With only two characters, we can get away with less dialogue tags and cues—also referred to as character, emotion or action beats—because if we know who’s speaking first, we can intuit that the next pair of quotes encloses dialogue from the only other character in the scene. But with groups of more than two speakers, scenes can become cluttered with dialogue tags and cues, which can make a passage more stilted than it needs to be. Here are three techniques that can help. Click the title above to continue reading.
When on the lookout for critique partners, a genre match is important and you should have at least one, but it isn’t always the most important factor. Take a look at the nine criteria below, and the next time you’re scouting for a new CP, you may want to consider placing more emphasis on the eight that come after genre. Click the title above to continue reading.
I often read blogs where writers are told to avoid overused expressions like the plague. That would mean that all idiomatic and figurative language are off the table. The arguments are that triteness weakens prose and that readers gloss over anything overused.
In my humble opinion, there are ways to update clichés so that they have resonance, and more often than not, end up having a humorous effect. Click the title above to continue reading.