Your personal Tumblr journey starts here
Writing Advice - Blog Posts
writing an autistic character when you are not autistic - a masterpost
completely double spaced version on google docs here – this post is more blocky for the sake of people’s dashboards, but still long so people will be less likely to glaze over it. my apologies if that makes it hard to read
things to look for and avoid in an autistic character
• symptoms only manifesting as “nonverbal and rocking” • super smart / living calculator • super dumb / doesn’t understand anything • all the symptoms you can come up with for them are “awkward” and “has special interest(s)” (please do more research) • trains, technology, and/or math as special interests • acting like a child • getting treated like a baby • unreasonably cruel and uncaring about others’ reactions to them being cruel • if they’re comparable to sheldon from the big bang theory, start over • animal comparisons • a lack of feelings • please no stories about what it’s like to be autistic told by allistics
the right way to write an autistic person
• lots of symptoms, including secondary ones not included on a general diagnosis requirement list (here’s a list i rather like that was made by an autistic person – their blog is also a good resource) • having a good amount of general knowledge and actually talking about it (i cannot believe that i have to say this) • talking about things outside of special interests (again…. come on……….) (special interests are usually the default things our brains go to when theres no stimulation or we want to entertain ourselves – it isn’t literally all we think or talk about ever. if a conversation has no connections to a special interest, reconsider having your autistic character bring it up in a context that is not an introduction.) • explicitly expressed to be capable of attraction and romantic feelings – if your character is an adult, add sexual feelings to this point • capable of general functioning, just with a disability that makes it more difficult – not a walking disability (….sigh) • a wide amount of feelings and emotional turmoil (but perhaps only being able to express it in limited ways) • we’re people • just people whose brains are wired differently
things to avoid in research for an autistic character
• autism moms / autism blogs and websites not run by autistic people • any affiliation with autism $peaks means you should walk away and never look back • a scientist trying to create explanations for what autistic people do without actually asking / not mentioning asking autistic people • anything about a cure for autism • a person that “worked with autistic kids” phrased in the same way as “worked with animals” • talking about autistic people as if they are mysteries, are like animals, or are otherwise othered weirdos instead of people
things to look for in research for an autistic character
• actual autistic people talking about their experiences and symptoms • just stick to that and you’re good but it’s hard to find sometimes ngl. just look for the above red flags
things i would personally like to see in an autistic character
• less easy to swallow sadness and more destructive anger. i would love to see a canonically autistic character who was frustrated easily by small things and had trouble communicating why • not a story about being autistic, a story that happens to have a character or characters who are autistic – it isn’t pointed out or questioned, they’re right at home with the rest of the cast and not othered (a la symmetra from overwatch) • intensive sensory issues / small sounds making large reactions • clear communications about not liking x sensory thing (for example being touched) • poor motor skills / clumsiness and not being laughed at for it • walking funny (body bent downwards, walking very fast, walking slowly, big strides, shuffling, stiffness, etc) – no one treats it as if it’s funny or something totally strange • a big personality that has a presence so they can’t be cast aside (but feel free to have quiet characters too) – if this was along with being nonverbal they would probably leap to being one of my favorite characters ever • a fear of asking for clarification on sarcasm or jokes because of past experiences and an arc about the character becoming more comfortable asking questions
>> if any fellow autistic people want to add something, feel free <<
allistics are encouraged to rb this
Hello, so I was writing a prologue for my book and I forgot how to add action in a scene , instead of like ex. 'A drinking coffee and suddenly B comes crashing to the coffee shop thingy' but better ways to add action.
Thank you<3
Hi, there! While there's no one size fits all way to add action, we have some blog posts that I think could really help!
Ways to get to know your characters:
These are just some ways I do t, feel free to add your own tips!
Google sheets. Just google sheets. Make a sheet for your story and create categories to fill on your character's traits. Very simple example:
2. Making Pinterest boards. Listen maybe I'm biased because I'm on Pinterest more than I'm on Tumblr and it gives me the most intense nostalgia of any website/app ever, but it may be my most helpful tactic. This works in plenty of ways. Making a board for one story's character designs and making individual categories for each character in that board. Making individual board for each character's design, aesthetic, personality, whatever. No example but I think you get it.
3. I might sound like you lame ass ELA teacher from 9th grade or whatever when I say this, but plot mountains are really helpful. Now I don't mean the plot plot for all you, "I just start writing and am as surprised as my characters when everything goes to shit." writers like me, I'm talking about an internal plot. To explain, there is an external plot (exposition, rising action, climax, etc.) and internal plot (character development,) making external plot mountains isn't helpful for me because I want freedom in my writing. I know where it starts and sometimes where it stops and that's good enough, but writing the development of a character is good to outline just for the foreshadowing and because CHARACTER FLAWS ARE FUCKING IMPORTANT. (Cue the one post about eating mayo packets)
4. Mark their birthdays in your calendar. Like google calendar or whatever the fuck you use. Anyway, dedicate their birthday to just getting to know them. Make a wish list of presents they'd like, or a slideshow about the party activities they'd like, or a pinterest board about what their party theme would be. It's fun, I swear.
5. Make lists of a bunch of stuff. Their flaws, their strengths, their favourite thing, their pet peeves, their favourite people, their pets, their little quirks they have, etc.
6. Physical objects. Make them, buy them, or just stuff you already have. Make a little box of things they'd like or have. Treat them like a friend. A real person. It'll inspire you to write or draw more and you can come up with little backstories on the items.
7. Give them a catchphrase. Even if they never say it, it's cute. I like them. Most people do, I think.
thinking non-stop about the Terry Pratchett Method of Deconstruction (TM) and how it works
[...] the wages of sin is death, but so is the salary of virtue, and at least the evil get to go home early on Fridays. (Witches Abroad)
Take a common concept, metaphor, idiom, trope etc. "The wages of sin is death."
Invert, reverse or subvert it to highlight the inconsistency or issue. "But so is the salary of virtue." (Well, actually, everybody dies, right?)
While everybody's contemplating the philosophy revealed, overextend the metaphor and whack them in the back of the head with the joke like a comedic quintain while they aren't expecting it. "At least the evil get to go home early on Fridays."
He does it quite often and I love it every time.
@livyamel
You can write that fainting competition now where your opponent is Dante!
The Anatomy of Passing Out: When, Why, and How to Write It
Passing out, or syncope, is a loss of consciousness that can play a pivotal role in storytelling, adding drama, suspense, or emotional weight to a scene. Whether it’s due to injury, fear, or exhaustion, the act of fainting can instantly shift the stakes in your story.
But how do you write it convincingly? How do you ensure it’s not overly dramatic or medically inaccurate? In this guide, I’ll walk you through the causes, stages, and aftermath of passing out. By the end, you’ll be able to craft a vivid, realistic fainting scene that enhances your narrative without feeling clichéd or contrived.
2. Common Causes of Passing Out
Characters faint for a variety of reasons, and understanding the common causes can help you decide when and why your character might lose consciousness. Below are the major categories that can lead to fainting, each with their own narrative implications.
Physical Causes
Blood Loss: A sudden drop in blood volume from a wound can cause fainting as the body struggles to maintain circulation and oxygen delivery to the brain.
Dehydration: When the body doesn’t have enough fluids, blood pressure can plummet, leading to dizziness and fainting.
Low Blood Pressure (Hypotension): Characters with chronic low blood pressure may faint after standing up too quickly, due to insufficient blood reaching the brain.
Intense Pain: The body can shut down in response to severe pain, leading to fainting as a protective mechanism.
Heatstroke: Extreme heat can cause the body to overheat, resulting in dehydration and loss of consciousness.
Psychological Causes
Emotional Trauma or Shock: Intense fear, grief, or surprise can trigger a fainting episode, as the brain becomes overwhelmed.
Panic Attacks: The hyperventilation and increased heart rate associated with anxiety attacks can deprive the brain of oxygen, causing a character to faint.
Fear-Induced Fainting (Vasovagal Syncope): This occurs when a character is so afraid that their body’s fight-or-flight response leads to fainting.
Environmental Causes
Lack of Oxygen: Situations like suffocation, high altitudes, or enclosed spaces with poor ventilation can deprive the brain of oxygen and cause fainting.
Poisoning or Toxins: Certain chemicals or gasses (e.g., carbon monoxide) can interfere with the body’s ability to transport oxygen, leading to unconsciousness.
3. The Stages of Passing Out
To write a realistic fainting scene, it’s important to understand the stages of syncope. Fainting is usually a process, and characters will likely experience several key warning signs before they fully lose consciousness.
Pre-Syncope (The Warning Signs)
Before losing consciousness, a character will typically go through a pre-syncope phase. This period can last anywhere from a few seconds to a couple of minutes, and it’s full of physical indicators that something is wrong.
Light-Headedness and Dizziness: A feeling that the world is spinning, which can be exacerbated by movement.
Blurred or Tunnel Vision: The character may notice their vision narrowing or going dark at the edges.
Ringing in the Ears: Often accompanied by a feeling of pressure or muffled hearing.
Weakness in Limbs: The character may feel unsteady, like their legs can’t support them.
Sweating and Nausea: A sudden onset of cold sweats, clamminess, and nausea is common.
Rapid Heartbeat (Tachycardia): The heart races as it tries to maintain blood flow to the brain.
Syncope (The Loss of Consciousness)
When the character faints, the actual loss of consciousness happens quickly, often within seconds of the pre-syncope signs.
The Body Going Limp: The character will crumple to the ground, usually without the ability to break their fall.
Breathing: Breathing continues, but it may be shallow and rapid.
Pulse: While fainting, the heart rate can either slow down dramatically or remain rapid, depending on the cause.
Duration: Most fainting episodes last from a few seconds to a minute or two. Prolonged unconsciousness may indicate a more serious issue.
Post-Syncope (The Recovery)
After a character regains consciousness, they’ll typically feel groggy and disoriented. This phase can last several minutes.
Disorientation: The character may not immediately remember where they are or what happened.
Lingering Dizziness: Standing up too quickly after fainting can trigger another fainting spell.
Nausea and Headache: After waking up, the character might feel sick or develop a headache.
Weakness: Even after regaining consciousness, the body might feel weak or shaky for several hours.
4. The Physical Effects of Fainting
Fainting isn’t just about losing consciousness—there are physical consequences too. Depending on the circumstances, your character may suffer additional injuries from falling, especially if they hit something on the way down.
Impact on the Body
Falling Injuries: When someone faints, they usually drop straight to the ground, often hitting their head or body in the process. Characters may suffer cuts, bruises, or even broken bones.
Head Injuries: Falling and hitting their head on the floor or a nearby object can lead to concussions or more severe trauma.
Scrapes and Bruises: If your character faints on a rough surface or near furniture, they may sustain scrapes, bruises, or other minor injuries.
Physical Vulnerability
Uncontrolled Fall: The character’s body crumples or falls in a heap. Without the ability to brace themselves, they are at risk for further injuries.
Exposed While Unconscious: While fainted, the character is vulnerable to their surroundings. This could lead to danger in the form of attackers, environmental hazards, or secondary injuries from their immediate environment.
Signs to Look For While Unconscious
Shallow Breathing: The character's breathing will typically become shallow or irregular while they’re unconscious.
Pale or Flushed Skin: Depending on the cause of fainting, a character’s skin may become very pale or flushed.
Twitching or Muscle Spasms: In some cases, fainting can be accompanied by brief muscle spasms or jerking movements.
5. Writing Different Types of Fainting
There are different types of fainting, and each can serve a distinct narrative purpose. The way a character faints can help enhance the scene's tension or emotion.
Sudden Collapse
In this case, the character blacks out without any warning. This type of fainting is often caused by sudden physical trauma or exhaustion.
No Warning: The character simply drops, startling both themselves and those around them.
Used in High-Tension Scenes: For example, a character fighting in a battle may suddenly collapse from blood loss, raising the stakes instantly.
Slow and Gradual Fainting
This happens when a character feels themselves fading, usually due to emotional stress or exhaustion.
Internal Monologue: The character might have time to realize something is wrong and reflect on what’s happening before they lose consciousness.
Adds Suspense: The reader is aware that the character is fading but may not know when they’ll drop.
Dramatic Fainting
Some stories call for a more theatrical faint, especially in genres like historical fiction or period dramas.
Exaggerated Swooning: A character might faint from shock or fear, clutching their chest or forehead before collapsing.
Evokes a Specific Tone: This type of fainting works well for dramatic, soap-opera-like scenes where the fainting is part of the tension.
6. Aftermath: How Characters Feel After Waking Up
When your character wakes up from fainting, they’re not going to bounce back immediately. There are often lingering effects that last for minutes—or even hours.
Physical Recovery
Dizziness and Nausea: Characters might feel off-balance or sick to their stomach when they first come around.
Headaches: A headache is a common symptom post-fainting, especially if the character hits their head.
Body Aches: Muscle weakness or stiffness may persist, especially if the character fainted for a long period or in an awkward position.
Emotional and Mental Impact
Confusion: The character may not remember why they fainted or what happened leading up to the event.
Embarrassment: Depending on the situation, fainting can be humiliating, especially if it happened in front of others.
Fear: Characters who faint from emotional shock might be afraid of fainting again or of the situation that caused it.
7. Writing Tips: Making It Believable
Writing a fainting scene can be tricky. If not handled properly, it can come across as melodramatic or unrealistic. Here are some key tips to ensure your fainting scenes are both believable and impactful.
Understand the Cause
First and foremost, ensure that the cause of fainting makes sense in the context of your story. Characters shouldn’t pass out randomly—there should always be a logical reason for it.
Foreshadow the Fainting: If your character is losing blood, suffering from dehydration, or undergoing extreme emotional stress, give subtle clues that they might pass out. Show their discomfort building before they collapse.
Avoid Overuse: Fainting should be reserved for moments of high stakes or significant plot shifts. Using it too often diminishes its impact.
Balance Realism with Drama
While you want your fainting scene to be dramatic, don’t overdo it. Excessively long or theatrical collapses can feel unrealistic.
Keep It Short: Fainting typically happens fast. Avoid dragging the loss of consciousness out for too long, as it can slow down the pacing of your story.
Don’t Always Save the Character in Time: In some cases, let the character hit the ground. This adds realism, especially if they’re fainting due to an injury or traumatic event.
Consider the Aftermath
Make sure to give attention to what happens after the character faints. This part is often overlooked, but it’s important for maintaining realism and continuity.
Lingering Effects: Mention the character’s disorientation, dizziness, or confusion upon waking up. It’s rare for someone to bounce back immediately after fainting.
Reactions of Others: If other characters are present, how do they react? Are they alarmed? Do they rush to help, or are they unsure how to respond?
Avoid Overly Romanticized Fainting
In some genres, fainting is used as a dramatic or romantic plot device, but this can feel outdated and unrealistic. Try to focus on the genuine physical or emotional toll fainting takes on a character.
Stay Away from Clichés: Avoid having your character faint simply to be saved by a love interest. If there’s a romantic element, make sure it’s woven naturally into the plot rather than feeling forced.
8. Common Misconceptions About Fainting
Fainting is often misrepresented in fiction, with exaggerated symptoms or unrealistic recoveries. Here are some common myths about fainting, and the truth behind them.
Myth 1: Fainting Always Comes Without Warning
While some fainting episodes are sudden, most people experience warning signs (lightheadedness, blurred vision) before passing out. This gives the character a chance to notice something is wrong before losing consciousness.
Myth 2: Fainting Is Dramatic and Slow
In reality, fainting happens quickly—usually within a few seconds of the first warning signs. Characters won’t have time for long speeches or dramatic gestures before collapsing.
Myth 3: Characters Instantly Bounce Back
Many stories show characters waking up and being perfectly fine after fainting, but this is rarely the case. Fainting usually leaves people disoriented, weak, or even nauseous for several minutes afterward.
Myth 4: Fainting Is Harmless
In some cases, fainting can indicate a serious medical issue, like heart problems or severe dehydration. If your character is fainting frequently, it should be addressed in the story as a sign of something more severe.
Looking For More Writing Tips And Tricks?
Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Quillology with Haya Sameer; a blog dedicated to writing and publishing tips for authors! While you’re at it, don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey!
For Future Reference...thank you Original Poster for creating this.
Things Real People Do in Dialogue (For Your Next Story)
Okay, let’s be real—dialogue can make or break a scene. You want your characters to sound natural, like actual humans talking, not robots reading a script. So, how do you write dialogue that feels real without it turning into a mess of awkward pauses and “ums”? Here’s a little cheat sheet of what real people actually do when they talk (and you can totally steal these for your next story):
1. People Interrupt Each Other All the Time In real conversations, nobody waits for the perfect moment to speak. We interrupt, cut each other off, and finish each other's sentences. Throw in some overlaps or interruptions in your dialogue to make it feel more dynamic and less like a rehearsed play.
2. They Don’t Always Say What They Mean Real people are masters of dodging. They’ll say one thing but mean something totally different (hello, passive-aggressive banter). Or they’ll just avoid the question entirely. Let your characters be vague, sarcastic, or just plain evasive sometimes—it makes their conversations feel more layered.
3. People Trail Off... We don’t always finish our sentences. Sometimes we just... stop talking because we assume the other person gets what we’re trying to say. Use that in your dialogue! Let a sentence trail off into nothing. It adds realism and shows the comfort (or awkwardness) between characters.
4. Repeating Words Is Normal In real life, people repeat words when they’re excited, nervous, or trying to make a point. It’s not a sign of bad writing—it’s how we talk. Let your characters get a little repetitive now and then. It adds a rhythm to their speech that feels more genuine.
5. Fillers Are Your Friends People say "um," "uh," "like," "you know," all the time. Not every character needs to sound polished or poetic. Sprinkle in some filler words where it makes sense, especially if the character is nervous or thinking on their feet.
6. Not Everyone Speaks in Complete Sentences Sometimes, people just throw out fragments instead of complete sentences, especially when emotions are high. Short, choppy dialogue can convey tension or excitement. Instead of saying “I really think we need to talk about this,” try “We need to talk. Now.”
7. Body Language Is Part of the Conversation Real people don’t just communicate with words; they use facial expressions, gestures, and body language. When your characters are talking, think about what they’re doing—are they fidgeting? Smiling? Crossing their arms? Those little actions can add a lot of subtext to the dialogue without needing extra words.
8. Awkward Silences Are Golden People don’t talk non-stop. Sometimes, they stop mid-conversation to think, or because things just got weird. Don’t be afraid to add a beat of awkward silence, a long pause, or a meaningful look between characters. It can say more than words.
9. People Talk Over Themselves When They're Nervous When we’re anxious, we tend to talk too fast, go back to rephrase what we just said, or add unnecessary details. If your character’s nervous, let them ramble a bit or correct themselves. It’s a great way to show their internal state through dialogue.
10. Inside Jokes and Shared History Real people have history. Sometimes they reference something that happened off-page, or they share an inside joke only they get. This makes your dialogue feel lived-in and shows that your characters have a life beyond the scene. Throw in a callback to something earlier, or a joke only two characters understand.
11. No One Explains Everything People leave stuff out. We assume the person we’re talking to knows what we’re talking about, so we skip over background details. Instead of having your character explain everything for the reader’s benefit, let some things go unsaid. It’ll feel more natural—and trust your reader to keep up!
12. Characters Have Different Voices Real people don’t all talk the same way. Your characters shouldn’t either! Pay attention to their unique quirks—does one character use slang? Does another speak more formally? Maybe someone’s always cutting people off while another is super polite. Give them different voices and patterns of speech so their dialogue feels authentic to them.
13. People Change the Subject In real life, conversations don’t always stay on track. People get sidetracked, jump to random topics, or avoid certain subjects altogether. If your characters are uncomfortable or trying to dodge a question, let them awkwardly change the subject or ramble to fill the space.
14. Reactions Aren’t Always Immediate People don’t always respond right away. They pause, they think, they hesitate. Sometimes they don’t know what to say, and that delay can speak volumes. Give your characters a moment to process before they respond—it’ll make the conversation feel more natural.
Important note: Please don’t use all of these tips in one dialogue at once.
Saving for future reference.
Showing 'Excitement' in Writing
Eyes sparkling with anticipation.
Bouncing on the balls of their feet.
Clapping hands together in delight.
Speaking in a high-pitched, rapid tone.
Grinning from ear to ear.
Jumping up and down with joy.
Hugging others spontaneously.
Cheeks flushed with enthusiasm.
Widening eyes and raised eyebrows.
Waving hands animatedly while talking.
Giggling or laughing uncontrollably.
Unable to sit still, shifting in their seat.
Heart racing with exhilaration.
Feet tapping or legs jiggling.
Practically vibrating with energy.
Exclaiming, "I can't believe it!" repeatedly.
Reaching out to touch or grab someone’s hand.
Dancing or spinning around.
Clutching their chest as if to contain the excitement.
Practicing or rehearsing what they’ll say or do.
Keeping this for future reference...
How to show emotions
Part V
How to show grief
a vacant look
slack facial expressions
shaky hands
trembling lips
swallowing
struggling to breathe
tears rolling down their cheeks
How to show fondness
smiling with their mouth and their eyes
softening their features
cannot keep their eyes off of the object of their fondness
sometimes pouting the lips a bit
reaching out, wanting to touch them
How to show envy
narrowing their eyes
rolling their eyes
raising their eyebrows
grinding their teeth
tightening jaw
chin poking out
pouting their lips
forced smiling
crossing arms
shifting their gaze
clenching their fists
tensing their muscles
then becoming restless/fidgeting
swallowing hard
stiffening
holding their breath
blinking rapidly
exhaling sharply
How to show regret
scrubbing a hand over the face
sighing heavily
downturned mouth
slightly bending over
shoulders hanging low
hands falling to the sides
a pained expression
heavy eyes
staring down at their feet
Part I + Part II + Part III + Part IV + Part VI
If you like my blog and want to support me, you can buy me a coffee or become a member! And check out my Instagram! 🥰
Excuse me while I save this for a reference...
How To Write A Chase Scene
Before anyone takes off running, the reader needs to know why this matters. The chase can’t just be about two people running, it’s gotta have a reason. Is your hero sprinting for their life because the villain has a knife? Or maybe they’re chasing someone who just stole something valuable, and if they don’t catch them, it’s game over for everyone. Whatever the reason, make it clear early on. The higher the stakes, the more the reader will care about how this chase plays out. They’ll feel that surge of panic, knowing what’s on the line.
Sure, a chase scene is fast, people are running, dodging, maybe even falling. But not every second needs to be at full speed. If it’s too frantic from start to finish, the reader might get numb to the action. Instead, throw in some rhythm. Use quick, sharp sentences when things get intense, like someone stumbling or almost getting caught. But then slow it down for a second. Maybe they hit a dead end or pause to look around. Those brief moments of slow-down add suspense because they feel like the calm before the storm kicks up again.
Don’t let the setting just be a backdrop. The world around them should become a part of the chase. Maybe they’re tearing through a marketplace, dodging carts and knocking over tables, or sprinting down alleyways with trash cans crashing behind them. If they’re running through the woods, you’ve got low-hanging branches, roots, slippery mud, and the constant threat of tripping. Describing the environment makes the scene more vivid, but it also adds layers of tension. It’s not just two people running in a straight line, it’s two people trying to navigate through chaos.
Running isn’t easy, especially when you’re running for your life. This isn’t some smooth, graceful sprint where they look cool the whole time. Your character’s lungs should be burning, their legs aching, maybe their side starts to cramp. They’re gasping for air, barely holding it together. These details will remind the reader that this chase is taking a real toll. And the harder it gets for your character to keep going, the more the tension ramps up because the reader will wonder if they’ll actually make it.
Don’t make it too easy. The villain should almost catch your hero or the hero should almost grab the villain. But something happens last second to change the outcome. Maybe the villain’s fingers brush the hero’s coat as they sprint around a corner, but they manage to slip out of reach just in time. Or maybe your hero almost gets close enough to tackle the villain, but slips on some gravel, losing precious seconds.
And Don’t let the chase end in a way that feels too predictable. Whether your character gets away or is caught, it should be because of something clever. Maybe they spot a hiding place that’s almost impossible to notice, or they use their surroundings to mislead their pursuer. Or, the person chasing them pulls a fast one, Laying a trap, cutting off their escape route, or sending the hero down the wrong path. You want the end to feel earned, like it took quick thinking and ingenuity, not just dumb luck or fate.
if you have any questions or feedback on writing materials, please send me an email at Luna-azzurra@outlook.com ✍🏻
How to Write Strong Dialogue
(from a writer of ten years)
So you’re back in the writing trenches. You’re staring at your computer, or your phone, or your tablet, or your journal, and trying not to lose your mind. Because what comes after the first quotation mark? Nothing feels good.
Don’t worry, friend. I’m your friendly tumblr writing guide and I’m here to help you climb out of the pit of writing despair.
I’ve created a character specifically for this exercise. His name is Amos Alejandro III, but for now we’ll just call him Amos. He’s a thirty-something construction worker with a cat who hates him, and he’s just found out he has to go on a quest across the world to save his mother’s diner.
1.) Consider the Attitude and Characteristics of Your Character
One of the biggest struggles writers face when writing dialogue is keeping characters’ dialogue “in-character”.
You’re probably thinking, “but Sparrow, I’m the creator! None of the dialogue I write can be out of character because they’re my original characters!”
WRONG. (I’m hitting the very loud ‘incorrect’ buzzer in your head right now).
Yes, you created your characters. But you created them with specific characteristics and attitudes. For example, Amos lives alone, doesn’t enjoy talking too much, and isn’t a very scholarly person. So he’s probably not going to say something like “I suggest that we pursue the path of least resistance for this upcoming quest.” He’d most likely say, “I mean, I think the easiest route is pretty self-explanatory.”
Another example is a six-year-old girl saying, “Hi, Mr. Ice Cream Man, do you have chocolate sundaes?” instead of “Hewwo, Ice Cweam Man— Chocowate Sundaes?”
Please don’t put ‘w’s in the middle of your dialogue unless you have a very good and very specific reason. I will cry.
Yes, the girl is young, but she’s not going to talk like that. Most children know how to ask questions correctly, and the ‘w’ sound, while sometimes found in a young child’s speech, does not need to be written out. Children are human.
So, consider the attitude, characteristics, and age of your character when writing dialogue!
2.) Break Up Dialogue Length
If I’m reading a novel and I see an entire page of dialogue without any breaks, I’m sobbing. You’re not a 17th century author with endless punctuation. You’re in the 21st century and people don’t read in the same way they used to.
Break up your dialogue. Use long sentences. Use one word. Use commas, use paragraph breaks. Show a character throwing a chair out a window in between sentences.
For example:
“So, you’re telling me the only way to save my Ma’s diner is to travel across five different continents, find the only remaining secret receipt card, and bring it back before she goes out of business? She didn’t have any other copies? Do I have to leave my cat behind?”
vs.
Amos ran a hand over his face. “So, you’re telling me the only way to save my Ma’s diner is to travel across five different continents, find the only remaining secret recipe card, and bring it back before she goes out of business?”
He couldn’t believe his luck. That was sarcastic, of course. This was ironically horrible.
“She didn’t have any other copies?” He leaned forward over the table and frowned. “Do I have to leave my cat behind?”
The second version is easier to digest, and I got to add some fun description of thought and action into the scene! Readers get a taste of Amos’ character in the second scene, whereas in the first scene they only got what felt like a million words of dialogue.
3.) Don’t Overuse Dialogue Tags.
DON’T OVERUSE DIALOGUE TAGS. DON’T. DON’T DON’T DON’T.
If you don’t know what a dialogue tag is, it’s a word after a sentence of dialogue that attributes that dialogue to a specific character.
For example:
“Orange juice and chicken ramen are good,” he said.
‘Said’ functions as the dialogue tag in this sentence.
Dialogue tags are good. You don’t want to completely avoid them. (I used to pride myself on how I could write stories without any dialogue tags. Don’t do that.) Readers need to know who’s speaking. But overusing them, or overusing weird or unique tags, should be avoided.
Examples:
“I’m gonna have to close my diner,” Amos’ mother said.
“Why?” Amos growled. “It’s been in the family forever.”
“I’ve lost the secret recipe card, and I can’t keep the diner open without it!” She cried.
“The Bacon Burger Extreme recipe card?” Amos questioned.
“Yes!” Amos’ mother screamed.
“Well, that’s not good,” Amos complained.
vs.
“I’m gonna have to close my diner,” Amos’ mother said, taking her son’s hand and leading him over to one of the old, grease-stained tabletops with the ripped-fabric booths.
Amos simply stared at her, frozen in place. “Why? It’s been in the family forever.”
“I’ve—” she looked away for a moment, then took in a breath. “I’ve lost the secret recipe card. And I can’t keep the diner open without it.”
“The Bacon Burger Extreme recipe card?”
“Yes!” She still wouldn’t meet his eyes, and her shoulders were shaking. “Yes.”
Amos sat down heavily in the booth. “Well, that’s not good.”
The first scene only gives character names and dialogue tags. There are no actions and no descriptions. The second scene, however, gives these things. They give the reader descriptions of the diner, the characters’ actions, and attitudes. Overusing dialogue tags gets boring fast, so add interest into your writing!
So! When you’re writing, consider the attitude of your character, vary dialogue length, and don’t overuse dialogue tags.
Now climb out of the pit of writing despair. Pick up your pen or computer. And write some good dialogue!
Best,
Sparrow
Don't mind me while I borrow this...
Writing advice from my uni teachers:
If your dialog feels flat, rewrite the scene pretending the characters cannot at any cost say exactly what they mean. No one says “I’m mad” but they can say it in 100 other ways.
Wrote a chapter but you dislike it? Rewrite it again from memory. That way you’re only remembering the main parts and can fill in extra details. My teacher who was a playwright literally writes every single script twice because of this.
Don’t overuse metaphors, or they lose their potency. Limit yourself.
Before you write your novel, write a page of anything from your characters POV so you can get their voice right. Do this for every main character introduced.