Bronson Alcott

When writing fiction, it's okay to break a few rules. Unlike political incorrectness, grammatical incorrectness harms no one, and in general is more pleasing to the ear. A narrative should flow smoothly, not read like a research paper.

I'm not talking about poor grammar, unless your character comes from that background. Even then, don't go overboard with dialect. A little goes a long way. In The Elements of Style, Strunk and White say, "The best dialect writers...are economical of their talents, they use the minimum, not the maximum, of deviation from the norm, thus sparing the reader as well as convincing him."

What I'm referring to is all those prickly little rules we learned in grammar school, such as never end a sentence with a preposition, and never begin one with a conjunction.

"I can see him, up above," is more likely to be said in real life, instead of, "Up above, I can see him." And because of this, I'd rather end that sentence of dialogue with a preposition. But did you notice how I just started two sentences with conjunctions? If you've broken a writing rule, but it passes the natural speech test, you're pretty safe!

Remember, smooth flow and naturalistic dialogue keep the pages turning! Have you broken any rules of writing lately?

Thanks for visiting and have a great week!

Originally posted 8/16/10

It's All in What You Say: Writing Dialogue

"A dialogue is more than two monologues." Max Kampelman

My favorite part of fiction writing is dialogue. It serves many purposes. And so much can be revealed about a character through his thoughts, actions and especially words he says or doesn't say. Each word clues the reader in to that particular character's identity.

I love old movies and Casablanca is one of my all time favorites! William Bayer, in his book The Great Movies, classifies it as one of the 60 greatest motion pictures of all time. Bayer says it is one of the few adventure films where the adventure takes place indoors. There are no fights or outdoor adventures. "There are, instead, adventures of verbal jousting, of dialogue and innuendo, and they are dominated, in fact ruled, by a supreme adventurer, Rick."

What makes us know Rick is an adventurer is his dialogue. Bayer outlines several snatches of it that reveal glimpses into Rick's character:

His Irony:
When asked to explain why he came to Casablanca, Rick says,"I came to Casablanca for the waters."
"What waters? We're in the desert."
"I was misinformed."

His Sex Life in Casablanca:
As seen with a girl in a brief exchange. She asks,"Where were you last night?"
"That's so long ago I don't remember."
"Will I see you tonight?"
"I never make plans so far in advance."

His Bitterness:
When he accuses Ingrid Bergman of having had other lovers: "Were there others in between? Or aren't you the kind that kisses and tells?"

His Urbanity:
"What is your nationality?" Major Strasser asks.
"I'm a drunkard," says Rick.

His Mystique:
Claude Raines explains to Ingrid Bergman: "Rick is the kind of man that if I were a woman, I would be in love with Rick."

Besides revealing insight into your characters, dialogue moves your story along by providing important information. That's why the lines are there in the first place, and that's what keeps the reader reading!

Keep your dialogue natural sounding. Reading it out loud is a good test to hear if it sounds like a real conversation. As far as dialect, a little goes a long way. It makes your reader work too hard by having to intepret what you've written. Just throw in a few words, then leave the rest to the reader's imagination. They'll get the message regarding the character's speech pattern.

Hope this insight into dialogue has been helpful! If you haven't seen Casablanca, rent it soon! It's worth it!

What's some of the best dialogue you've seen or read lately?

Thanks for visiting and have a great week!

Reprinted from 6/25/10

He Says, She Says

Men and women are different--especially where communication is concerned! Ever struggle with gender specific dialogue in your fiction writing? Hope these tips will help!

Men are more direct and brusque in tone. They use simpler vocabulary with fewer modifiers, and are likely to use one word responses and shorter sentences.  Instead of talking about people and feelings, they’d rather talk about things.  

Women, however, love talking about people and relationships.  Their language is softer, and they’re more likely to talk around a subject.  “I’m not too happy about this,” she might say, while he says, “I’m mad as hell!”  Women express themselves in complete sentences, and want to share their feelings.

Today, I thought I'd pass this article along from the website Your Tango, written by Richard Drobnick of The Mars and Venus Counseling Center. It provides some information to keep in mind when writing dialogue from the perspective of the opposite sex.

He believes communication should have a clear purpose. Behind every conversation is a problem that needs solving or a point that needs to be made.

She uses communication to discover how she is feeling and what it is she wants to say. She sees conversation as an act of sharing and an opportunity to increase intimacy with her partner.

He prioritizes productivity and efficiency in his daily life, and conversation is no exception. When he tells a story he has already sorted through the muck in his own head, and shares only those details that he deems essential to the point of the story. He might wonder, "Why do women need to talk as much as they do?" Often he will interrupt a woman once he has heard enough to offer a solution.

She uses communication to explore and organize her thoughts — to discover the point of the story. She may not know what information is necessary or excessive until the words come spilling out. But a woman isn't necessarily searching for a solution when she initiates a conversation. She's looking for someone to listen and understand what she's feeling.

Do you have any tips to make dialogue sound more feminine or masculine?

Thanks for visiting and have a great week!  

Reprinted from 2/15/13.

Engaging the Senses

Here's a writing tip that I posted back in April of 2011. If you missed it the first time, hope you find it useful today!

Reading isn't a sensory experience, so it's up to the writer to make it one! Remember show don't tell? This means going beyond the visual and taking full advantage of all the senses, including hearing, smell, touch and taste.

Todd Stone, in his Novelist's Boot Camp, says that how you go beyond sight can make a difference as well.

"As you use description to build that emotional connection between your reader and your story, consider carefully which sense you want to use. Some senses are more--more personal, closer, more private--than others. Using the more intimate senses can make your description more emotionally powerful." Stone goes on to explain the degree of intimacy in each sense:

Sight. The most passive of the senses. Our eyes are always open and we don't need to do anything to see an object, so there's very little involvement. And what we see remains outside the body.

Sound. More intimate than sight. Sound causes a physical change in the body--the vibration of the eardrum. It takes more effort to block out sound than sight, and sounds are also more easily remembered, especially when repeated in rhythmic fashion. Ever wonder why we remember nursery rhymes and cartoon jingles into adulthood? Sound is still rather passive. The stimulation can come from a distance.

Touch. As far as intimacy, touch falls in the center of the spectrum. Touch is easily remembered, and touch memory is stored in a different part of the brain than sight or sound. Touch can be active or passive. Characters can touch or be touched. Whatever stimulates touch must be close. And touch can be used as an intimate character marker--leathery skin, rough hands, scarred face. Touch, however, remains outside the body. So, although it's more intimate than sight or sound, it's less intimate than smell and taste.

Smell. The human brain's neural connections tie certain smells to certain primeval instincts and emotions, making it an intimate sense. Smells can produce strong, emotional reactions even when very faint. I have a friend who grew up in an alcoholic home.  To this day he hates the smell of beer because of what it reminds him of. Does the smell of oatmeal cookies remind you of your grandma's house? For a more powerful, intimate effect on the reader, use the sense of smell in your descriptions.

Taste. The most intimate of the senses. The taste buds, mouth and gums provide fast track access to the body and parts of the brain. Sensations that originate in the mouth can cause very powerful, very emotional reactions almost instantly. To activate taste, a stimulant must enter through open lips, voluntarily or involuntarily. Taste can also reflect emotion, such as the sweetness of a lover's kiss, or the coppery taste of a character's own blood. So taste is the most intimate of all.

In closing, transform your scenes from mediocre to magnificent by engaging the senses! Are you already doing this? Thanks for visiting!

Monday's Writing Tip: Visit Angela Booth's Writing Blog

Angela Booth

"If you want to become a writer you can; the desire to write is a good indication that you can do it. If you want to become a successful writer, then the stronger the desire, the faster it will happen for you. And the more you write, the more your writing skill will develop--it's a completely natural process." Angela Booth

If you're not familiar with Angela Booth's Writing Blog, you need to visit today! Angela's blog provides help for freelance writers, writing fiction, nonfiction and copywriting.

In addition to lots of great free articles, she also sells several writing guides and manuals, such as Niche Blog Cash Explosion and Write From Home: Best Ever Money Making Tips From Angela Booth.

For first time novelists trying to break in, here's a link you'll find useful, First Steps to Write a Novel: Pick a Genre.

No matter what you write, you'll love Angela's blog! However, if your heart's in writing fiction, be sure to check out her fiction archive for wealth of information to help you write your novel!

Visit before the day is over! BTW, did you check out Harvey Chapman's site yet? Thanks for stopping by!

Monday's Writing Tip: Let Your Characters Lead the Way to a Great Story

"There are, according to whichever authority you listen to, three main plots, or six, or a dozen, and everything else is just a minor variation on one of them."  Robert Masello

Today I'm sharing some great advice from Robert Masello, who says in his Robert's Rules of Writing, that every plot you come up with will  start to remind you of some other plot in a book you've read or a movie you've seen.

If that's the case, how can your story engage and excite the reader if it's just a stale, well worn plot? 

Masello suggests that rather than trying to spice up your narrative with something big, like a ticking time bomb on Air Force One, a deadly outbreak, or a policewoman who can read the mind of an ax murderer, think small.

You might think "big" is more exciting, but "small" involves characters, not plot.  If you're unsure of how the action should progress in your novel, concentrate instead on the people.

"No matter how strong a plot is," Masello writes, "...it won't won't amount to much...if the characters aren't engaging or memorable."

Masello says to visualize your characters.  Envision who they are, what they look like. Imagine their hopes, fears and desires, and how getting what they want will put them in conflict with others.

Some writers create elaborate biographies for their characters.  I'm not one of those, and neither is Masello. He tries to figure out what sets his characters in motion and how they wind up colliding, and what happens after the collision.

He also states that if that doesn't work, he'll introduce a new character.  I read recently, that to up the conflict, add a smoking gun.  But a smoking gun doesn't have to be a real gun toting character.  It can be a smart mouthed teenager or a jealous ex-girlfriend. 

Masello suggests that to kick start the story, throw something new into the mix, like a mean boss, flirtatious neighbor, overbearing mother, or a long lost brother.  "And," according to Masello, "because the action evolves from the peculiar interactions of characters that only you could have brought to life, and to the page, and not from some mechanical and superimposed plot, it'll sound and feel original."

Are you letting your characters lead the way?

Tweet me @: maria_mckenzie.  Thanks for visiting!

What's the Best Writing Advice You Ever Received?

 "Read, read, read. Read everything--trash, classics, good and bad,and see how they do it. Just like a carpenter who works as as an apprentice and studies the master.  Read! You' ll absorb it. Then write.  If it is good, you'll find out.  If it's not, throw it out the window."  William Faulkner

I'm very thankful for all the great writing advice I've gotten over the years from writing friends, my writers group, books and workshops. Since it's Thanksgiving week, I thought this would be good time for all of us to share the best advice we've ever received.  Here are a few of my favorite tips:


Keep Moving Forward - Revise, research, rewrite later. If a fact stumps you, look it up later. If a sentence or a whole paragraph, page or chapter sounds crappy, revise and rewrite later. Don't let a stumbling block stop you-- keep going!

Utilize Another Set of Eyes to Read Your Work - Not your mother or non-writer friends. It's okay to let them read it, just don't expect any constructive criticism. It's important for another writer to read your work to help you improve it. So join a critique/writers group.

Brevity is Best - Do your best to avoid wordiness and keep your prose simple. Avoid long windedness: At the store she picked up lots of gag gifts that were insanely crazy and really wacky. Keep it short: She bought lots of crazy gag gifts.

Scrap Those Fancy Words - "Do not be tempted by a twenty dollar word when there is a ten center handy, ready and available." From Strunk and White's The Elements of Style. So in other words (again), keep it simple! Avoid this: Upon looking at her, he became discombobulated. And try this instead: Seeing her confused him.

That's enough from me. Now, it's your turn!  Leave a comment sharing the best piece of writing advice you've ever received!

Tweet me @maria_mckenzie. Thanks for stopping by!

Early Bird or Night Owl: When is Your Best Time to Write?

"Writing is utter solitude, the descent into the cold abyss of oneself."  Franz Kafka

When do you find that time for utter solitude so you can--enjoy the escape into the creativity of your imagination?  (That sounds a little more positive than "the cold abyss of oneself.")

I'm not a night owl, but I wish I were!  After 11:00 pm the phone is guaranteed not to ring (unless there's a family emergency or a wrong number from some night owl you don't know).  Since the kids and the husband don't need anything at that time, you' re home free to write.  There's an occasional occurrence of middle of the night vomiting from one of the kids, but that's usually not more than once a year, if at all.

I'm an early bird by nature.  On school days I'm up at 4:30, but my morning hours are taken up by other things.  By 9:00, I've worked out, gone running, fixed breakfast, lunches, taken the kids to school, and started prepping dinner.  By 10:00, I try to start writing, but on those days when hubby works on something from home, the four hours I have from 10:00 to 2:00 shrink down to about one, as far as writing goes.

Common Husband Interruptions:

• "I've got something that needs to go to the post office."  Translation: "I need you to take this to the post office."
• "This is a deposit."  Translation:  "I need you to go to the bank and deposit this."
• "Is there anything I can eat?"  Translation:  "Would you fix me lunch?"
• "Mind if I sit with you?"  I usually work at the kitchen table.  He'll ask this when he eats lunch, but it actually translates to: "I know you're busy writing, but I'd really like to talk to you."
• "So when is your book going to be done?"  Translation:  "When will your writing earn some money?"

"NEVER, at this rate!" is what I'd like to respond to that last query.  But instead I say, "As long as I have some uninterrupted peace and quiet, it'll be sooner, rather than later."

By 2:00 it's time to get the kids, then homework, dinner, kitchen cleanup, and by 7:00, I'm dragging.  By 9:00 or 9:30, I'm usually in bed so I can get up and do it all over again.

If I just didn't have to sleep, I could write so much more!

What about you?  When is your most productive writing time?

Tweet me @maria_mckenzie.  Thanks for stopping by!

Passion: What Drives You?

"This is the true joy of life:  the being used up for a purpose recognized by yourself as a mighty one; being a force of nature instead of a feverish, selfish little clot of ailments and grievances, complaining that the world will not devote itself to making you happy."  George Bernard Shaw

When we're passionate about what we do, it doesn't even feel like work.  Last week I wrote a post asking, "is it normal to write a novel?"  Author A.m. Welles left a comment saying that when someone asks why she writes, she replies, "I have to."  I think all writers feel this way.  We write because we want to, and we're compelled to do it since we're passionate about it!  And anyone who loves what they do for a living feels the same.

Ms. Welles comment reminded me of  a scene from one of my favorite movies, The Red Shoes.  When Boris Lermontov, the ruthless impresario of The Ballet Lermontov, is invited to a party by one of his most generous patrons, he is disgusted to find out that this invitation includes a ballet performance by the patron's niece.

Lermontov informs the patron that when invited to a party, he wishes to attend a party, not an audition.  Needless to say, the performance is cancelled.  But the niece, beautiful Vicky Page, approaches the refreshments at the same time as Lermontov.  They are alone, and the impresario can't help but notice the stunning redhead near him.  Making small talk, he expresses relief that he has been spared the horror of watching a dance performance.

When Vicky says, "Mr. Lermontov, I am that horror," Lermontov, baffled and surprised by "the horror's" grace, beauty and charm, almost chokes.  After introductions, and after Lermontov gathers his wits, he asks, "Why do you dance?"  To which Vicky replies, "Why do you live?"  Lermontov, again slightly baffled says, "Because I must."  "That's my answer, too," says Vicky, "I must."

When we're passionate about something, we must do it.  Rick Warren says in The Purpose Driven Life,  "Purpose always produces passion.  Nothing energizes like a clear purpose.  On the other hand, passion dissipates when you lack purpose...meaningless work wears us down, saps our strength and robs our joy."

What's your passion?

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Playing It Safe with the Muse

"Of all the ways writers find to waste time, waiting for the muse to show up has to be the most common, and fruitless, of them all."  Robert Masello from Robert's Rules of Writing (Rule 9:  Lose the Muse)

I think "the muse" is good old fashioned imagination--nothing more, nothing less.  And imaginations can create great stories all by themselves, or be inspired by some form of external stimulation.  A talk show topic, news story, conversation, painting or photograph can easily get those creative juices flowing.  And just asking the question "what if?" in any situation can open the door to a fascinating narrative.

Not only do I think of imagination as "the muse," I see it as "the safest muse."  Finding this elusive creature in a bottle or a pill (or a combination of the two) can lead to devastating circumstances. 

Unfortunately, many of the greatest American writers were alcoholics.  Several died young from complications due to their addictions, while others committed suicide, or attempted it, often more than once. 

Did their addictions enhance their artistic abilities, or was alcohol just used as way to self medicate from the other problems in their lives?

Here's Listverse.com's Top 15 Alcoholic Writers:

15.  Hunter Thompson
14. Raymond Chandler
13.  John Cheever
12.  O. Henry
11.  Tennessee Williams
10.  Dylan Thomas
  9.  Dorothy Parker
  8.  Edgar Allan Poe
  7.  Truman Capote
  6.  Jack Keroac
  5.  William Faulkner
  4.  Charles Bukowski
  3.  F. Scott Fitzgerald
  2.  James Joyce
  1.  Ernest Hemingway

I don't know about you, but based on the lives of some of the aforementioned writers, I think playing it safe with "the muse" can lead to a longer, healthier, happier life!

What do you think?

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How Much Sex is Too Much Sex in a Romance Novel?

"I like restraint, if it doesn't go too far." Mae West

Apparently, the sky is the limit on this topic! Like stove top burners, from low to medium low, all the way up to high, romance novels have different heat levels for varying degrees of tastes. From clean and pure inspirationals to erotica so steamy it singes the eyebrows, there's a temperature level that's just right for everyone.

I love lots of romance and passion between a committed couple (that stops before "the act"). And the best lovemaking scenes (in my opinion) are between a married couple. These can be hot and steamy, but lead to a closed bedroom door. Then imagination can take over from there.

In discussing this issue with a writer, I mentioned the types of books I'd like to write. For some lines, she told me to check the guidelines carefully. "You can't mention the word "breast" in a sexual way, and affection even between married couples can't be that explicit.

That's not fun I thought. "I can respect those guidelines," I said, "but if I were reading one of those books, I'd think the husband was having an affair, since he didn't look at his wife lustfully and only showed her sisterly affection."

"Check the guidelines," the writer said, "and before you jump to conclusions, read a few."

I decided to take a look the Song of Songs first, which focuses on the spontaneous and exclusive love between a man and a woman. From chapter 7 versus 6-10 I read the following:

Lover (Man)
How beautiful you are and how pleasing. O love, with your delights! Your stature is like that of the palm, and your breasts like clusters of fruit. I said, "I will climb the palm tree; I will take hold of its fruit." May your breasts be like the clusters of the vine, the fragrance of your breath like apples, and your mouth like the best wine.

Beloved (Woman)
May the wine go straight to my lover, flowing gently over lips and teeth. I belong to my lover, and his desire is for me.

That sounds pretty sensual! According to the Oxford Companion to the Bible, some scholars suggest that the Song was a collection of songs assembled as a repertoire for wedding celebrations. And it appears to me that the Beloved here is certainly having more fun than that poor wife with the unseen breasts who's only shown sisterly affection by her husband!

What are your thoughts?

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It's All in What You Say: Writing Dialogue

"A dialogue is more than two monologues." Max Kampelman

My favorite part of fiction writing is dialogue. It serves many purposes. And so much can be revealed about a character through his thoughts, actions and especially words he says or doesn't say. Each word clues the reader in to that particular character's identity.

I love old movies and Casablanca is one of my all time favorites! William Bayer, in his book The Great Movies, classifies it as one of the 60 greatest motion pictures of all time. Bayer says it is one of the few adventure films where the adventure takes place indoors. There are no fights or outdoor adventures. "There are, instead, adventures of verbal jousting, of dialogue and innuendo, and they are dominated, in fact ruled, by a supreme adventurer, Rick."

What makes us know Rick is an adventurer is his dialogue. Bayer outlines several snatches of it that reveal glimpses into Rick's character:

His Irony
When asked to explain why he came to Casablanca, Rick says,"I came to Casablanca for the waters."
"What waters? We're in the desert."
"I was misinformed."

His Sex Life in Casablanca:
As seen with a girl in a brief exchange. She asks,"Where were you last night?"
"That's so long ago I don't remember."
"Will I see you tonight?"
"I never make plans so far in advance."

His Bitterness:
When he accuses Ingrid Bergman of having had other lovers: "Were there others in between? Or aren't you the kind that kisses and tells?"

His Urbanity:
"What is your nationality?" Major Strasser asks.
"I'm a drunkard," says Rick.

His Mystique (my favorite quote):
Claude Raines explains to Ingrid Bergman: "Rick is the kind of man that if I were a woman, I would be in love with Rick."

Besides revealing insight into your characters, dialogue moves your story along by providing important information. That's why the lines are there in the first place, and that's what keeps the reader reading!

Keep your dialogue natural sounding. Reading it out loud is a good test to hear if it sounds like a real conversation. As far as dialect, a little goes a long way. It makes your reader work too hard by having to intepret what you've written. Just throw in a few words, then leave the rest to the reader's imagination. They'll get the message regarding the character's speech pattern.

Hope this insight into dialogue has been helpful! If you haven't seen Casablanca, rent it this weekend! It's worth it!

What's some of the best dialogue you've seen or read lately?

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Flaw Your Hero

"No man can climb beyond the limitations of his own character." John Morley

When developing a hero in your fiction writing, it's important to make sure he's flawed. As in real life, this character should be imperfect. If he's good looking, smart, compassionate, loves children and animals, has a high paying corporate job and volunteers all his spare time working in orphanages and soup kitchens, your hero is too perfect. In other words, too boring!

Spice up your hero by flawing him with arrogance, or a hot temper. Perhaps he's a recovering alcoholic who struggles daily with his addiction. Maybe he was an abused child, and now carries the psychological scars that prevent him from building a meaningful relationship. Could he have suffered trauma (seeing his family killed), could he have been abandoned as a child, could he have been betrayed by a friend?

The possibilities are endless! Transform your hero from plain turkey on white, to turkey on crusty bread with sharp cheddar, salty anchovies, hot peppers and black olives! (Anybody else hungry for a hero sandwich, or is it just me?)

Who's your favorite fictional hero?

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