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Dialogue: Techniques and Exercises for Crafting Effective Dialogue

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Craft Compelling Dialogue When should your character talk, what should (or shouldn't) he say, and when should he say it? How do you know when dialogue—or the lack thereof—is dragging down your scene? How do you fix character who speaks with the laconic wit of the Terminator? Write Great Fiction: Dialogue by successful author and instructor Gloria Kempton has the answers to a Craft Compelling Dialogue When should your character talk, what should (or shouldn't) he say, and when should he say it? How do you know when dialogue—or the lack thereof—is dragging down your scene? How do you fix character who speaks with the laconic wit of the Terminator? Write Great Fiction: Dialogue by successful author and instructor Gloria Kempton has the answers to all of these questions and more! It's packed with innovative exercises and instructions designed to teach you how to: •Create dialogue that drives the story •Weave dialogue with narrative and action •Use dialogue to pace your story •Write dialogue that fits specific genres •Avoid the common pitfalls of writing dialogue •Make dialogue unique for each character Along with dozens of dialogue excerpts form today's most popular writers, Write Great Fiction: Dialogue gives you the edge you need to make your story stand out from the rest.


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Craft Compelling Dialogue When should your character talk, what should (or shouldn't) he say, and when should he say it? How do you know when dialogue—or the lack thereof—is dragging down your scene? How do you fix character who speaks with the laconic wit of the Terminator? Write Great Fiction: Dialogue by successful author and instructor Gloria Kempton has the answers to a Craft Compelling Dialogue When should your character talk, what should (or shouldn't) he say, and when should he say it? How do you know when dialogue—or the lack thereof—is dragging down your scene? How do you fix character who speaks with the laconic wit of the Terminator? Write Great Fiction: Dialogue by successful author and instructor Gloria Kempton has the answers to all of these questions and more! It's packed with innovative exercises and instructions designed to teach you how to: •Create dialogue that drives the story •Weave dialogue with narrative and action •Use dialogue to pace your story •Write dialogue that fits specific genres •Avoid the common pitfalls of writing dialogue •Make dialogue unique for each character Along with dozens of dialogue excerpts form today's most popular writers, Write Great Fiction: Dialogue gives you the edge you need to make your story stand out from the rest.

30 review for Dialogue: Techniques and Exercises for Crafting Effective Dialogue

  1. 4 out of 5

    John

    Every time I read one of these Writer's Digest technique books, I find a passage that really sticks in my craw. Here, it's "Do you remember those novels teachers made us read in high school? Great Expectations. Madame Bovary. Lord of the Flies. Page after page of blocks of text. Long passages of boring narrative." I'm sorry. Your name is...Gloria Kempton? Not Flaubert? And you've written...? If your plan is to write for an audience of philistines, why not just write for prime time television? Every time I read one of these Writer's Digest technique books, I find a passage that really sticks in my craw. Here, it's "Do you remember those novels teachers made us read in high school? Great Expectations. Madame Bovary. Lord of the Flies. Page after page of blocks of text. Long passages of boring narrative." I'm sorry. Your name is...Gloria Kempton? Not Flaubert? And you've written...? If your plan is to write for an audience of philistines, why not just write for prime time television?

  2. 5 out of 5

    Louise

    There were some interesting suggestions and ideas in this book, but a couple of things made me wary. First, I'm not sure about the author's approach to genre fiction - in particular the suggestion that all writers of fantasy train themselves to write something called "magical dialogue", which is akin to that used in the Lord of the Rings, seems outdated (I was startled to read that this books was actually published in 2004 rather than sometime in the early 90s). Add to that the concept that it i There were some interesting suggestions and ideas in this book, but a couple of things made me wary. First, I'm not sure about the author's approach to genre fiction - in particular the suggestion that all writers of fantasy train themselves to write something called "magical dialogue", which is akin to that used in the Lord of the Rings, seems outdated (I was startled to read that this books was actually published in 2004 rather than sometime in the early 90s). Add to that the concept that it isn't really the job of genre writers to "challenge the reader", something apparently reserved only for the literary and the mainstream. However, despite the odd approach to genre, the analysis of dialogue and how to approach it is just as useful to genre writers as it is to everyone else. I also found the author's repeated reminders that dialogue comes easy to her and that she doesn't have to try very hard to write it strange. I'm not sure I want to learn about writing dialogue from someone who finds it that easy because I don't find it easy myself. I want to know how someone who also struggled with it approaches it, develops techniques for tackling it and succeeds.

  3. 4 out of 5

    Kimberly [Come Hither Books]

    The least useful volume of a useful series. If you have serious problems with dialogue, then this book will give you micro lessons to help. Techniques are clear and precise, if a bit condescending. But most of the information is basic enough to be presented in other books more effectively. The scarcity of advanced techniques makes this book irritating unless dialogue is one of your weaknesses, as it feels more like remedial lessons than skill development. Recommended for writers who struggle wit The least useful volume of a useful series. If you have serious problems with dialogue, then this book will give you micro lessons to help. Techniques are clear and precise, if a bit condescending. But most of the information is basic enough to be presented in other books more effectively. The scarcity of advanced techniques makes this book irritating unless dialogue is one of your weaknesses, as it feels more like remedial lessons than skill development. Recommended for writers who struggle with dialogue, but otherwise I say skip it. There's little presented here that isn't covered elsewhere to better effect, including in the other volumes of the Write Great Fiction series.

  4. 4 out of 5

    Tatra

    April 4-8, 2015 It is interesting how much goes into dialogue. And I think that it 's also good for character building. August 14-18, 2013 If you're like me, and you're reading through all of the Write Great Fiction series, I strongly urge you to finish with this book. I loved the other books, but felt like I had to get the lessons down in a snap. But, then I read this book and Kempton says 'don't worry about this now, just write and fix it during the second draft.' She tells you to absorb the les April 4-8, 2015 It is interesting how much goes into dialogue. And I think that it 's also good for character building. August 14-18, 2013 If you're like me, and you're reading through all of the Write Great Fiction series, I strongly urge you to finish with this book. I loved the other books, but felt like I had to get the lessons down in a snap. But, then I read this book and Kempton says 'don't worry about this now, just write and fix it during the second draft.' She tells you to absorb the lessons and apply them to your work, but don't worry about getting it right on the first go through. I absolutely loved it. I haven't exactly worried so much about my dialogue (though there is that pesky fear of my characters sounding alike), but this book has given me so much to think about. I've always loved dialogue, but she definitely helps me see how dialogue could be better. I'm already thinking about scenes in my current novel that could use some TLC in dialogue during the second draft. :)

  5. 5 out of 5

    Greg Scowen

    I wouldn't go as far as some of the reviews here and say this book was a waste of money. Indeed, as a primer into the writing of dialogue, this was perfect for me. That doesn't mean I didn't go out and search for more guides on the topic to further the basic knowledge that I got within. But it was a good warm up and I would recommend it to anyone who wants to get a light starter for a part of the craft that challenges many writers. I wouldn't go as far as some of the reviews here and say this book was a waste of money. Indeed, as a primer into the writing of dialogue, this was perfect for me. That doesn't mean I didn't go out and search for more guides on the topic to further the basic knowledge that I got within. But it was a good warm up and I would recommend it to anyone who wants to get a light starter for a part of the craft that challenges many writers.

  6. 4 out of 5

    Michele

    It felt like Gloria Kempton was coaching me while I write my novel. If there is one thing I took away from this book is learning to create three-dimension characters by weaving in narrative, dialogue, and action. I recommend this book for aspiring authors.

  7. 5 out of 5

    Roger Hyttinen

    I’ve been slowly working my way through the Write Great Fiction series and up until now, my favorites have been Revision & Self-Editing and Plot & Structure, both of which are written by James Bell. After reading Dialog: Techniques and exercises for crafting effective dialog, I now add this book to my favorites list as well. For many writers, writing dialog is one of the more difficult aspects of the craft and certainly can be tricky. If you are struggling with dialog or wish to add a little ext I’ve been slowly working my way through the Write Great Fiction series and up until now, my favorites have been Revision & Self-Editing and Plot & Structure, both of which are written by James Bell. After reading Dialog: Techniques and exercises for crafting effective dialog, I now add this book to my favorites list as well. For many writers, writing dialog is one of the more difficult aspects of the craft and certainly can be tricky. If you are struggling with dialog or wish to add a little extra polish to it, you’ll find this handy guide an invaluable tool. The material is presented in a fun, witty and informal matter which makes it especially approachable and does an excellent job at illustrating the mechanical aspects of writing conversation between characters Using passages from well-known novels such as Harry Potter and Moby Dick, the author provides concise examples of the “Do’s”and “Don’t” of writing dialog. The book is not just filled with tips and tricks, but additionally delves into specific details of dialog and dialog structure using specific passages as examples. The book is broken down into the following Chapters: Chapter 1: Releasing the Voice Within—The Purpose of Dialog Chapter 2: Mute Characters and Stories—Abolishing Your Fears Chapter 3: The Genre, Mainstream, and Literary Story—The Dialog Matters Chapter 4: Wheels of Motion—Dialog That Propels the Story Forward Chapter 5: Narrative, Dialog, and Action—Learning to Weave the Spoken Word Chapter 6: In Their Own Words—Delivering the Characters and Their Motivations to the Reader Chapter 7: There Is a Place—Using Dialog to Reveal Story Setting and Background Chapter 8: Breaks or Accelerator—Dialog as a Means of Pacing Chapter 9: Tightening the Tension and Suspense—Dialog That Intensifies the Conflict Chapter 10: It Was a Dark and Stormy Night—Using Dialog to Set the Mood and Facilitate the Emotion Chapter 11: The Uhs, Ands, and Ers—Some How-Tos of Dialog Quirks Chapter 12: Whoops! Dialog That Doesn’t Deliver—The Most Common Mistakes Chapter 13: Punctuation and Last Minute Considerations—Tying Up the Loose Ends Chapter 14: Dialog Dos and Don’ts—Some Practical Tips Chapter 15: Connecting With Readers—You Can Make a Difference Appendix: Checklist As you can see from the chapter breakdown above, this comprehensive guide provides a wealth of information that can help you to bring your characters to life and move your dialog writing to the next level. I’ve not seen a better book devoted to the study of dialog than this one and found it not only helpful, thought-provoking and enlightening, but also essential. This in-depth book has found welcome place on my literary bookshelf. Recommended! This review originally appeared on my blog at rogerhyttinen.com

  8. 5 out of 5

    Aaron Bolin

    Gloria Kempton delivers a book about techniques and exercise for crafting effective dialogue; she does exactly what she promises in the title. I liked the book as it was well-written and included well-thought-out material on ways to improve dialogue. In terms of criticism, a couple of items come to mind. First, the author reminds us repeatedly that she is a writing coach and dialogue comes easy for her. Once is okay to establish credibility. By the fifth time, it was irritating. Second, the book is Gloria Kempton delivers a book about techniques and exercise for crafting effective dialogue; she does exactly what she promises in the title. I liked the book as it was well-written and included well-thought-out material on ways to improve dialogue. In terms of criticism, a couple of items come to mind. First, the author reminds us repeatedly that she is a writing coach and dialogue comes easy for her. Once is okay to establish credibility. By the fifth time, it was irritating. Second, the book is clearly written with the textbook market in mind. That's okay, but the textbook feel made it seem less professional to read -- like taking a class at the community center. Third, the "what to do" was emphasized over the "how to do it." That is, this is designed as a textbook to be read under instruction not as a how-to self-paced manual. Overall, I thought Kempton did a nice job with this book. It won't be for everyone, but I personally found several worthwhile bits of advice that I will incorporate into future projects. If I were teaching a creative writing class, I would definitely consider this item as a supplementary textbook.

  9. 5 out of 5

    Meredith

    There were some good points, but the book could have been half as long. My first problem is that many of the example passages from various novels fell flat for me. Either they were too short, or the characters weren't sufficiently introduced, or both. Very rarely did I see the tension/emotion/technique Gloria Kempton was trying to emphasize. Second problem. This is a book on dialogue, so obviously the author is going to have a lot to say about dialogue. But I sort of got the feeling she was saying There were some good points, but the book could have been half as long. My first problem is that many of the example passages from various novels fell flat for me. Either they were too short, or the characters weren't sufficiently introduced, or both. Very rarely did I see the tension/emotion/technique Gloria Kempton was trying to emphasize. Second problem. This is a book on dialogue, so obviously the author is going to have a lot to say about dialogue. But I sort of got the feeling she was saying dialogue is THE important thing and THE way to show character. She also lists weird categories for types of story/dialogue (magical, cryptic, descriptive, etc.) and types of speakers (twisted tongue, rocket, turtle, ace, apologizer, etc.) In the latter list, she makes up pretty implausible examples (that would actually be really irritating in a novel).

  10. 4 out of 5

    C.L. Phillips

    This book has some good tips that could have been expressed in half the pages. It's not great, by any means, but I do like that there are writing exercises at the end of each chapter to help with specific dialogue issues. There is a lot of redundancy in the book. If you are writing anything and wish to improve your dialogue skills, I recommend "How to Write Dazzling Dialogue" by James Scott Bell. I found that book immeasurably helpful. This book has some good tips that could have been expressed in half the pages. It's not great, by any means, but I do like that there are writing exercises at the end of each chapter to help with specific dialogue issues. There is a lot of redundancy in the book. If you are writing anything and wish to improve your dialogue skills, I recommend "How to Write Dazzling Dialogue" by James Scott Bell. I found that book immeasurably helpful.

  11. 5 out of 5

    Sara Turnquist

    This was a great craft book. Very thorough explanation about Dialogue, the importance of it, and how it can and needs to be interwoven with narrative and action. It speaks to a variety of levels of writers/authors and there is something there for everyone.

  12. 5 out of 5

    Raelee Carpenter

    Great tips, but quite a bit of redundancy.

  13. 4 out of 5

    Shannon Kostyal

    Have read through a couple of times. Useful information here, although I still struggle with dialogue. It's not the book's fault though - it's a weakness on my part. Couldn't say if it's best for beginners, experts, or something in between because I think it really does make a difference where the writer's natural inclinations are, starting. I suspect if I continually worked through the exercises, I'd improve more (but that could be said about nearly any trade). Have found similar information on Have read through a couple of times. Useful information here, although I still struggle with dialogue. It's not the book's fault though - it's a weakness on my part. Couldn't say if it's best for beginners, experts, or something in between because I think it really does make a difference where the writer's natural inclinations are, starting. I suspect if I continually worked through the exercises, I'd improve more (but that could be said about nearly any trade). Have found similar information on writing blogs, just presented in a different format. That said, I'm keeping this copy in my library. When I go into writing mode I prefer the option of cutting access to the internet for minimized distractions, so on-hand reference books become all the more useful in those scenarios.

  14. 5 out of 5

    Ted

    Less useful overall in my own application of writing dialog, and less insightful than previous works in this series. However, the methodologies described in this text may be helpful to some and several sections contained approaches I agreed with, particularly the Do's/Don'ts near the end, as well as the writer's responsibilities to the reader (Chapter 15: Connecting with the Reader). Perhaps a better book for someone looking for methods and exercises for beginners rather than advanced students. Less useful overall in my own application of writing dialog, and less insightful than previous works in this series. However, the methodologies described in this text may be helpful to some and several sections contained approaches I agreed with, particularly the Do's/Don'ts near the end, as well as the writer's responsibilities to the reader (Chapter 15: Connecting with the Reader). Perhaps a better book for someone looking for methods and exercises for beginners rather than advanced students.

  15. 5 out of 5

    L.A. Jacob

    I read the introduction and I was done. Basically, if you can hear the voices in your head, you can write dialogue. Since that's how I write, I assumed I didn't need this book. But I skimmed through it and it's very good for those who don't hear the voices. I read the introduction and I was done. Basically, if you can hear the voices in your head, you can write dialogue. Since that's how I write, I assumed I didn't need this book. But I skimmed through it and it's very good for those who don't hear the voices.

  16. 4 out of 5

    Brock Books

    Rubbed me raw: DNF. I'd rather pay for another book than suffer this one. Poorly prioritized, condescending, assumes you are dumber than brick. Please fire whatever kook bought this cover. They do not understand art and its importance. Rubbed me raw: DNF. I'd rather pay for another book than suffer this one. Poorly prioritized, condescending, assumes you are dumber than brick. Please fire whatever kook bought this cover. They do not understand art and its importance.

  17. 5 out of 5

    Elfbiter

    Nothing that new. And, well, she believes the marketing spiel that Enneagram is supposedly "ancient Sufi wisdom" (it is primarily Ichazo's creation from the 1950s) and also forgets the fact that in that system the personalities should mix with the neighboring ones (as in 5 with 4 or 6). Nothing that new. And, well, she believes the marketing spiel that Enneagram is supposedly "ancient Sufi wisdom" (it is primarily Ichazo's creation from the 1950s) and also forgets the fact that in that system the personalities should mix with the neighboring ones (as in 5 with 4 or 6).

  18. 5 out of 5

    Kathryn

    Entertaining and uplifting while laying down the basic rules writers need, even when we don't want to admit it. A great refresher! Entertaining and uplifting while laying down the basic rules writers need, even when we don't want to admit it. A great refresher!

  19. 5 out of 5

    Matthew McAndrew

    Excellent book for learning how to write great dialogue. Written by a witty author, it reads easy and teaches plenty of tips and tricks for those wanting to hone their dialogue writing skills.

  20. 4 out of 5

    David

    Good introductory work on dialogue along with its dos and don'ts. New writers will find the book useful and established writers might find the refresher course useful. Rating: 4 out of 5 Stars. Good introductory work on dialogue along with its dos and don'ts. New writers will find the book useful and established writers might find the refresher course useful. Rating: 4 out of 5 Stars.

  21. 5 out of 5

    Katrin Gertsen

    The first half of the book was a little repetitive and dragging but the second half introduced a lot of useful techniques and tips for writing dialogues.

  22. 5 out of 5

    Clifford

    He said and said he.

  23. 5 out of 5

    Susan Tietjen

    Excellent information for the aspiring writing. No one should try to write without this sort of guidance at hand.

  24. 4 out of 5

    Liza

    This is the first book I read in the "Write Great Fiction" series. There was a lot I liked about it, especially the various exercises included in each chapter. Kempton did a good job explaining the purpose of dialogue, its nuances, and what should be accomplished in a scene when writing dialogue. However, sometime around chapter 6-7 I lost all interest in the book. In all fairness I haven't been able to figure out if it was simply due to outside factors such as work or if those two chapters in pa This is the first book I read in the "Write Great Fiction" series. There was a lot I liked about it, especially the various exercises included in each chapter. Kempton did a good job explaining the purpose of dialogue, its nuances, and what should be accomplished in a scene when writing dialogue. However, sometime around chapter 6-7 I lost all interest in the book. In all fairness I haven't been able to figure out if it was simply due to outside factors such as work or if those two chapters in particular lacked the proper pacing and interest that the previous chapters contained. Once I was able to get past those two chapters I began to fall in love again with the book. It's important to know that at times Kempton has this pop psychology approach to understanding characters and potential readers that will either completely turn you off or will resonate with you. If you read some of the lower rated reviews there are several mentions of this, though it may not be referred to as pop psychology and be labeled as Kempton talking down to you. Some of her thoughts about the writer's fears about dialogue and the writer's final goals for potential readers made absolute sense to me. Then there were times I felt she was simply reading too much into the behavior of writers. Towards the end of the book I ran across an exercise that involved a father and daughter stuck in traffic where the electronic devices die and the radio no longer works forcing the parent/child to speak. It clicked to me right there that several of the exercises could be used to teach personal narratives. While some of the scenarios would need to be modified they make perfect little warm ups and potential lessons for high school English classes. That alone makes this a five star read. I felt that I learned a lot from this book, but the fact that I put this book off for so long has me worry that maybe those two chapters simply turned me off as a reader. So you've been warned, if you feel you're losing interest, then I suggest you skip ahead those chapters, because the rest of the material is helpful to writers and those who are either working on revisions or first drafts.

  25. 4 out of 5

    Colin Hoad

    I have always considered dialogue to be my weakest are in creative writing, and so I had high hopes for this book. It turned out to be rather different from what I had expected, but this was not to its detriment. I was anticipating a book that would explain, in detail, how one creates dialogue - line by line. Of course, when I stop to think about that now, I realise this isn't something that can be taught in a methodical, scientific way. What you really need to do is become "possessed" by your ch I have always considered dialogue to be my weakest are in creative writing, and so I had high hopes for this book. It turned out to be rather different from what I had expected, but this was not to its detriment. I was anticipating a book that would explain, in detail, how one creates dialogue - line by line. Of course, when I stop to think about that now, I realise this isn't something that can be taught in a methodical, scientific way. What you really need to do is become "possessed" by your characters and thereby write their speech in a believable way. What Gloria Kempton does is show you how to get into a character's head and weave credible dialogue into a story. The book also comes with helpful hints on how you can get your dialogue to "work for you", i.e. use it to propel the plot, to set the scene and to enliven the action or narrative. All the while, the author warns of the potential pitfalls that come with these techniques and advises against the over-use of dialogue in certain situations. The material on enneagrams was particularly interesting, and the final few chapters on dialogue do's and don'ts, as well as how to use dialogue to achieve certain goals (e.g. entertain, educate, validate etc.) were excellent. In sum, this is a book that tackles dialogue in a wholly different way, and I believe it is all the more effective as a result.

  26. 5 out of 5

    Amara Tanith

    Eh. There's some nuggets of good information here, but it's not the wonderful resource book I had hoped to read. Kempton interjects way too much of her personal life into it, all instances of which added up to paint a very distracting picture of a woman with whom I would not get along (there's a very subtle undercurrent of unconscious misogyny to a lot of the anecdotes she tells and excerpts she chooses, and fuck did it grate on my nerves), and there were long stretches of the book that I found Eh. There's some nuggets of good information here, but it's not the wonderful resource book I had hoped to read. Kempton interjects way too much of her personal life into it, all instances of which added up to paint a very distracting picture of a woman with whom I would not get along (there's a very subtle undercurrent of unconscious misogyny to a lot of the anecdotes she tells and excerpts she chooses, and fuck did it grate on my nerves), and there were long stretches of the book that I found less-than-useful at best and outright useless and/or incorrect at worst. If you're looking for a book on writing dialogue, I wouldn't suggest this one. It's not terrible, but I really don't think it succeeds in teaching what it sets out to teach. (If you have recommendations for how-to-write-dialogue books, feel free to send 'em my way! I'm not exceptionally insecure about my ability to write dialogue, but I'm not overwhelmingly confident in it, either. I'd love to read some other books on the subject!)

  27. 5 out of 5

    Justin

    Like other writer's digest books, Dialogue covers many of the fundamentals, but viewed through the lens of dialogue. Kempton does a serviceable job and presents some ideas I haven't heard of before. The book has 15 chapters covering the purpose of dialogue, fears of writing it, difference with genre/mainstream/literary dialogue, forward motion, weaving narrative and action, character motivations, setting, pacing, tension/suspense, creating mood and emotion, dialogue quirks, common mistakes, punc Like other writer's digest books, Dialogue covers many of the fundamentals, but viewed through the lens of dialogue. Kempton does a serviceable job and presents some ideas I haven't heard of before. The book has 15 chapters covering the purpose of dialogue, fears of writing it, difference with genre/mainstream/literary dialogue, forward motion, weaving narrative and action, character motivations, setting, pacing, tension/suspense, creating mood and emotion, dialogue quirks, common mistakes, punctuation, dos and don'ts, and connecting with readers. Again this is accessible for beginners or any level where you can refer to the areas you want to focus on. Overall a solid volume of the Write Great Fiction series.

  28. 4 out of 5

    David

    Depending on how good a writer you are this book will either be a huge help or a waste of time. I myself have struggled with dialogue a lot, and in several ways. It took me awhile to get through this (as it does for any non-fiction book) but I'm glad I did. I really think it helped me. Getting more familiar with proper punctuation made me loosen up and just let the dialogue flow out and there are a lot of good tips for getting into your character's heads and how dialogue can be used to do variou Depending on how good a writer you are this book will either be a huge help or a waste of time. I myself have struggled with dialogue a lot, and in several ways. It took me awhile to get through this (as it does for any non-fiction book) but I'm glad I did. I really think it helped me. Getting more familiar with proper punctuation made me loosen up and just let the dialogue flow out and there are a lot of good tips for getting into your character's heads and how dialogue can be used to do various, wondrous things. Don't be afraid of dialogue--embrace it!

  29. 5 out of 5

    Blessy Mathew

    A good basic overview of writing dialogue. Some topics covered: The Purpose of Dialogue, Dialogue that propels the story forward, learning to weave dialogue within the narrative and action, delivering appropriate characters' speech along with their motivations, using dialogue as a means of pacing, dialogue that intensifies the conflict. I will keep referring to this craft book as I write forward. A good basic overview of writing dialogue. Some topics covered: The Purpose of Dialogue, Dialogue that propels the story forward, learning to weave dialogue within the narrative and action, delivering appropriate characters' speech along with their motivations, using dialogue as a means of pacing, dialogue that intensifies the conflict. I will keep referring to this craft book as I write forward.

  30. 5 out of 5

    Monica T. Rodriguez

    Not a bad resource for writers. There are things to be learned here. The exercises look helpful, though I have to admit I didn't do them. But that was mainly due to being busy myself. Helpful advice, though nothing earth-shattering. The writing itself is average; the conversational style, instead of drawing me in, actually threw me off for some reason. I would say not a waste of time, but not mandatory. Not a bad resource for writers. There are things to be learned here. The exercises look helpful, though I have to admit I didn't do them. But that was mainly due to being busy myself. Helpful advice, though nothing earth-shattering. The writing itself is average; the conversational style, instead of drawing me in, actually threw me off for some reason. I would say not a waste of time, but not mandatory.

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