Many authors are advised to “observe the conversations” around them, and properly analyse how we communicate. This is partly excellent advice, and partly terrible! Below I will explain what I mean, and provide suggestions for writing realistic dialogue in your novel.

Observe Real Conversations

One of the best ways to learn how people talk is to really listen.

Next time you’re on a bus, sitting in a café, or waiting in a queue, tune in to the conversations around you. Notice the rhythm of speech, the way people overlap, interrupt, trail off, and jump between topics. Watch their gestures too – how one person rarely talks for long without doing something: stirring their coffee, checking their phone, rubbing their hands together, or glancing at the clock.

These small, physical beats (known as action beats) are pure gold for a novelist. They bring dialogue to life because they remind the reader that your characters are human beings, not disembodied voices floating in the void. When someone speaks, they’re almost always doing something else too.

You might hear something like this:

“I told him I’d— No, hang on, let me just … yeah, I said I’d sort it tomorrow, but he, well, he’s not exactly patient, is he?”

That sounds real because it is real. There’s interruption, hesitation, and movement. But how well would that translate onto the page? Is it engaging? Is it dull? Is it too realistic?

Why Real Dialogue Doesn’t Work on the Page

Here’s the thing: real conversation is actually quite dull to read.

When we talk in real life, we fill our speech with ums, ahs, “you know”s, and “like”s. We repeat ourselves, lose our train of thought, talk over each other, and meander off-topic. That’s fine in real life – it’s how we communicate – but on the page it’s painful.

Try transcribing an actual conversation and you’ll see what I mean. It’s messy, repetitive and full of filler. Readers don’t want to slog through that. They want the essence of natural speech, not a literal representation of it.

So when you write dialogue, you need to loosely base it on real conversations, but be careful to leave out the bits that are neither furthering the plot nor improving characterisation.

The Art of Polished Realism

The goal is to create dialogue that feels real but reads beautifully. This is a true art form, and it’s not easy. Here are some suggestions to help you pull this off:

1. Cut the filler

You can skip the “hello”, “how are you?”, “good thanks, and you?” unless those pleasantries reveal something about the relationship between characters. Otherwise, jump straight into the meat of the exchange. Readers will thank you.

2. Use interruptions and pauses

Real people rarely let others finish entire paragraphs before responding. Add interruptions, hesitations, and unfinished thoughts to give a natural rhythm. Just don’t overdo it – too many dashes and ellipses can be distracting.

“I didn’t mean— well, you know what I meant.”

“No, actually, I don’t.”

That kind of back-and-forth creates energy.

3. Add action beats

Break up dialogue with action beats. These serve multiple purposes, and are essential for good dialogue. They can:
– indicate who is speaking (because whoever did the action said the words)
– provide information about the surroundings (he brushed snowflakes from his shoulders)
– add depth to characters (she stopped to catch her breath. Damn, she was unfit.)

“I told you already,” she said, twisting the ring on her finger.

Those small gestures are powerful because they show emotion without spelling it out.

4. Keep each voice distinct

Every character should sound like a unique person. Think about background, education, region, age and temperament. One character might be blunt and clipped; another might ramble or use metaphors. You don’t need to rely on heavy dialect or slang (see here for why not) – subtle differences in rhythm and vocabulary often do the job far better.

Balancing Realism and Readability

The sweet spot lies somewhere between authenticity and clarity. Your dialogue should sound plausible – as though real people might say it – but still be interesting and easy to follow.

When writing dialogue, ask yourself:

• Does this line reveal character or move the story forward?
• Is there a simpler or sharper way to say this?
• Could this be shown through action instead of speech?

Final Thoughts on Realistic Dialogue

Realistic dialogue is less about mimicking reality and more about capturing its rhythm and truth. It’s the illusion of authenticity that counts. By observing how people speak – their interruptions, their gestures, their half-finished thoughts – and then editing ruthlessly for clarity and flow, you’ll craft engaging dialogue that feels natural.

You might also be interested in looking at my other blog posts that talk about dialogue.

If you would like support with editing your novel, please do get in touch.

The post Realistic Dialogue is Tricky! appeared first on MandaWaller.

Why Use Grunts, Groans, and Verbal Tics in Dialogue?

Listen to the conversations going on around you. How often do you hear a completely smooth conversation without a single hesitation or filler word? Real speech is messy. Including grunts, groans, and verbal fillers in your dialogue can:

• Add authenticity: Realistic speech makes characters relatable.
• Reveal emotions: A sigh can convey sadness, frustration, or relief without needing a long description.
• Show hesitation or discomfort: An ‘uh’ or ‘um’ can reveal a character’s uncertainty or nervousness.
• Break the monotony of perfect speech: Perfectly polished dialogue can feel artificial, especially in informal settings.

The Fine Line Between Realism and Overkill

By including grunts, groans, ums, ahs and ers, you will add depth to your characters and create dialogue that’s more natural and engaging. However, it’s crucial not to overdo it. Excessive grunts and fillers can frustrate readers and bog down your story. As with so many things, balance is key.

Do:

• Use verbal tics sparingly to emphasise important moments.
• Match the tone and personality of the character.
• Vary your approach across different characters.

Don’t:

• Overload dialogue with sounds to the point where it becomes unreadable.
• Use the same filler repeatedly for multiple characters.
• Let fillers overshadow the actual dialogue.

How to Write Grunts and Groans in Dialogue

Grunts and groans are fantastic tools for expressing emotion, but be careful to use them consciously.

1. Match the Sound to the Emotion

Each sound has its own emotional resonance:

• Grunts: Indicate frustration, effort, annoyance or disgust.
  • Example: He heaved the heavy crate into the truck. ‘Ugh,’ he muttered, smelling his armpits.
• Groans: Suggest pain, reluctance, or exasperation.
  • Example: She groaned. ‘Do we have to?’ she asked, dragging her feet. (Note that in this example, ‘groaned’ is not a dialogue tag. Do you think it’s possible to groan a whole sentence?)
• Sighs: Convey relief, sadness, or resignation.
  • Example: She exhaled a long sigh. ‘I guess you’re right.’

2. Describe the Sound

If a simple ‘ugh’ or ‘pffft’ doesn’t seem to provide enough detail or you’re worried your readers might miss the nuance, you can always use verbs like ‘she huffed’ or ‘they grunted’ to give readers context.

• Example: He let out a low, guttural grunt, the kind that said ‘I’m too tired for this.’

3. Use Onomatopoeia (But Wisely)

Onomatopoeia – words that imitate sounds – can add flair to your writing. Stick to common spellings and avoid getting too creative with sound effects.

• Good: Hmm. Ugh. Huh?
• Overkill: Hnnnnnngh. Grraaaargh. Ploooop.

Also remember that if you want to elongate a sound, make sure you stretch the right part of the word. So argh becomes aaaaaargh, and not arghhhh.

4. Tailor Sounds to Each Character

Just as people have unique voices, they also have unique verbal habits. Your stoic, no-nonsense detective might grunt to express annoyance, while your chatty teen might lean on ‘umm’ when stalling for time.

• Example:
  • Detective: ‘Hmph. Not much of a lead, is it?’
  • Teenager: ‘Um, I mean, like, I guess?’

Writing Ums and Ers: Filling the Gaps

Verbal fillers like ‘um’ and ‘er’ are excellent for showing hesitation or thought processes. However, these need to be handled carefully or they can really, like, become, er, irritating.

1. Keep It Natural

Think about how people use fillers in real life. They usually indicate:

• Searching for the right word.
• Stalling for time.
• Feeling nervous or unsure.
• Example: ‘I, um, think we should go this way?’

2. Limit Their Use

While fillers can make dialogue realistic, too many can frustrate readers. Use them sparingly and purposefully.

• Overdone: ‘So, um, I was, uh, like, thinking, er, maybe we could, um, you know, go?’
• Balanced: ‘So, um, I was thinking maybe we could go?’
• You can also use ellipses to good effect: ‘So… I was thinking maybe we could go?’

3. Vary the Placement

Don’t always stick fillers at the beginning of a sentence. Mix things up for realism.

• Example:
  • ‘Um, I think we should wait.’
  • ‘I think we should, um, wait.’

Using Body Language Alongside Sounds

Grunts, groans, and verbal fillers often go hand-in-hand with body language. Pairing them creates a richer, more vivid scene.

• Example:
  • Sound only: He sighed. ‘Fine, I’ll do it.’
  • Sound + body language: He sighed, running a hand through his hair. ‘Fine, I’ll do it.’

You can see how adding body language makes the moment feel more alive and grounded.

Avoiding Common Pitfalls

When writing grunts, groans and fillers, keep these tips in mind to avoid common missteps:

1. Don’t Overuse Sounds for One Character

If every line of dialogue includes an ‘uh’ or ‘ugh’, it will quickly become annoying. Diversify your character’s speech patterns.

2. Avoid Confusing Spelling

Stick to commonly understood spellings for sounds. Overly creative spellings can confuse readers and pull them out of the story.

• Example:
  • Simple: Pfft
  • Confusing: Pffffffffffthhhhhhhht

3. Balance Realism with Readability

While real-life speech is full of fillers and sounds, when writing a novel you need to make sure that every word counts. Aim for a balance that feels natural but doesn’t overwhelm (or annoy!) the reader.

In Conclusion: Making Your Dialogue Sing (and Groan!)

Grunts, groans, ums, and ers might seem like minor details, but they play a big role in creating realistic, engaging dialogue. When used thoughtfully, these sounds can highlight a character’s emotions, show hesitation or thought processes and add authenticity and texture to your story.

Remember, though, that balance is key – a little goes a long way. If you’d like to chat about having your novel edited, please do contact me. I’m always happy to answer questions.

The post How to Write Grunts, Groans, Ums, Ahs and Ers in Your Novel appeared first on MandaWaller.

As with most things fiction, there are many ways to add emphasis to your writing, and there are no “rules”. However, there are conventions and – more importantly – reader expectations. And which method you choose can have an impact on reader engagement, which in turn will have an impact on your book sales.

Italics

A common way to add emphasis to your writing is to use italics. This is probably the first choice for many fiction authors, but there are a couple of caveats. Firstly, what else are you using italics for? Frequently, italics are used to indicate a character’s thoughts or inner dialogue, and they are often used for flashbacks or quoted text. Some authors still choose to italicise words that are not English (although this custom is becoming less common).

So be careful not to confuse your readers by using italics for too many different things.

Also be aware that large chunks of text in italics can be wearing on the eye, and italics doesn’t always translate well on e-readers.

CAPITAL LETTERS and Capital Initial Letters

Using capital letters does certainly bring emphasis, but it can also bring irritation. Frequently, readers see capital letters as a way of indicating that a character is SHOUTING. Which, in itself, is absolutely fine. However, a character who’s CONSTANTLY SHOUTING can undermine their credibility, and (worse), the credibility of your writing. When used judiciously, capitals can work well – particularly when just the Initial Letter is capitalised. Capitalising just the initial letter(s) adds a layer of importance, giving the word equal weight with a Proper Noun.

But again, capitals can get a little shouty, and again, they should be used judiciously.

Exclamation Marks!

Exclamation marks are used to indicate moments of high tension, drama and humour, and they are fantastic at indicating to your reader that they need to bring a degree of energy to the sentence they are reading.

However, it’s really hard to maintain a high level of energy for a prolonged period of time, so try to avoid having multiple consecutive sentences ending in an exclamation mark! Some readers are also irritated by the use of exclamation marks, and I always recommend they are limited where possible, and used only for really intense/dramatic moments. This can mean using exclamation marks only once or twice per chapter, or even once or twice per book.

Where a character is exclaiming something, then it’s only necessary to use either an exclamation mark, or the “she exclaimed” dialogue tag. Not both.

If overused, exclamation marks will start to lose their impact. So again, judicious use is recommended.

Interrobangs ?!

The combination of the question mark and the exclamation mark is known as an interrobang. The interrobang is a little like the baddum-tish at the end of a bad joke – it wouldn’t be necessary if the joke was better. Interrobangs are like a pumped-up exclamation mark that comes along to smack you in the face. If this is the effect you are looking for, then of course please go ahead. But if you want a more subtle emphasis, then definitely choose a different option.

Bold text and Underlined text

Publishers rarely use bold text in the body of a book – generally it’s reserved for titles and headings, and underlined text can make things look cluttered.

So how should you add emphasis to your writing?

Where a character is having an extreme reaction to something, this should be clear from the words they are using, the length of their sentences, the way their body moves and the way other characters are reacting to them.

When you want your reader to have a reaction to something in the text, the same conventions apply. Manipulate their responses using a different sentence structure – like this one – that brings emphasis to words or actions purely by the way it’s put together.

Show your readers moments of intensity with careful vocabulary and thoughtful writing craft rather than telling them about it with punctuation.

And if you do choose to use italics, capitals, exclamation marks or interrobangs, make sure to only use them one at a time. Avoid sentences that Include Capitals, WORDS THAT ARE ITALICISED, and that end in an exclamation mark! Because these are just plain irritating.

Don’t forget that your editor can help you with this as part of their line editing or developmental editing services, and please do get in touch with any questions.

The post How to Add Emphasis to your Writing appeared first on MandaWaller.

In this post, I’ll have a look at the key aspects of pacing and flow, and give you some tips to help you keep your readers hooked.

Pacing. What is it and why does it matter?

Pacing refers to the speed at which your story unfolds. It’s all about the rhythm of your narrative and how things move from one moment to the next. Think of pacing as the heartbeat of your novel—it dictates how quickly (or slowly) the plot develops and how much breathing space you give your readers between important moments.

Get the pacing wrong, and you’ll lose your readers.

If things move too slowly, your readers may get bored and – even worse – put the book down, never to finish.

On the other hand, if the pace is too fast, details may get missed, and readers may feel overwhelmed and disoriented.

Finding the pacing sweet spot is tricky. There needs to be enough tension and excitement to keep people turning the pages, but also enough time to give your audience space digest important moments, connect with characters, and understand the stakes.

Flow: The Secret to Smooth Reading

Flow is how effortlessly your story moves from one idea to the next. How well do your scenes transition? How clear is your prose? Are your readers being pulled out of the narrative by awkward phrasing or confusing shifts in time (or perspective).

You want your readers to enjoy the journey from beginning to end, almost without noticing that they are travelling.

If your story flows well, it’s much easier to manage pacing, because the transitions between scenes and chapters feel natural, helping to keep the momentum going. How do you edit your manuscript to improve pacing and flow?

Tip 1: Vary Sentence Length

An effective way to manage pacing and flow is to experiment with sentence length. Short, punchy sentences speed up the pacing, especially in action scenes.

For example: “She jumped up. The window was opening. Don’t think! Just run!”

The pace in this example is fast and frantic, adding tension and drama. If you described the same moment with long, winding sentence, the urgency would be lost.

Longer sentences slow things down. This can be a really useful tool when you want to give your reader some space from all the drama, or dive into more emotional, thoughtful scenes. Descriptive passages often benefit from a slower pace, allowing readers to take in the atmosphere or the character’s internal monologue.

For example: “The moon was full and round, sending silvery light across the ocean. He took a deep breath, feeling the tension slip from his heart, and turned to face his future.”

It’s also important not to use the same sentence length too much. Keep an eye out for things starting to feel repetitive or monotonous, and vary the rhythm to control how your readers experience the moment, whether it’s fast-paced action or slow reflection.

Tip 2: Cut the Fluff to Tighten Pacing and Flow

One of the most common pacing issues authors face is unnecessary fluff. Every word, paragraph, scene and chapter needs to service a purpose. Too much description, repetitive information, or dialogue that doesn’t move the plot forward should be trimmed or removed completely.

Ask yourself:

• Does this scene contribute to character development or advance the plot?
• Is this description necessary, or am I adding it just because I like how it sounds?
• Could I convey the same information with fewer words?

Have a look at my series of blog posts about tighter writing for more suggestions on how to implement this.

By cutting unnecessary words, you speed up the pacing and ensure each moment of your story has impact.

Tip 3: Use Scene Breaks and Chapter Endings Strategically

Another effective way to control pacing is through scene breaks and chapter endings. These act as natural pauses for readers, giving them a moment to process what just happened before jumping into the next part of your story.

However, scene breaks can also be used to create suspense. If you end a chapter or scene with a cliffhanger, this will encourage your readers to keep reading.

Use these strategic breaks to control the pacing—sometimes a quick scene break speeds things up, while longer scenes or chapters can slow things down when needed.

Tip 4: Make Sure Dialogue Is Snappy

Dialogue is a great tool for controlling pacing, but it can also be a pacing trap. If your characters are discussing the same thing for pages without moving the plot forward, the pacing will feel sluggish.

When editing dialogue, make sure each line has a purpose:

• Does it reveal something new about the character?
• Does it advance the plot or build tension?
• Could this exchange be shorter without losing its impact?

Snappy dialogue keeps readers engaged, especially during tense or emotional scenes.

Tip 5: Watch Out for Info Dumps

Info dumps—where you unload a huge chunk of backstory or exposition in one go—can seriously disrupt both pacing and flow. These sections can feel like a detour from the main plot, slowing down the action and overwhelming readers with too much information at once.

Instead, try to spread out backstory and exposition, weaving it into the narrative where it feels natural. Let readers discover information as they need it, rather than front-loading everything at the beginning.

This method keeps the pacing tight while giving readers the information they need in a way that feels immediate and relevant.

Tip 6: Keep Transitions Smooth

Finally, let’s talk about scene and chapter transitions. Abrupt changes between scenes can confuse readers and pull them out of the story. Check how each scene transitions into the next. Is it clear how much time has passed? Have you established the new setting or character viewpoint smoothly?

A simple time marker or setting shift can work wonders for keeping the flow smooth. For instance: “Later that afternoon, Richard went into the pub.”

Or: “When they arrived in Birmingham, it was already time for dinner.”

These small details (also called signposts) will help your readers to orientate themselves, making the transitions between scenes or chapters feel seamless.

Final Thoughts: Pacing and Flow Make All the Difference

It can be tricky to get pacing and flow right, but if you
crack it, your manuscript will feel more polished, the reading will be more
effortless and, most importantly, your readers will stay engaged, ensuring your
book doesn’t end up on the DNF [did not finish] pile.

The post Pacing and Flow: Editing Tips to Keep Readers Engaged appeared first on MandaWaller.

The Heart of Your Story: Why Characters Matter

Characters are at the very heart of your story. They drive the plot and make your readers laugh and cry. They connect your readers to the narrative. It doesn’t matter how sophisticated your plot is, without well-developed characters it’s going to fall short. A truly compelling character can elevate your book from good to excellent.

Know Your Characters Inside Out

Before you start writing, spend some time getting to know your characters. Create detailed character profiles. Include their background, personality traits, motivations, and even their quirks. Think about their childhood, their relationships with family and friends … the more you know about them, the more authentic they’ll feel.

Show, Don’t Tell

Showing rather than telling is particularly important when it comes to creating compelling characters. Instead of stating that a character is brave, show them in a situation where they have to face their fears. Use actions, dialogue, and internal monologues to reveal who they are. This approach not only makes your characters more believable but also engages readers more deeply.

Give Them Flaws

No human being is perfect, so neither should your characters be. Perfect characters can also be a little boring, whereas imperfections make them interesting and relatable. Give your characters flaws, weaknesses, and struggles. These human traits make them more relatable and provide room for growth and development. Think of Elizabeth Bennet’s prejudice or Harry Potter’s impulsiveness – these flaws make them memorable and endearing.

Develop Strong Motivations

Your characters need clear motivations that drive their actions and decisions. Think about what they want, but also think about why they want it, and what they are willing to do to achieve it. Characters with vague or weak motivations are less convincing, and fail to fully engage the reader. Strong motivations, by contrast, add depth and believability.

Let Them Evolve

Characters need to be changed by what they experience during your story. They need to evolve. Their experiences should shape them … and this transformation is what keeps readers invested. Whether it’s a hero overcoming their fears or a villain finding redemption, character arcs are essential for a satisfying narrative. Ensure your characters’ growth feels natural and earned, not forced or rushed.

Dialogue: Make It Count

Dialogue is a powerful tool for character development. Each character should have a distinct voice that reflects their personality, background, and motivations. Try not to make your characters sound the same. Can you tell who is speaking, just by the way their dialogue is written? Pay attention to their speech patterns (long or short sentences?), vocabulary (which may be dictated by their education), and tone. Well-crafted dialogue can reveal a lot about a character without needing to spell it out.

Conclusion: Keep Crafting Compelling Characters

Creating compelling characters is both an art and a science. It requires creativity, empathy, and attention to detail. As an editor, my job is to help writers bring their characters to life in the most authentic and engaging way possible. So, keep crafting, keep refining, and most importantly, keep believing in your characters. They are, after all, the heart and soul of your story.

The post Compelling Characters appeared first on MandaWaller.

Of course hiring a freelance editorial professional is always going to elevate your manuscript to make it more readable and more marketable. But the better your manuscript is before you send it to a fiction editor for some professional attention, the better your final published book will be.

I’m a freelance editorial professional, and my job is to look at manuscripts and check for issues with punctuation, grammar, typos, word choice, pace and inconsistencies. But there are many things that you – the novelist – can do to elevate your manuscript before you look for a book professional to copyedit, line edit and proofread your book.

Below is part two of my list of self-editing tips for indie fiction authors – see here for part 1!

11 – Action Beats

Action beats are the actions that happen while people are speaking. They help to ground the dialogue – making your characters more three-dimensional and real.

When we talk to people, we rarely sit and just talk. We are also looking out of the window, sighing, picking up a biscuit, putting down a coffee cup, scratching a body part.

Action beats not only make the dialogue more natural and interesting, they can also tell us who is speaking.

Rachel scratched her nose. “Is it raining?”

The action beat (Rachel scratched her nose) is on the same line as the dialogue (“Is it raining?”) – in this context, this means that whoever did the action is the one doing the talking.

If there’s any confusion, you could also add the dialogue tag:

Rachel scratched her nose. “Is it raining?” she asked.

Now it’s 100% clear that it’s Rachel who is asking, but you haven’t had to use the name in the dialogue tag (meaning it’s a little less clunky).

Writing dialogue is tricky – and this is just another way to keep it more realistic, and to make it a little more interesting.

12 – Past Tense or Present Tense?

Present Tense

This can be more immediate, bring more intensity and make the reader feel like they are properly immersed in the story. However, it can be tricky to write.

Past Tense

Most novels produced today are written in the past tense. Partly because that’s what we are used to reading (making it easier to write), and partly because it does allow for more authorial control.

But Which is Better?

The short answer is that it doesn’t matter, as long as you remain consistent throughout your novel.

If you’ve written your novel in the past tense, make sure you haven’t accidentally slipped into the present tense.

And if you’ve written your novel in the present tense, make sure you haven’t accidentally slipped into the past (unless it’s a flashback).

13 – Contractions

Contractions are another useful way to make dialogue more realistic.

Examples of contractions:

Shouldn’t (rather than should not)

Haven’t (rather than have not)

Won’t (rather than will not)

Unless your characters are from a different era (when the contractions listed above were less prevalent), or you want your characters to seem a little pompous or formal, then contractions will help you make your dialogue more natural.

This applies to some genres more than others – for example, in YA novels, the main characters are generally teenagers, and most teenagers will speak using contractions, so I’d recommend always considering contractions in your dialogue.

The same applies to any novel set in contemporary times, unless you want your characters to speak more formally. If you listen to dialogue going on around us, it’s very (very) unusual to hear people speaking without contractions. Even King Charles uses them.

Whether you choose to use contractions in your narrative is up to you – but I’d argue that if you want your novel to feel accessible and natural then it’s a good idea to use contractions in your narrative too.

14 – Character Descriptions

How are you handling character descriptions in your novels?

There is a tendency for authors to infodump details of a character’s appearance. This is where the reader is given ALL the details – hair colour, eye colour, height, skin colour, hairstyle, length of legs, waist circumference – in one paragraph.

Although you might want your readers to see how your character looks, this is not a particularly interesting way to present the information.

Instead, my recommendation would be to drip-feed character description, and to weave it into the narrative so the reader can interpret it for themselves.

So rather than telling us that a tall, dark-haired man walked into the room, how about having him duck his head slightly as he walks through the door, and then in a later passage describe how his dark hair is damp from the rain?

This shows us how a character looks (rather than telling us) and provides more character depth.

15 – Overuse of Stage Directions

Sometimes authors write a book in the same way as they would write a screenplay – describing in great detail how a character is moving and the steps necessary to perform a task or get from A to B.

A typical example of over-use of stage direction would be:

He opened the car door and climbed into the driver’s seat, shutting the door behind him. Putting on his seatbelt, he put the key in the ignition, turned the key until the engine sprang to life, then put the car in gear, released the handbrake and pulled away.

Most of this detail isn’t needed. And – let’s face it – it’s incredibly boring. Instead, you could simply say that he got in the car and drove away.

The only time this kind of detail would be necessary is when something happens that’s out of the ordinary. Maybe the driver is interrupted by something extraordinary as he’s starting the car, or maybe the driver is in fact from a different planet and has some kind of physical difference that makes the process of starting the engine difficult.

But most of the time it’s better to leave this detail out. The reader will work it out for themselves.

16 – Tentative Language

Are you using tentative language in your novel?

Examples of tentative language:

Frank goes to switch off the light (rather than Frank switches off the light)

Rachel started to stand up (rather than Rachel stood up)

If Frank was interrupted on his way to switching off the light, or something stops him from performing his task, then the tentative language is needed:

Frank goes to switch off the light, but Rachel stops him.

If Rachel was interrupted as she moved into a standing position, then once again tentative language is needed:

Rachel started to stand up, but the pain shot through her ankle.

But if nothing unusual happens to interrupt these actions, the tentative language is just giving your writing an undertone of uncertainty and a lack of definition.

If you remove the uncertainty and remove the tentative language, it can make your readers subconsciously feel better about your book.

17 – Too Much Description

Lots of authors visualise a scene as they are writing it – and sometimes this can result in too much description that doesn’t add anything to the tone, scene-setting or plot.

It’s honestly not necessary to describe a room in all its glorious detail – unless those details are pertinent.

Do your readers really need to know the precise location of the couch in relation to the window?

Is the colour of the curtains adding anything?

Avoid using unnecessary description.

18 – Chapter Endings

It’s important to keep your readers engaged, and keep them reading.

Chapter endings can play a big part in this – a well-written, well-timed chapter ending will prevent your readers from putting your book down.

Nailing chapter endings comes down to three things: cliffhangers, foreshadowing and timing it right.

Cliffhangers

Ending your chapter with a who-fired-the-gun cliffhanger will keep your readers turning the pages. However, not every chapter needs to end in a cliffhanger. This would be a lot of work to write, and would also be exhausting to read.

Foreshadowing

Ending your chapter with a glimpse of something that’s going to happen in the future can add a touch of intrigue – not as dramatic as a cliffhanger, but still engaging.

Timing it right

Often towards the end of a chapter there will be some action or some drama … followed by a paragraph or two of less exciting closing details where the characters say goodbye to each other, leave the room, put the phone down.

These less exciting details can frequently be removed – readers will know that people leave the room/put the phone down/say goodbye.

It’s better to leave the chapter at the drama point, rather than unnecessarily tie up loose ends.

19 – Make it Look Professional

It’s conventional in novels for the first line in each paragraph to be indented EXCEPT for the first paragraph in a new chapter or section.

The first paragraph in a new chapter or section needs to remain flush left.

Try not to use tabs to indent your manuscript – this will result in inconsistent indents (and it’s a lot of extra keys to press!).

Instead, if you are using MS Word, you can use the built-in styles.

If you don’t know how to use MS Word’s styles, then just use the sliding tab that appears at the top of the page as part of the ruler.

Using indents properly will mean that when someone opens your book for the first time, it will look like it’s been properly formatted.

20 – Remove those Double Spaces!

We used to add two spaces after a full stop/period. This dates back to when we were using typewriters, to make sure there was enough space after a full stop to help the reader spot a new sentence.

We no longer need to add these two spaces after a full stop/period, as computers do a great job of adjusting the spacing for us.

A lot of us still automatically include two spaces – if this is you, then it’s a really easy thing to fix when you’ve finished your manuscript. Just search for two spaces and replace them with one.

In Conclusion

This is part two of my self-editing tips for fiction authors – please see here for part 1. And if any of the above tips are unclear, please do email me – I’d love to hear from you.

The post More Self-Editing Tips for Fiction Authors appeared first on MandaWaller.

The better your manuscript is before you send it to a fiction editor for some professional attention, the better your final, published book will be.

Authors and editors can work together to ensure better readability – this in turn will make your book more marketable and will result in better reviews.

I’m a freelance editorial professional, and my job is to look at manuscripts and check for issues with punctuation, grammar, typos, word choice, pace and inconsistencies. But there are many things that you – the novelist – can do to elevate your manuscript before you look for a book professional to copyedit, line edit and proofread your book.

Below is part one of my list of self-editing tips for indie fiction authors – see here for part 2!

1 – Let It Rest

When you’ve finished writing your first draft, and you’ve just typed “THE END”, should you start self-editing immediately?

You may be relieved to have reached the end of your manuscript, and you may need a break (everyone is entitled to a holiday, even full-time writers!).

However, you might be tempted to jump straight back to the start and begin the first round of self-editing.

Either way, it’s best not to start editing immediately. Put your manuscript in a digital drawer and leave it to percolate, ferment, breathe.

How long you do this for is up to you, but I’d recommend a minimum of two weeks.

During this time, you don’t have to stop writing, but you should try really hard not to tinker with your manuscript.

When you come back to your manuscript, you will find that you have a different perspective, and you are far more likely to pick up on far more things than if you’d barrelled straight into the editing process immediately.

Giving yourself a break is good for you, and good for your manuscript!

2 – Dialogue Tags

Is it possible to nod words? Or smile them? Or shrug them?

I’d argue that none of these work as dialogue tags (with certain exceptions – some fantasy sub-genres being one of them).

It might just about be possible to cough, sigh, hiccup or laugh a word. But definitely not a sentence.

And you really can’t sneeze words. Except maybe “aachoo”.

The safest dialogue tags are said, asked, replied. Whispered, shouted, mumbled, yelled are also perfectly fine.

I’ll leave you with these fine examples (which I’d recommend you avoid!): posited, opined, husked, ejaculated.

Note:
– If your dialogue ends with a comma before the closing quotes, what comes after the closing quotes is a dialogue tag.
– if your dialogue ends with a full stop or period before the closing quotes, what comes after the closing quotes is an action beat.

3 – That

There are a lot of people who don’t like the word “that” when it’s used as a conjunction. I’ve heard stories of authors being told to remove them all from their manuscripts.

Sometimes, the word “that” is necessary for clarity, pace or tone. But sometimes it’s just not needed.

Have a look at this:
I knew that he was going to be late -vs- I knew he was going to be late.
It was obvious that she was younger than him -vs- It was obvious she was younger than him.

In both these examples, the word “that” can be removed without affecting the meaning or clarity. You could possibly argue that the tone is slightly different, and of course that’s the author’s call.

However, if a word can be removed without impacting on clarity or meaning, it’s an indication that its use should be reviewed.

Removing the “that”s in the sentences above removes clutter, and this is always something to be promoted.

There ARE some sentences where the word “that” is needed as a conjunction:

I’ve heard that you snore -vs- I’ve heard you snore

The second example (I’ve heard you snore) could mean two different things (I’ve heard THAT you snore, or I’ve heard you snoring), so in this case, the word that is needed for clarity.

4 – Strong Verbs

You’ve probably heard how editors don’t like adverbs.

This is because the presence of adverbs often indicates the presence of weaker verbs.

(An adverb is just a word that modifies a verb – so in the sentence “I ran quickly”, the word “quickly” is an adverb, modifying the verb “to run”.)

Have a look at the verbs you are using in your manuscript.

Do you find yourself leaning on adverbs to support weaker verbs?

Are your characters running quickly (when they could be sprinting), walking cautiously (when they could be tiptoeing), speaking quietly (when they could be whispering), speaking quickly (when they could be blurting)?

Often, adverbs are an indicator that your narrative (or dialogue) could be strengthened by reviewing your verbs.

5 – Lengthy Monologues

Have a look at your dialogue.

Do you have large paragraphs where one person is constantly speaking?

This doesn’t tend to happen in real life.

Even when someone is giving a speech, they are still looking around the room, looking down at their notes, taking a sip of water, pointing at something on the screen.

In everyday conversation, when someone is talking it’s very rare for them to go on for too long without being interrupted, or without the other people in the room saying or doing something.

Not only is it unrealistic to have lengthy uninterrupted monologues in your novel, it also results in a lack of white space on the pace. Solid blocks of text make your manuscript harder to read, and too many of them are likely to put your readers off (even if only subconsciously).

So this tip is to review your lengthy monologues and see if they can be broken up with action beats, or other characters joining in.

6 – Removing Redundancy

Can you shrug any part of your body except your shoulders?
(he shrugged his shoulders becomes simply he shrugged)

Can you kick any part of your body except your feet?
(she kicked the ball with her foot becomes simply she kicked the ball)

Can you clasp with anything other than your hands?
(he clasped the paper in his hand becomes simply he clasped the paper)

It’s important to remove unnecessary clutter, and to make every word count.

7 – Removing Repetition

Repetition is not just about words that have been duplicated (although obviously these need removing!) – it can happen in multiple, unexpected ways.

A really common (and often overlooked) one is where the narrative repeats what the dialogue has just told us:

“Hello.” Rebecca greeted me.
“I would like to explain.” David felt the need to clarify.

In both these examples, the narrative is unnecessarily repeating what we have just been told in the dialogue.

Another type of repetition relates to adverbs:

He yelled loudly. (The adverb “loudly” is repeating what we’ve been told by the verb “yell”.)
He briefly summarised. (The word “summarise” means to make something briefer, so the adverb “briefly” is repeating what we have been told by the verb “summarise”.)

Removing repetition removes clutter and brings more definition to your writing.

8 – Unnecessary Timeline Nudges

Do you need to include timeline nudges in your novel?
(Timeline nudges are words like then, after, while, before, with that.)

Often, authors think that readers need these nudges, so they can keep track of what’s going on. However, the sequence in which you write events indicates the sequence in which they happen.

You don’t need to say “X happened then Y happened”.
Instead, you can say “X happened, and Y happened” and the reader will understand that Y happened after X.

Using timeline nudges too frequently can be distracting – and your readers can end up focusing more on when things happen, and less on what you are trying to describe on the page.

Removing these nudges removes clutter and brings more definition to your writing.

9 – As You Know, Bob

So what on earth is As You Know, Bob? Also called Maid and Butler Dialogue, it’s when the characters on the page share information that everyone present already knows – purely so the reader can know it too.

Have a look at this:

“I heard your wife, Rebecca, is learning the piano?”

The person being addressed clearly already knows that their wife is called Rebecca – the only reason the writer has presented it this way is so that the readers can know all about Rebecca too.

Instead, it would be better to write it as:

“I heard Rebecca is learning the piano?”
“Yes, my wife is a very talented woman.”

This then tells us all the information, in a more natural way.

With longer, more complicated pieces of information, it might be a good idea to introduce a new character who doesn’t have all the facts, so the other characters can discuss the details with them, and thereby keep the reader fully informed.

10 – Vocatives

Are you overusing vocatives in your novel?

A vocative is a word that’s used to address someone – normally a name.

In real life, we don’t tend to use people’s names very often in conversation. Maybe at the start, when we first meet them, we might say “Hello, Name”, but then during the natural course of the conversation, we would be unlikely to repeat their name many times.

If there are only two people present, we might not use their name at all.

And if there are multiple people present, we might use a name to make sure everyone knows who we are talking to, but we might also look at someone, nudge them or tap them on the shoulder.

Often, authors use names in dialogue far more than is natural. Have a look at your dialogue – have you used names too frequently?

If you are worried that the reader isn’t going to follow who is speaking/being addressed, this is what dialogue tags and action beats are for.

Dialogue is really hard to write, and this is just one way to make it sound more natural.

In Conclusion

This is part one of my self-editing tips for indie fiction authors – please see here for part 2. And if any of the above tips are unclear, please do email me – I’d love to hear from you.

The post Self-Editing Tips for Fiction Authors appeared first on MandaWaller.

A copyeditor will help you with these concerns, but if you can address some of them yourself, you will save your editor time (and therefore save yourself some money).

1. Formatting

Manuscripts should be delivered to the copyeditor in the right format – normally this will be a Microsoft Word document (but check this with your editor first).

Make sure you use page breaks between each chapter (CTRL-enter will do this for you), rather than hitting the paragraph return multiple times to push a new chapter onto a new page.

In fiction, the first line in each paragraph is indented (1.27 cm is the standard) except for the first paragraph of a new section/chapter, which is flush left. Use proper indents rather than hitting the tab key.

Double space your manuscript (format this properly, don’t just hit return at the end of each line), and set the typeface to something sensible (most editors will ask for Times New Roman, 12 pt).

2. Overusing Adverbs and Adjectives

While adverbs and adjectives can enhance your writing, their overuse can lead to wordiness and weaken your prose. Instead, focus on choosing strong verbs and nouns to convey your message effectively.

Be selective in your use of modifiers to maintain conciseness. Rather than running quickly, let your characters sprint or hurry.

I’ve written a separate blog post about adverbs which discusses how there are strong adverbs and weak adverbs, and when best to use them.

3. Lack of Consistency

Inconsistencies in character names, settings, and timelines can confuse readers and disrupt the narrative flow.

Your copyeditor will generally create a style sheet as they are working through your manuscript – documenting each editorial decision about spelling choice, and including a brief description of each of your characters to make sure they don’t suddenly change eye colour (unless it’s deliberate!).

However, if you keep a style sheet of your own, this will help you to be consistent as you write/self-edit, and it will also be a massive help to your editor. This will save both you and your editor a lot of time and effort.

4. Show, Don’t Tell

One common mistake is “telling” the readers what’s happening instead of “showing” through descriptive details and actions.

Allow readers to immerse themselves in your story by painting vivid scenes and letting them draw their conclusions.

Lots of writers are told to “show, don’t tell”, without anyone explaining to them what this really means. I’ve untangled some of the misconceptions in my blog post about balancing show and tell.

5. Weak Dialogue

Dialogue is a powerful tool for character development and plot progression. Authors often make the mistake of creating dialogue that feels forced or unrealistic.

To improve your dialogue, eavesdrop on real conversations, pay attention to speech patterns, and make sure each character has a distinct voice. See my blog post about strengthening dialogue.

In Conclusion

Writing and editing are integral parts of the author’s journey. By avoiding these five common writing mistakes and being diligent in your editing process, you can significantly improve the quality of your manuscript before you send it to an editor – this will save your editor time, and save you money!

The post Five Common Writing Mistakes appeared first on MandaWaller.

But many authors find it hard to write dialogue which is realistic and believable while at the same time not pedestrian or clunky. I’ve provided some tips below to help with writing compelling dialogue that will bring your characters to life.

Listen!

Listen to conversations around you. This is particularly useful if you are writing contemporary fiction. How do people actually speak? Listen to the cadence, vocabulary, speech patterns, rhythms. Pay close attention to how people talk in real life.

Observe conversations, both formal and informal, and listen to the rhythms, vocabulary, and speech patterns people use. This will help you capture the authenticity of natural dialogue in your writing.

However, this advice comes with a warning! When we speak, we mumble and trip over our words. We hesitate and use “um” and “er”. If you wrote down a conversation, word for word, it would be very clunky to read back. Having one character that stumbles is fine. Having all your characters stumble is not!

“I, er, don’t know what to, um, do?” he said.

“Like, what are we, um, supposed to, er, say?” she replied.

Contractions

People rarely speak in formal, stiff language – even when they are giving a formal, stiff presentation. Again, this applies particularly to contemporary fiction. Be aware that some genres (for example historical fiction) may need a different touch.

Using contractions (won’t rather than will not, shouldn’t rather than should not, haven’t rather than have not) will make your dialogue sound more natural and conversational.

Show Personality

Each person has their own way of speaking that reflects their personality. Characters in your book should be equally distinct from each other. Consider factors like age, regional dialects, education and life experience.

However, be careful not to take this too far. The differences need to be subtle. Don’t give each of your characters something remarkable. It’s fine for one character to use a verbal tick, but if they are all at it, it’s going to become a parody.

Varying the sentence length can work really well – maybe one character can speak in very short, abrupt sentences, providing a foil for a character who expounds at length.

Another excellent way to show differences is with word choice. One character can use longer, more sophisticated words to reflect either that they are more sophisticated, or that they are insecure and trying to appear more sophisticated.

Keep it Concise

If you listen to a conversation, it’s rare for one person to speak for very long without having some sort of engagement from the other players in the group.

Writing compelling dialogue means avoiding lengthy monologues in your novel – even if someone is telling a story. Other people rarely stay quiet for very long!

Interruptions

Include interruptions and people speaking over each other. These can be hard to render in text, but ending dialogue with an em dash (—) indicates that a character has been interrupted (by another character or a loud noise, for example). Using ellipses ( . . . ) indicates a character has trailed off.

Adding interruptions adds realism to dialogue and creates a sense of natural flow, making the interaction between characters more dynamic and lifelike.

Writing Compelling Dialogue Means Reading Aloud!

Read your dialogue out loud. This will pick out anything that sounds unnatural or stilted. Pay particular attention to the pace and rhythm.

Reading words aloud helps you to identify overly long sentences (where you literally have no chance to take a breath), and repeated sentence structures (where all the sentences are constructed in the same way).

Writing compelling dialogue that sounds natural and flows well takes practice and a keen ear for authenticity. By observing real conversations, crafting distinct voices for your characters, and incorporating these techniques, you can make your dialogue resonate with readers and bring your story to life.

If you are looking for an editor for your next novel, you might like to learn more about my editing process.

The post Writing Compelling Dialogue appeared first on MandaWaller.

What is dialogue in a novel? It’s how you represent the way your characters are speaking.

In books, it tends to be encased within either ‘single quotes’ (common in the UK), or “double quotes” (common in the US).

There are many rules relating to dialogue and how it should be formatted – and this is just an introduction. Incorrectly punctuated dialogue is extremely easy for an editor to mend, but it can be time-consuming – and therefore costly. If a manuscript has the dialogue correctly formatted, an editor will need to spend less time on it, and therefore will need to charge less!

Curly (smart) Quotes or Straight Quotes?

It’s conventional in fiction publishing to use curly (smart) quotes rather than straight ones. To make sure you are using curly quotes, go into your MS Word document and change the settings:

• go to FILE, MORE and select OPTIONS
• within options, select PROOFING
• within proofing, select AUTOCORRECT OPTIONS
• within autocorrect options select AUTOFORMAT AS YOU TYPE
• ensure “Straight quotes” with “smart quotes” is selected.

This means that as you type, MS Word will automatically use curly quotes (double, single and apostrophes).

What Is Dialogue For?

• it tells us WHAT the characters are saying.
• it tells us WHO is speaking.
• it can also tell us HOW the character is feeling, or what is motivating them.

Punctuating Speech Tags
Speech is used to tell us what the characters in our books are saying. It is important that the reader always knows which character is speaking.
To do this, we can use speech tags. In the following example, the speech tags are underlined.
‘Hello,’ said David.
or
David said, ‘Hello.’

Speech tags can go in one of three places:
1. After the speech: ‘Hello,’ said David.

2. Before the speech: David said, ‘Hello.’

3. In the middle of speech: ‘Hello,’ said David. ‘Who are you?’

Where you choose to place the speech tag is largely a matter of personal choice. It’s more conventional for the speech tag to follow the dialogue, or to interrupt the dialogue. And it may be that you want to mix it up a little, to vary the sentence structure and pace.

This guide will talk you through the first two options – speech tags that come before and after speech. Speech tags that come in the middle of speech (along with interruptions) will be discussed in a separate article.

When to Use Speech Tags?

Speech tags should be used as little as possible. The content of the dialogue, and the order in which it is written, should make it clear who is speaking. This is relatively easy when there are only two characters speaking (as each character takes a new line), but sometimes where there are multiple characters, or it’s not clear exactly who is speaking from just the dialogue alone, it’s necessary to help the reader out with speech tags. There are other ways of indicating who is speaking – using action beats, for example. And these will be discussed in a future article.

1. Speech Tag Comes AFTER Speech

Where the speech tag (said David) comes after the speech, the speech generally ends with a comma, question mark or exclamation mark:

‘Hello,’ said David.
‘Hello.’ said David.
‘Hello!’ said David.
‘Hello?’ said David.
‘Hello’ said David.

Regardless of the punctuation within the quote marks, the speech tag is written in lower case (even if the dialogue ends with an exclamation mark or question mark). The only time that dialogue ends with a full stop ( . ) is when there is NO FOLLOWING SPEECH TAG:

‘Hello.’ Said David.
‘Hello.’ said David.
‘Hello,’ said David.
‘Hello.’
‘Hello!’ Said David.
‘Hello!’ said David.
‘Hello?’ Said David.
‘Hello?’ said David.

There is no punctuation between the quote marks and the speech tag:

‘Hello,’, said David.
‘Hello’, said David.
‘Hello,’ said David.

The speech tag is not capitalised if it follows the dialogue:

‘Hello,’ Said David.
‘Hello,’ said David.

2. Speech Tag Comes BEFORE Speech

Where the speech tag comes before the dialogue, it is standard to have a comma between the speech tag and the speech.

David said, ‘Hello.’

Where the speech tag comes before the dialogue, the speech is punctuated as if it were a normal sentence. So it would end with a full stop, exclamation mark or question mark. There is no punctuation outside the final quote marks.

David said, ‘Hello.’.
David said, ‘Hello?’.
David said, ‘Hello.’

Where the speech tag comes before the dialogue, the speech is capitalised in accordance with the normal rules as if the speech were the start of a new sentence:

David said, ‘hello.’
David said, ‘Hello.’
David Said, ‘Hello.’

Which Speech Tags?

The most common speech tag is ‘said’. This is used so frequently that it is almost invisible. The reader sees it, takes in its meaning, but doesn’t get tripped up on the word. The following speech tags are similar – they are almost as invisible as said (but not quite):
Asked (‘What’s your name?’ David asked.)
Replied (‘Frank,’ Frank replied.)

There are many many other speech tags that can be used, and the world is divided as to whether it’s a good idea to use them:
Exclaimed (‘You did what?’ she exclaimed.)
Mumbled (‘I just wanted to,’ he mumbled.)
Uttered (David uttered, ‘No!’)

Said is by far and away the safest speech tag to use – particularly for beginners. There are also speech tags that aren’t even types of speech:
1. ‘You did what?’ she laughed.
2. ‘Wow that’s amazing,’ she gasped.

These are non-standard speech tags, and a better option would be to show your reader that the character is laughing or gasping, rather than telling them:
1. Rebecca found this statement incredibly funny and grinned widely. ‘You did what?’ she asked.
2. This statement took Rebecca’s breath away. ‘Wow, that’s amazing!’ she said.

Superfluous Speech Tags

It’s not always necessary to repeat the name of the character who is speaking. Imagine you have two characters interacting, one called (yep, you guess it) David, and one called Mark. It would NOT be necessary to write their dialogue as follows:
‘Hello, David,’ said Mark.
‘Hello, Mark,’ said David.

The above dialogue would work well as:
‘Hello, David,’ said Mark.
‘Hello, Mark.’

Or, if there is a bit of text before the dialogue, it could work as follows:
Mark bumped into David in the pub. ‘Hello, David,’ he said.
‘Hello, Mark.’

New Character, New Line

It’s not necessary to repeat the character’s name every time they say something, so long as you start a new character on a new line.

A Couple of Asides…

Whether you choose single or double quotes, they need to be kept consistent throughout the book. Where quotes are being used for distancing purposes (for example, the representation of ‘air quotes’), these should also match the style of quotation marks that you are using for dialogue. Finally, see my separate article regarding punctuating dialogue within dialogue.

This has been a very general introduction to understanding the basics of punctuating dialogue. For more FREE AUTHOR RESOURCES, please visit my quick tips page.

The post appeared first on MandaWaller.