Posted in Craft, The Nitty Gritty of Children's Writing

Perfecting Dialogue Punctuation

talking.jpgDo you struggle with the proper punctuation for what people say in your stories? You’re not alone. Many writers labor to get this right. Let’s start with a review of the rules.

Punctuation Rules for Dialogue

1. Start with a quote (“) when someone begins speaking.

2. If what the person said is followed by an attribution (i.e. he said), end the dialogue with a comma and another quote mark(,”).
“I went to the store,” Ralph said.

3. When what was said is a question, use a question mark, quote mark (?”).
“Would you please buy milk?” Mom asked.

4. If instead of an attribution (i.e. she said), there’s an action, the dialogue will end with a period and a quote. (.”)
“Look what I found at the mall.” Mary pulled earrings out of the paper sack.

5. If a question has an action, still use the question mark, quote mark (?”).
“Would you please buy milk?” Mom handed me a five.

6. After an action or an attribution when the same person starts speaking again, use another beginning quote.
“I went to the gym,” Hector said. “Manuel and I played horse.”

7. Quotation marks come in pairs, a left and a right. (“…”) A quote mark without it’s mate is incorrect.

8. If the person speaking addresses someone by name, their name is separated by a comma.
“Hey, John, come here.”

9. Each sentence does NOT have a quote mark at the beginning and end when the same person continues speaking, unless interrupted by an action or an attribution.
“We went to Grandma’s house. I played with her dog. The cat ran.”

10. Generally, what one person says is all in one paragraph.
“I took my basketball to the gym,” Hector said. “Manuel and I played horse. Then Tommy and Kate showed up so we played two on two.” Hector smiled. “Manuel and I won.”

11. Start a new paragraph when a new person speaks.
“Hey, Mama?” I asked. “Can I go to the park?”

“Yes, you may.” She looked at her watch. “Dinner is in an hour. Make sure you are back in time, Danika.”

“My stomach will remind me.” I grinned and she grinned back.

Mainly, it takes practice, practice, practice to get the rules set in your brain. Here are a few suggestions that might help you engrain these rules.

Practicing Dialogue Punctuation

1. Print out your short story or chapter of your book. Take different colored highlighters or colored pencils and mark what one person says in one color. Exclude any actions, punctuation, or he said or asked, etc. Use another color for another person’s dialogue. When everyone’s dialogue is colored, look for these things:
• Quote marks at beginning and end of what each person says.
• Comma or question mark within quote mark right before an attribution (i.e. he asked, she shouted).
• Period, question mark or exclamation mark–use the latter sparingly–within quote mark when it is followed by an action (i.e. Dad slammed the door.).
• Is what someone says all in one paragraph before someone else speaks? Or before a change of scene?
• Comma(s) separating the name of a person being spoken to.

2. Take a published short story or book chapter with lots of dialogue and retype it to get the flow of how punctuation, action, dialogue, etc. mix in.

3. Turn on your word processor’s “Grammar Checker.” It can be very annoying as it usually isn’t set up for fiction, but it may help point out where your punctuation is wrong. Use the help option in your word processor to find out how to turn it on and how to customize it for your version of the software.

A lot of work? Yes. But work on it enough and the rules of dialogue punctuation will come automatically to your fingertips.

*picture courtesy of Mary R. Vogt and morguefile.com

Posted in Craft, The Nitty Gritty of Children's Writing

Do as I Say

Picture courtesy of Mary R. Vogt on morguefile.comfrothocamel.jpg
Have you ever found yourself telling a kid, “Don’t talk with food in your mouth,” and then realized you were doing the same? I once caught myself out when I reread an article I’d written on character development. Among the suggestions were questions to ask yourself about the character. I realized I couldn’t answer any of them for the main character on my current work-in-progress. Ouch! I wish I could say I was only on page one of my novel.
I know some writers write totally organically and learn their character as they go, but I know I need more. So why do I keep trying to do without the preparation? I wish I knew. I may have to make a sign to go above my computer, “Do you know who your character is?”
Or maybe it’s that I always have to get to a certain stage in a story before I care enough about all those details of my character to find them out. Of course, that definitely can cause major rewriting.
I’ve heard writers explain how they write very detailed bios of their characters, major and minor, before writing any of the story. Others fill out complex charts. For me that would be telling the character who they are more than discovering who they are.
On one work-in-progress I discovered my main character’s initials didn’t stand for what I thought they did. I’d given JD his name a long time ago, when his story idea was only a glimmer of an idea. I decided the J stood for Joshua. When pre-planning a scene in my head, another character asked JD what his initials stood for. He answered, “Jonah David.” Whoa! Time out! Where did that come from? But it felt . . . right.
So where does that leave me? Not totally in control.
But I think I need to work on a balance for this dichotomy. Some pre-planning, some organic, followed by more planning, followed by more organic. And, flexibility.
So don’t do as I say, or as I do. Instead figure out the best way for you to work out this issue of character development in your own work. Though if you have any tips, I’d love to hear them.

Posted in Craft, The Nitty Gritty of Children's Writing

Professional Problem Maker

kid-CurrentEvents

What catches attention? Bad news or good news? You only have to look at a newspaper, the internet headlines, or watch the TV to know the answer. Bad news gets more space and attention.
Think back to your school days. When kids whispered about a classmate was it because something good happened? Not usually. The “did you hear . . .” topics were about someone doing something wrong, getting caught, etc. The stories didn’t have to be true and often got worse as they spread.
Sounds a lot like fiction writing. Writers are paid to give characters problems and make them worse. Readers can’t necessarily solve their own problems, but reading how someone else solved a problem gives them hope.
In a novel the first problem introduced may not be the main one of the book. Here’s an example: “When my brother Fish turned thirteen, we moved to the deepest part of inland because of the hurricane and, of course, the fact that he’d caused it.” (Savvy by Ingrid Law). Mibs, the narrator, will be turning thirteen and finding out what she has to deal with when she gets her own savvy. First, however, we are introduced to her brother’s problem.
Short stories don’t have the time to deal with multiple problems or much character development. Like juicy gossip, a short story problem needs to start right away.
Launch a short story problem with action, dialogue, thoughts or a combination. Let’s take a girl who has lost the watch she borrowed. We could start with action: Wendy reached into her jeans pocket for the watch she’d borrowed from her older sister–it wasn’t there! A dialogue beginning might be: “Oh, no! Teresa’s watch is gone. She’s going to kill me!” Her thoughts could introduce the problem this way: It’s gotta be here, Wendy thought. I know I put Teresa’s watch in my pocket. No matter which way this story starts, the reader knows it is bad news for Wendy.
Here’s an example from a classic story: “There was once a prince, and he wanted a princess, but then she must be a real Princess. He travelled right round the world to find one, but there was always something wrong.” (“The Princess and the Pea”) By the end of the second sentence, we know there is a definite problem.
Some short stories may introduce the problem with the title of the story as “Who Will Care for Spot?” does. (Marilyn Kratz, Highlights) This problem is reinforced by the beginning lines. “Mom looked worried as she hung up the phone. ‘That was Jenny next door,’ she said. ‘She won’t be able to take care of Spot while we are on our vacation.’” Again, bad news.
Are you giving your readers bad news up front? Try it and see if sharing the problem early makes the readers worry and want to read on.

Posted in Craft, Guest Post, The Nitty Gritty of Children's Writing

4 Ways to Make Your Characters “Talk Different”

Guest post by the wonderful Bruce Hale!
aka The Writer Guy


Have you ever read a manuscript where everybody talks alike, and you can’t tell the characters apart without a constant “said Jack”? I have. This problem crops up again and again in unpublished manuscripts I’ve critiqued, and it’s one of the things keeping those authors from getting published.

But it doesn’t have to be that way.

If you want to make your characters stand out and be unique (i.e.: see the light of day in a published book), first try running your dialog through the cliché detector. Figures of speech can be so common you don’t even notice them – phrases like, “we’re not out of the woods yet,” or “don’t count your chickens before they hatch” tend to slip right past our radar. Don’t let them.
Make your dialog better than that, more original. In your dialog revision, take the time to establish a voice, even a lexicon for each of your main characters. It’ll make them stand out from each other, and more, it’ll make them jump off the page. Here are four ways to make your characters “talk different.”
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1. ATTITUDE:

Is your character defensive, combative, a know-it-all, a joker? Make sure that her dialog consistently reflects this.
Let your character’s attitude inform every utterance. As an example, take Deborah Wiles’ EACH LITTLE BIRD THAT SINGS. The obnoxious little boy, Peach, could have just said, “Good morning, Comfort,” when he came into her room. Instead he says, “It’s morning and I’ve come to see you!”
That little tweak shows us his quirky personality, as well as his attitude. Is he excited to see Comfort? Oh, yes. (Is she excited to see him? Not so much — and her dialog reflects this.)

2. EDUCATION:

Your characters’ level of education determines so much of their speech, from word choice to sentence length and complexity. Make sure that you take this into consideration and use it to set characters apart from each other.
Have the smart characters use bigger words than the rest; have the not-as-smart-as-they-think-they-are characters MISuse bigger words. In my book, FAREWELL, MY LUNCHBAG, janitor Maureen DeBree aspires to a more sophisticated means of expression than her education allows. That’s why she says things like “Don’t cast nasturtiums” instead of “Don’t cast aspersions,” and advises the detectives to use their powers of “reduction,” instead of “deduction.”

3. FRAME OF REFERENCE:
What does your character obsess over? What kind of background did he come from? What kind of world does she live in? These considerations will inform what your characters say and how they say it.
For example, in EACH LITTLE BIRD THAT SINGS, Comfort’s older brother, Tidings, is obsessed with all things military. When he greets her, he says, “Easy, Private!” When asked where the visitors are, he says, “The troops are reconnoitered in the back parking lot.” It’s never a challenge to know when Tidings is speaking, and his dialog reveals a lot about who he is and what his aspirations are.

4. EXCLAMATIONS

What kind of character would say, “Criminently”? What character would say, “Eeww, gross”? (Hint: probably not the same character.) Exclamations are a small touch, but if you use them right, they can help the reader zero in on the personality of whoever is speaking in a heartbeat.
For example, in the Dresden Files series by Jim Butcher, the hero, Harry Dresden, is a wizard/private investigator. He uses phrases like “Hell’s bells” and “Stars and stones” as exclamations, giving him a uniquely wizardly way of expressing himself. If he just said “damn” and “holy moley,” it wouldn’t have the same effect.
Take these four considerations into account, the next time you’re taking a closer look at dialog. And I guarantee, to paraphrase David Sedaris, that your characters will “talk pretty one day.”


BIO
bruce_hale.jpgEdgar-nominated author-illustrator Bruce Hale is passionate about inspiring reluctant readers to open books (and read them). He has written or illustrated more than 25 seriously funny books for children, including the award-winning Chet Gecko Mysteries series, Snoring Beauty (one of Oprah’s Recommended Reads for Kids), and the comics-novel hybrid, Underwhere. Read more about the books on Bruce’s website.
An actor and Fulbright Scholar in Storytelling, Bruce is in demand as a speaker, having presented at conferences, universities, and schools all across North America.
Plus, he’s one nice guy.

Posted in Before You Begin, Craft, The Nitty Gritty of Children's Writing

Picture Book Month

picturebookmonth.jpg
I once heard an editor say she wanted the following in pictures books:

  • humor
  • unique settings
  • memorable characters
  • emotionally engaging

I doubt every picture book needs humor or a unique setting, although those are great of course, but I bet the ones that last are the ones where we remember the characters and our emotions are stirred.

In honor of the first annual Picture Book Month, here is a sampling of picture books where characters have pulled my emotional strings in one way or another:

These I first read to my daughters:
• Are You My Mother? by P.D. Eastman
• Bread and Jam for Frances by Russell Hoban; illustrated by Lillian Hoban
• Crictor by Tomi Ungerer
• Harry the Dirty Dog by Gene Zion; illustrated by Margaret Graham
• Horton Hears a Who by Dr. Seuss
• Lyle, Lyle, Crocodile by Bernard Waber
• The Story of Babar by Jean de Brunhoff
• Strega Nona by Tomie de Paola
• The Very Hungry Caterpillar by Eric Carle
One my youngest daughter loved, that I actually found a bit odd:
• Love You Forever by Robert N. Munsch; illustrated by Sheila McGraw

These I first read to my grandsons:

• First Day Jitters by Julie Danneberg; illustrated by Judith Dufour Love
• Library Lil by Suzanne Williams; illustrated by Stephen Kellogg
• The Seven Silly Eaters by Mary Ann Hoberman; illustrated by Marla Frazee
Others I love:
• Big Bad Wolves at School by Stephen Krensky; illustrated by Brad Sneed
• Coyote Steals the Blanket by Janet Stevens
• Lilly’s Purple Plastic Purse by Kevin Henkes
• Mrs. Biddlebox by Marla Frazee
• The Recess Queen by Alexis O’Neill; illustrated by Laura Huliska-Beith
• See You Later, Alligator! by Laura McGee Kvasnosky
• The Wide-Mouthed Frog by Keith Faulkner; illustrated by Jonathan Lambert
After making this list, I’ve come to the conclusion I’m not reading enough recent picture books. Time to visit the bookstore!

Here are some Best Picture Book lists:
49 brilliant picture books from the past 5 years as chosen by award winning illustrators
Best Picture Books 2010: David Wiesner, Jon J. Muth, Louise Yates and Other Spectacular Illustrators Honored – 10 from the Huffington Post
The Best 25 Picture Books of 2010! – books4yourkids.com
From ‘Brothers Grimm’ to ‘Stuck,’ the 11 Best Picture Books of 2011 – The Atlantic
Best picture books of 2011 – Lindsay Weiss on babycenter.com

Are you sharing your favorite picture books? Or giving them as presents next month?