Revised as of
30 Mar 2023
Dialogue is a critical component of a story as it allows characters to communicate with each other and with the reader. This particular post is primarily concerned with the mechanics of dialogue. How to punctuate conversations of any sort, convey character emotions, AND keep the reader subconsciously informed as to who is speaking.
Dialogue Basics
It’s commas and double quotation marks for the most part with some exceptions made for question marks, exclamation marks, ellipses, and em dashes. It can get complicated when quoting someone or a message within direct dialogue. The biggest issue are those “nasty” action tags that discusses how difficult it is to grimace or snort words. As for thoughts, there are several options: remember that consistency is key.
Formatting Dialogue
Don’t make your reader work for this. Unless it’s part of the plot! Nothing . . . hmmm, that’s not true, as there are lots of things that drive me nuts when I’m reading, lol . . . One of those issues is losing track of who is speaking in back-and-forth dialogue. I hate having to track my way back and then carefully figure out who is speaking as the quoted words fly back and forth. Pop in a name every once in awhile, will ya? It can be “George said” or “Dang it, George . . .” (for example!).
My other big issue with dialogue is writers who allow more than one character to share the same paragraph?? What?? Are you limited to how many paragraphs you’re allowed in your story? I find this problem in both print and eBooks, and I am praying that some publisher or editor will crack down on this one. Take pity on us poor readers!!
Dialogue is different from dialect. Dialogue is the formatting of what a character is saying, texting, or writing. Dialect is how they structure their sentences and the words or idioms they choose to use. To explore more, check out the Grammar Explanation on “Dialect“.
The Properly Punctuated explores . . .
. . . the proper use of quotation marks, commas, semicolons, colons, ellipsis, etc., including how to properly mark dialog, ahem. As Properly Punctuated is in no way complete, I would appreciate suggestions and comments from anyone on punctuation with which you struggle or on which you can contribute more understanding.
If you found this post on “Dialogue” interesting, consider subscribing to KD Did It, if you’d like to track this post for future updates.
| Dialogue | ||||||||||||||||||||
| Punctuation, Formatting, “. . .” | ||||||||||||||||||||
| Definition: Conversation between two or more people as a feature of a book, play, or movie.
Paragraph Rule: Each person’s spoken words and related actions are treated as its own paragraph. As soon as another person’s words, thoughts, or actions begin, create a new paragraph. If one person’s dialogue goes on for more than one paragraph, see the section on Multiple Paragraphs. Treat dialogue like any other paragraph in the manuscript:
|
||||||||||||||||||||
A.k.a. dialog [U.S.], dialogism, sermocinatio |
||||||||||||||||||||
| Indirect Dialogue | Definition: Characters communicating with another through speech or writing.
CAUTION: Only encase actual direct dialogue inside quotation marks. A.k.a. inner dialogue |
|||||||||||||||||||
|
Return to top or post contents |
Rule: Never use quotation marks on indirect dialogue or an indirect quotation. | |||||||||||||||||||
| Greg said they were all headin’ over to the club. | ||||||||||||||||||||
| Dramatic Monologue | See “Literary Device: Dramatic Monologue” for the definition.
Use “Multiple Paragraphs for punctuation of dramatic monologue. |
|||||||||||||||||||
| Stream of Consciousness | See “Literary Device: Stream of Consciousness” for the definition.
Use multiple paragraphs for punctuation of dramatic monologue. |
|||||||||||||||||||
|
Return to top or post contents |
“. . . did they just make those wide wings and adoring hands for fun, because they liked the pattern? At any rate, they made them look as though they believed something, and that’s where they have us beat. What next? Oh, yes, out again to the grave, of course. Hymn 373 . . . there must be some touch of imagination in the good mr. Russell to have suggested this, though he looks as if he thought of nothing but having tinned salmon to his tea . . . ‘Man that is born of a woman . . .’ not very much further to go now; we’re coming into the straight . . . ‘Thou knowest, Lord, the secrets of our hearts . . .’ I knew it, I knew it! Will Thoday’s going to faint . . . No, he’s got hold . . .”
“. . . ‘for any pains of death, to fall from Thee.’ Damn it! that goes home. Why? Mere splendour of rhythm, I expect — there are plenty of worse pains . . . ‘Our dear brother here departed’ . . . brother . . . we’re all dear when we’re dead, even if beforehand somebody hated us enough to tie us up and . . . Great Scott, yes!” – Dorothy Sayers, The Nine Tailors |
|||||||||||||||||||
| Thought Dialogue | Rule: Thought dialogue is a direct thought that can stand alone as a paragraph or be inserted into a narrative passage. It may use italics without comma separation, or less often, single quotes may be used as though it were spoken dialogue. | |||||||||||||||||||
|
Return to top or post contents |
As Mari entered the darkened hall, she wondered if they’d run out of monsters or if more were lurking in the shadows.
I hope there aren’t any more monsters in those shadows Mari wondered. ‘I hope there aren’t any more monsters in those shadows,’ Mari wondered. |
|||||||||||||||||||
| Email Message | Rule: Either incorporate the email message into the narrative or set it apart from spoken or text to help reinforce the context for the reader. | |||||||||||||||||||
|
Return to top or post contents |
“Hey, June,” Helen called out, “you have got to see what my sister’s cat is up to now.”
“Hey, June,” Helen called out. “You’ll never believe this message I got from Kary. Check it out.” June caught Helen’s phone and read “Gizmo caught HUGE grasshopper”. She laughed and said, “That ain’t a big grasshopper. It’s too big to be a grasshopper!” |
|||||||||||||||||||
| Variation: Create the feel of an email message by using its style with to, from, subject, etc.
For a long email, I like to set it aside like a blockquote and use a different font and font size. |
||||||||||||||||||||
|
Version 1:
Dan wondered how far Mackenzie had gotten on that profile for their ad campaign. To: R. Mackenzie Subject: Ad campaign profile From: D. Monroe Did you get that attachment from Barney and Co yet? DM Version 2: Dan wondered how far Mackenzie had gotten on that profile for their ad campaign. D. Monroe to R. Mackenzie Mar 3, 2013 10:59 a.m. Did you get that attachment from Barney and Co yet? DM |
||||||||||||||||||||
| Variation: For an exchange of emails that come one after the other, use one of the above variations and include horizontal rules to help distinguish between emails. | ||||||||||||||||||||
Version 3:
|
||||||||||||||||||||
| Text Message | Rule: Text messaging is best handled differently from spoken dialogue to help reinforce the context for the reader.
A.k.a. textspeak |
|||||||||||||||||||
|
Return to top or post contents |
Punctuation: Punctuation can be used to set off text messages or non-standard dialogue within the text of the story without doing anything special. | |||||||||||||||||||
| Helen: *u coming over 2nite?*. Helen: ::u coming over 2nite?:: Helen: <u coming over 2nite?> Helen, u coming over 2nite? Helen: u coming over 2nite? |
||||||||||||||||||||
| Variation: Throw in a little bit of text-speak to reinforce the impression, but not so much that it’s a distraction. | ||||||||||||||||||||
| *b there soon* *I <3 u* *Where u @?* *I am BBB, baby* *BTW, saw Jarod with Cassidy last night.* *WTF?* *PU the kids?* *FYI. Ur better looking.* *LMAO* *CUL, girlfriend.* *Watch where u open this. It’s NSFW.* *Did u c the pkg on that boy? OMG* |
||||||||||||||||||||
| Variation: Treat it as inline text with quotation marks. | ||||||||||||||||||||
| Helen’s day brightened a bit when the dot-dot-dot of her text message app alerted her. Her sister, Kary, and those cats of hers, she thought with a smile, as she read “Gizmo caught HUGE grasshopper”. | ||||||||||||||||||||
| Variation: Use the “screenplay” style of a name + colon followed by the message. Seriously consider not using this for long stretches of conversation, as it could get old fast. | ||||||||||||||||||||
| Helen: *u coming over 2nite?* Kary: *Gotta feed the cats.* Helen: *Pls, how long does that take?* Kary: *They miss me.* |
||||||||||||||||||||
| Variation: For a long-ish text message, consider using a different font, size, and/or style for the text and indent the text on both sides to make it easier for your reader to realize it is a text message or email. | ||||||||||||||||||||
|
||||||||||||||||||||
| Spoken, or Direct, Dialogue | Definition: An exchange of vocalized speech with two or more characters.
There are three tags used in writing spoken dialogue: |
|||||||||||||||||||
| Dialogue Tag | Definition: “Tags” who is speaking as well as their mood. | |||||||||||||||||||
|
Return to top or post contents |
There is a controversy over whether anything other than said can be used as the tag, and the choices go in and out of fashion. What is important to remember is that said is the nearly invisible dialogue tag. Readers generally don’t notice said. It can however get monotonous and/or you may want to slip in a more “exciting” dialogue tag every once in awhile such as exclaimed, shouted, cried, etc.
If you’re getting really “interesting” and want to have your character snort, laugh, or wonder, check out those action tags. ‘Cause, you know, it’s pretty hard to snort words. It’s also difficult to smile words. It’s a good idea to avoid ejaculate as a tag as well. So check out the action tags to see how to include that snort. A.k.a. dialogue attribution, dialogue guide, speaker attribution, speaker verb |
|||||||||||||||||||
| A dialogue tag looks like “Sarah said” or “he whispered”.
Other tags include:
Naturally, there are objections to some of the words above. |
||||||||||||||||||||
| said | Rule: The preference these days is for said as the principal dialogue tag, although it is considered acceptable to throw in the occasional mumbled, cried, screeched, etc. | |||||||||||||||||||
|
Return to top or post contents |
“Greg said” is the dialogue tag.
“I hate doing dishes,” she said. “Let’s go to the movies,” Brian said. “Oh, darling, I love you,” he said. |
|||||||||||||||||||
| asked | Rule: Conflict arises over whether the author should use “asked” when the character is asking a question. The current fashion is to use said for all dialogue. | |||||||||||||||||||
|
Return to top or post contents |
|
|||||||||||||||||||
| Name Tag | Definition: When the writer uses a character’s name to let the readers know who is speaking.
A.k.a. speaker tag |
|||||||||||||||||||
|
Return to top or post contents |
“Did you see my dress?” Mary asked.
“I found my keys!” John exclaimed. “Helen and I are going to the movies,” Murray said. |
|||||||||||||||||||
| Action Tag | Definition: This is the tag where you can develop your characters more fully, describe them and/or their actions, have them gesture, describe facial expressions, feel emotions, think, describe settings, worldbuild, provide atmosphere, and avoid the dreaded info dump!! | |||||||||||||||||||
|
Return to top or post contents |
Even better, you can combine descriptions, emotions, settings, etc., in the same action tag. And this avoids talking head syndrome.
The action tag involves both: However you handle action tags, be consistent. It’s the one cardinal rule. A.k.a. action beat, descriptive tag |
|||||||||||||||||||
| “This looks weird.” She squinted down at her steak. “Can BBQ sauce go bad?”
“I should be going.” Tina edged toward the door. “What’s happened?” he asked Ron and Hermione, who were sitting in two of the best chairs by the fireside and completing some star charts for Astronomy. “First Hogsmeade weekend,” said Ron, pointing at a notice that had appeared on the battered old bulletin board. “End of October. Halloween.” “Excellent,” said Fred, who had followed Harry through the portrait hole. Legend:
|
||||||||||||||||||||
| Practical Tagging | Definition: I think of this as the more “mechanical” side of action tags. | |||||||||||||||||||
|
Return to top or post contents |
Practicality can be included in the dialogue as:
Credit to: Isaman |
|||||||||||||||||||
| Using Adverbs (or Not) | Rule: The base rule is to avoid using adverbs, as they are more about telling than showing. Patterson notes that “When you tell us how somebody says something, you take the power away from their spoken words. . . . their body language and emotions become less important because of these ‘telling’ words.” | |||||||||||||||||||
|
Return to top or post contents |
However, adverbs can still be used to show an action or an emotion without interrupting the flow of the story. It does require that you question whether it’s better to use the adverb or to dive into more show, using stronger, more specific words and descriptions.
Remember, English and writing styles run in cycles, adverbs have been considered “unacceptable” since about 1970. And, yeah, the current cycle of needing to show rather than tell is part of that cycle. |
|||||||||||||||||||
| he said angrily
Simon shoved back his chair and slammed his fist on the table. “I’ve had enough,” he said, clenching his jaw. “This discussion is over.” she said jokingly Somehow, Paul had managed to burn his marshmallow to a literal crisp. Mary looked at Paul from across the fire and threw her head back in laughter. “You’re a mess,” she said. said affectionately “You complete me,” Jerry said, gazing into Dorothy’s eyes. “Maybe I should come upstairs for awhile,” he said. (An awful first date . . .) “No, thank you,” she said. OR “No, thank you,” she said emphatically. |
||||||||||||||||||||
| Punctuatation | Rule: Punctuate action tags with commas or periods.
Action tags can be included with the dialogue tag (usually separating dialogue from action with a comma) OR as a separate sentence. Keep in mind that, ideally, action tags are used instead of the dialogue tag. |
|||||||||||||||||||
|
Return to top or post contents |
“Where were you last night?” Lisa asked with a sigh. Henry slammed his fists on his desk before saying, “Get out of my office.” The reader can tell Henry is angry. “Get out of my office,” Henry said, as he slammed his fists on his desk. Yep, that Henry is still mad. Henry slammed his fists on his desk. “Get out of my office,” he roared. Huh, I think he’s really mad. “I’m not sure” — John scratched his head — “whether to go tonight.” The em dashes set off the action tag that is in the middle of his dialogue. She chewed her lip, thinking. “It could work.” “He’s such an idiot!” Peter slammed the door and threw himself on my couch. “Are you serious?” She raised an eyebrow. “That will never work.” Credit to: Luke |
|||||||||||||||||||
| Pause | Rule: Create a pause by subtly changing the dialogue’s rhythm. | |||||||||||||||||||
|
Return to top or post contents |
John walked over to the window. “It’s gloomy out.”
“It’s been like that all day.” Sarah had tried not to dwell on it, but she couldn’t quite shake off the feeling that something was terribly wrong. “Did you hear what they were saying on the news?” Credit to: Luke |
|||||||||||||||||||
| Setting | Rule: Action tags can provide information about the setting — a geographical region, a room, a time of day, the weather conditions, even a body. They keep the reader grounded in the scene, which helps retain immersion. | |||||||||||||||||||
|
Return to top or post contents |
He gazed out of the car window at the expanse of green pastures and oil derricks. “It’s good to be home.”
“Tell me everything.” She took a seat on a stool by the fireplace. “I’ll see you soon.” She wrapped her arms around herself against the mountain chill. “Be careful.” She waved her hand over the doorway, revealing glittering runes. “Enter with valor or perish.” “And who are you?” The bald man glanced up from the holographic map he was studying. Credit to: Craiker |
|||||||||||||||||||
| Worldbuilding | Rule: Use action tags to do some worldbuilding. | |||||||||||||||||||
|
Return to top or post contents |
“Welcome, my lady.” He bowed his head and brought his right hand to his heart. “It is an honor.”
“‘Likewise.’ Could he hear the jagged beat of her pulse? Was it true that changeling senses were far superior to those of any other race?” — Nalini Singh, Slave to Sensation “‘I believe so,’ Parnell replied more cautiously. He touched a button and a holo map glowed to life above the table.” — David Weber, On Basilisk Station |
|||||||||||||||||||
| Alternate for Interest | Rule: Alternate dialogue tags, action beats, and untagged lines of dialogue.
A.k.a. voice breaker |
|||||||||||||||||||
|
Return to top or post contents |
Be creative. |
|||||||||||||||||||
| “‘But that was a very proper kiss.’ I felt my mouth form a surprised and satisfied smile as I turned to the kitchen.”
“‘Phil Joss.’ We shook.” “He removed his radio and said, ‘Culpepper. On my twenty.'” “‘Roger that. On my way.'” “‘You cut me free again.’ Occam growled softly. I smiled up at him. ‘Thank you. You can put me down now.'” Credit to: Faith Hunter, Flame in the Dark and Circle in the Dark |
||||||||||||||||||||
| Action/Emotion Tagging | Definition: Conveys the action/emotion the speaker takes when using dialogue, providing the reader with more show, than tell. | |||||||||||||||||||
|
Return to top or post contents |
This is for those times when your character laughs, snorts, smiles, etc. ‘Cause you don’t snort those words. You may, ahem, convey some spit, but, well, you know.
Instead, you use an action tag to convey how a line of dialogue is spoken, what’s going on with the speaker emotionally, physically, as a thought, or a description, adding much more detail and meaning to a conversation, describing the character or setting, worldbuilding, and more. |
|||||||||||||||||||
| Typical Action/Emotion Tags | ||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Rule: Remember. Action tags are not dialogue tags! | ||||||||||||||||||||
|
||||||||||||||||||||
| Examples: | ||||||||||||||||||||
“How are you this morning?” she asked with a smile. “You bastard!” she said, tears cascading down her pale cheeks, as she turned away with a sob. “George!” he said, glowering at his fidgeting son. |
||||||||||||||||||||
| Characterize Your Character | Rule: Action tags can help characterize your character(s) as well as provide information about a character’s backstory, emotional wounds, or physical attributes.
This aids in eliminating the “disembodied talking head” issue, helping the reader identify with the character. |
|||||||||||||||||||
|
Return to top or post contents |
“You’re killing me, Sarah.” Harry pinched the bridge of his nose and closed his eyes.
Matt shrugs his shoulders. “How should I know?” “I don’t know what you mean.” Mary turned toward the window, looking away from me. “I promise I am fine.” “My father?” He stiffened, and his voice raised an octave. “What about him?” Jane ran a hand through her thick, curly hair. “But what can we do about it?” Josh’s green eyes glittered in excitement. “Slow down, girl,” he said in a low growl. Credit to: Craiker |
|||||||||||||||||||
| Contradictory Emotion | Rule: Indicates reticence or unreliability about the character and their emotions, especially when their actions contradict their words.
Actions that say what the character can’t or won’t. A.k.a. alternative voice |
|||||||||||||||||||
|
Return to top or post contents |
“I’m fine.” Jorie dragged trembling fingers through her midnight black hair.
“I swear, I’m not going to tell anyone about this.” I rubbed my hand over the back of my jeans pocket, feeling for the wire. Margot relaxed her grip on the knife and pushed herself against me. I flinched at the stench of acrid sweat and stale smoke as she tucked her head into the side of my neck. “Promise you’ll never leave me,” she said. “Never.” I sized up the door and the window. “I love you. We’ll always be together.” The window looked flimsier, jumpable. Credit to: Harnby |
|||||||||||||||||||
| Dialogue Structure | Definition: Where the dialogue tag is positioned.
General Rule: Ideally, the tag comes after the dialogue as the spoken text is where you want your readers’ concentration. Naturally, there will be exceptions. The tag can also be positioned before or between. “Changing them around can create a more varied and interesting rhythm for your writing (The Write Life)”. |
|||||||||||||||||||
| Strip Dialogue | Definition: A quick back-and-forth conversation of one-liners which avoid the use of a tag.
The intention is to avoid interrupting the flow of the dialogue. |
|||||||||||||||||||
|
Return to top or post contents |
Rule: Throw in the occasional tag so the reader doesn’t lose track of who’s speaking. Especially if there are more than two characters! Too many times, I have found myself going back and using my finger to track who said what. I hate that. It interferes with the story. | |||||||||||||||||||
| “Have you seen Mary?”
“I thought she was out of town.” She got back yesterday. She was supposed to be gone for two weeks . . .? I guess something went wrong. |
||||||||||||||||||||
| Tag: Ideal Position | Rule: The ideal dialogue uses an ending dialogue tag.
It is now considered archaic to use said Greg; use Greg said instead. Naturally, this fashion will change. |
|||||||||||||||||||
|
Return to top or post contents |
“We’re all headin’ over to the club,” Greg said.
Not so usual is a starting dialogue tag, as it can push the emphasis to who’s speaking as opposed to what is being said: Greg said, “We’re all headin’ over to the club.” |
|||||||||||||||||||
| Tag: Between Speech | Rule: If you interrupt a complete sentence to insert a dialogue tag or an action:
|
|||||||||||||||||||
|
Return to top or post contents |
“If you think you can do it,” he said with a grin, “go ahead and jump.”
“At the end of the day,” he bellowed, “there’s always more soup!” “I hate doing dishes,” she said with a groan. She sighed. “I hate doing dishes.” “I much prefer doing dishes,” she said with a laugh, “than having to cook!” “It’s cold.” Katie shivered and crossed the room. The thermostat insisted it was seventy degrees. She shook her head. “I don’t care what that thing reads, it’s still cold in here!” (De Beauvoir). |
|||||||||||||||||||
|
||||||||||||||||||||
| Dialogue Punctuation | Rule: The ideal overall format begins with the actual dialogue and is followed by the dialogue tag.
CAUTION: If using an ellipsis or an em dash to end the dialogue, do not follow with commas or periods. |
|||||||||||||||||||
| Mark: Exclamation Question |
Rule: An exclamation or question mark replaces the comma within a dialogue tag.
NOTE: The speaker is lowercase as this is simply a continuation of the sentence. |
|||||||||||||||||||
|
Return to top or post contents |
“Hey, stop!” he cried.
“Where you goin’ with that?” he asked. |
|||||||||||||||||||
| Quoting Inside Dialogue | Rule: Use single quotation marks if quoting someone else or denoting poetry inside someone’s dialogue. | |||||||||||||||||||
|
Return to top or post contents |
“So, get this, then he says ‘Yeah, I stabbed him twice’ and I just took off outta there,“ Henry said. | |||||||||||||||||||
| Multiple Paragraphs of One Person Speaking | Rule: There are two schools of thought in how to punctuate more than one paragraph of a character’s dialogue: | |||||||||||||||||||
| Start and End only | Rule 1: Use one pair of double quotation marks: one at the start of the dialogue and one at the end. | |||||||||||||||||||
|
Return to top or post contents |
Each line is part of George’s dialogue.
George said, “Mary, we need to get on the road or we won’t get there until after dark. The beach toys are packed. Is the dog in his crate?“ |
|||||||||||||||||||
| Starting Double Quote | Rule 2: Chicago: Use one pair of double quotation marks at the start and end of the dialogue AND a starting double quotation mark at the beginning of each new paragraph until the dialogue ends. | |||||||||||||||||||
|
Return to top or post contents |
George said, “Mary, we need to get on the road or we won’t get there until after dark.
“The beach toys are packed. “Is the dog in his crate?“ |
|||||||||||||||||||
| Dialogue Effects | ||||||||||||||||||||
| Trailing Off | Definition: Indicates unfinished speech or thought, losing track of what the character is saying, getting distracted . . .
Rule: Use an ellipsis. |
|||||||||||||||||||
|
Return to top or post contents |
But I thought you wanted . . . |
|||||||||||||||||||
| Mumbling | Definition: Say something indistinctly and quietly, making it difficult for others to hear. | |||||||||||||||||||
|
Return to top or post contents |
Suggestion: The best method is to simply use a dialogue tag to say the character is mumbling. | |||||||||||||||||||
You are such a jerk,she mumbled. “Sorry,” George mumbled. Jean mumbled. “I hate you with all my heart.” |
||||||||||||||||||||
| Eliminate the Spaces | Rule: Remove all the spaces between words. | |||||||||||||||||||
|
Return to top or post contents |
Youaresuchajerk,she mumbled. |
|||||||||||||||||||
| Eliminate Letters | Rule: Remove vowels and replace them with apostrophes. | |||||||||||||||||||
|
Return to top or post contents |
Y’re s’ch ‘ j’rk,she mumbled. Could certainly work for drunken dialogue! |
|||||||||||||||||||
| Pausing | Definition: Indicates a pause between spoken words or a thought that will be continued.
Rule: Use an ellipsis. |
|||||||||||||||||||
|
Return to top or post contents |
But I thought you wanted . . . “I thought you wanted to . . . do things . . . to me,” she whispered. |
|||||||||||||||||||
| Interruption | Definition: An interruption is a break in thought, a change in tone. | |||||||||||||||||||
|
Return to top or post contents |
Rule: Use an em dash with:
|
|||||||||||||||||||
No! You can’t— |
||||||||||||||||||||
| Stuttering: | Definition: A continued involuntary repetition of sounds, especially initial consonants.
Rule: Use a dash between letters. |
|||||||||||||||||||
|
Return to top or post contents |
B-b-b-but, I th-thought | |||||||||||||||||||
| Stumbling | Definition: Being unable to pronounce a word, having a speech defect, being terrified, or stammering. | |||||||||||||||||||
|
Return to top or post contents |
Rule: Between each word fragment or word over which the character stumbles, use either a:
|
|||||||||||||||||||
| She’s pretty perz – purs – pursnick – picky person!
The witness is pretty cata . . . cata . . . not feeling well. |
||||||||||||||||||||
| Slurring | Definition: Being drunk or on drugs, mumbling, confused, or speaking unclearly. | |||||||||||||||||||
| Bbbbut, I ththought | ||||||||||||||||||||
C’mon, get it out of your system, bitch, whine, moan . . . which words are your pet peeves? Also, please note that I try to be as accurate as I can, but mistakes happen or I miss something. Email me if you find errors, so I can fix them . . . and we’ll all benefit!
Satisfy your curiosity about other Properly Punctuated posts on its homepage or more generally explore the index of self-editing posts. You may also want to explore Book Layout & Formatting Ideas, Formatting Tips, Grammar Explanations, Linguistics, Publishing Tips, Word Confusions, Writing Ideas and Resources, and Working Your Website.
Resources for Dialogue
Craiker, Krystal N. “Action Beats: The Author’s Multi-Tool.” Pro Writing Aid. 19 May 2020. Web. 9 Apr 2021. <https://prowritingaid.com/art/1139/action-beats-for-authors.aspx>.
De Beauvoir,Jeannette. “How Happy I am to See You He Burbled.” Beyond.com. n.d. Web. n.d. <http://beyond.customline.com/2007/03/18/how-happy-i-am-to-see-you-he-burbled/>.
Gerth, Sandra. “How to Use Action Beats in Your Writing.” Sandra Gerth.com. 4 Aug 2017. Web. 20 Apr 2021. <https://sandragerth.com/how-to-use-action-beats-in-your-writing/>.
Giammatteo, Giacomo. “Opinion: If You Need Fancy Dialogue Tags, There’s Something Wrong with Your Writing.” Self Publishing Advice.org. 14 Jan 2019. 9 Apr 2019.
Goulton, Iola. “Three Alternatives to Action Beats.” Christian Editing Services. 13 May 2020. Web. 23 Apr 2021. <https://christianediting.co.nz/dialogue-cues/>.
Harnby, Louise. “What are action beats and how can you use them in fiction writing?” The Editing Blog.com. 22 Apr 2019. Web. 11 May 2021. <https://www.louiseharnbyproofreader.com/blog/what-are-action-beats-and-how-can-you-use-them-in-fiction-writing>.
Hill, Beth. at The Editor’s Blog has a useful post, “Bad Dialogue — Bad, Bad Dialogue” that actually includes some good bits of dialogue, lol.
Isaman, Amy. “Lose ‘Said’ & Try Action Tags in Dialogue.” Amy Isaman.com. 15 Nov 2016. Web. 20 Apr 2021. <https://amyisaman.com/writers-resources/writing-craft/lose-said-try-action-tags-in-dialogue/>.
Jordan. “Realistic Dialogue: 5 Missteps to Avoid.” Now Novel.com. n.d. Web. 22 Apr 2021. <https://www.nownovel.com/blog/realistic-dialogue-avoid-missteps/>. Has some interesting information on the info dump.
Luke, Ali. “Dialogue Tags.” The Write Life. 6 Feb 2018. Web. 9 Apr 2019. <https://thewritelife.com/dialogue-tags/>.
— — . “Getting Dialogue Right: How to Use Dialogue Tags and Action Beats.” The Write Life. 5 Oct 2019. Web. 9 Apr 2021. <https://thewritelife.com/dialogue-tags/>.
Novel Writing Help addresses “9 Rules For Writing Dialogue” <http://www.novel-writing-help.com/writing-dialogue.html>.
Patterson, Amanda. “Improve Your Dialogue: Remove Those Adverbial Dialogue Tags.” Writers Write. n.d. Web. 23 Apr 2021. <https://www.writerswrite.co.za/ps-its-time-to-remove-those-adverbial-dialogue-tags/>.
Penn, Joanna. “9 Easily Preventable Mistakes Writers Make with Dialogue” is handy and succinct.
Pinterest Photo Credits
Likes To Close His Eyes While Kissing, <https://visualhunt.com/f2/photo/7700229300/f696b6f07c/>, by Tobyotter is under the CC BY 2.0 license, via VisualHunt.
