What Do You Want to Learn about Writing Great Dialogue?

ANSWER FOR A CHANCE TO WIN THESE THREE ITEMS!

HERE'S HOW TO ENTER

Close to 100 writers helped to inform the draft content of the upcoming WRITING GREAT DIALOGUE course, and I want to make sure we're not missing anything before I finalize the class. Please scan through the page below and fill out the form at the bottom to let me know what I haven't included that you (or other writers) might like to learn — when you fill out the form, you'll be eligible to win a free seat in the course along with the two books about dialogue shown above!

On Tuesday, April 18, I'll send you an email to notify you about the winner of the giveaway.*

*One winner will be chosen at random from those who answer the question at the bottom of this page. That winner will get both books and a free seat in WRITING GREAT DIALOGUE, which is tentatively scheduled to begin in May.

THANKS!

WRITING GREAT DIALOGUE

An Upcoming Online Course with Joan Dempsey

Why is it so important to write great dialogue?

  • For one thing, even if other areas of your manuscript are still rough, great dialogue indicates to prospective agents and publishers that you've got what it takes to write a terrific book, and they're more apt to take a chance on you.
  • Great dialogue will also captivate readers—if a reader gets pulled in by great dialogue, chances are far better that she'll love your characters and want to follow them to the end of your story.
  • Powerful dialogue isn't just about characters talking to each other, it's also about story! (And character, and theme, and setting, and tone.)

In short, mastering the art and craft of dialogue is the fastest and most powerful way to improve your manuscript.

WRITING GREAT DIALOGUE

SECTION ONE


FOUNDATIONS OF GREAT DIALOGUE

MODULE ONE

THE DEFINITION AND FUNCTION OF DIALOGUE

Develop a deep understanding of what dialogue is (and what it isn't), and get a rock-solid handle on the five functions of dialogue: reveal character, story, theme, setting and tone.

 

MODULE TWO

THE CONTENT OF DIALOGUE

  • Determine the difference between writing what gets said (a character's public self) and what's left unsaid (the secret self)
  • Understand why action is crucial and activity is problematic, and learn how to tell the difference between them
  • Get crystal clear about writing subtext (what's below the meaning of the surface words)
  • Ensure dialogue is relevant to the story

MODULE THREE

METHODS FOR EXPRESSION

  • Compose dialogue with rich, evocative language
  • Master the terrifically important body language that accompanies dialogue
  • Discover the value of brevity
  • When dialogue gets interrupted—how to perfect the pause
  • Convey silence (and discover its power)
  • Create emotional dialogue that's resonant, not syrupy

WRITING GREAT DIALOGUE

SECTION TWO


COMMON PROBLEMS WITH DIALOGUE (AND HOW TO FIX THEM)

MODULE FOUR

BELIEVABILITY

  • Recognize when dialogue is unbelievable (and why that makes it so problematic)
  • Cut out all useless talk
  • Determine the difference between emotional dialogue and purple prose (the overly emotive dialogue)
  • Avoid "know-it-all" dialogue
  • Figure out just when dialogue has become a mouthpiece for all your great research
  • Explore the ways in which overwriting can deaden your dialogue

LANGUAGE

  • Avoid using clichéd language
  • Stay away from generalities instead of using the all-important specifics
  • Keep yourself (as the author) from intruding into a character's dialogue
  • Make sure dialogue is clear, not convoluted
  • Learn why active dialogue is better than passive
  • Keep dialogue lean and uncluttered

INTERNAL DIALOGUE

How to manage when your character is talking to herself, thinking or conversing telepathically with another character.

MODULE FIVE

DIALOGUE UNIQUE TO CHARACTER

  • How to write dialogue so it sounds natural, fluid and authentic to each unique character, rather than dull, stilted or contrived. Consider each character's age, gender, culture, geography (dialects and accents), era, vocabulary, knowledge and personality.
  • Discover what it takes to write characters who are unlike yourself (women writing men, young writing old, Catholic writing Muslim, and the like)

MODULE SIX

GET THE BALANCE RIGHT

  • Learn when to write things in summary exposition rather than in dialogue (and vice-versa)
  • Discover how you can tell when you've written too much dialogue
  • Understand the value of interrupting dialogue with tags or action, and practice determining when you should do this, and when it's best not to interrupt
  • Explore the challenges of writing dialogue for groups of two or more characters (especially when you have two or more of the same gender)

WRITING GREAT DIALOGUE

SECTION THREE


TAGS, STYLES AND PUNCTUATION

MODULE SEVEN

DIALOGUE TAGS

Learn the ins and outs of dialogue tags: what to use (and what to avoid), where to put them in your sentences and how to decide which position is best, and when you should and shouldn't attach adverbs to your tags.

MODULE EIGHT

THE STYLES OF DIALOGUE

There are various ways in which dialogue can be structured on the printed page. Determine which of the three common styles works best for what you're writing, and decide how often you want to use paragraph breaks.

MODULE NINE

PUNCTUATING DIALOGUE

Practice punctuating dialogue so you never have to think about it again (American and British English)!

WRITING GREAT DIALOGUE

WHAT'S NOT INCLUDED THAT YOU'D LIKE TO LEARN?

THANKS FOR REVIEWING THIS COURSE!


To enter the contest to win these two books and a free seat in the course, fill out the form below (one question).

ENTER FOR A CHANCE TO WIN!