Dialogue tags: attribution tags and action tags (tip 33) 1

Modern novels contain more dialogue than ever before, so it’s a problem for many aspiring authors that they make mistakes when writing dialogue tags. Here, D.D. Johnston shares everything you need to know.

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The objective correlative (tip 31) 1

How can we make our readers feel something? Readers expect a good story to excite them or move them or make them laugh, but conveying emotion is the hardest task a writer faces. Human emotions are caused by neurochemical reactions, and to make a chemical reaction occur in someone’s brain just by showing them marks on a page is tantamount to magic. The secret to working that magic lies in finding an effective ‘objective correlative.’

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Concrete versus abstract description (tip 30) Reply

Concrete description is sensory description; it is the stuff we can touch, see, smell, hear, and taste. Abstract descriptions have no weight or texture. They are ideas, conditions, qualities, abstractions that float around in the ether. When and how should writers use these different types of description?

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Choosing relevant detail: writing, specificity, & Dan-Brown-isms 4

In our last video we discussed using specific details to make a story convincing. But specific details are not just there to make the story a bit more believable; they’re also the primary means through which the story, and all its emotion, is conveyed. So the details in your story can’t be any old details – unless you’re Dan Brown, the king of irrelevant details. Assuming you’re not Dan Brown, how do you make sure you choose the right details?

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How to lie and get away with it: a game for writers Reply

Writers are professional liars. We make things up but present those things in a way that’s sufficiently convincing that people believe us, or at least suspend their disbelief, for the time it takes them to read our books. So how does one lie and get away with it?

Would I lie to you gamecard
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