An adjustment in paragraphing would make it clear: The back and forth is clear up to a point, but her action following his line of dialogue in the same paragraph is the confusing element. “Dorian is more inclined to associate with ladies of better breeding and beauty.” She whipped her head to look at him. “Perhaps he and I will become dear friends, and you will be left to rot.” “You and the Crown Prince share the same sense of humor, it seems.” “Now you must pretend that you like me, or else everything will be ruined.” “Immensely.” Celaena patted Chaol’s arm as she took it in her own. (I can only hope that the final edition corrected this problem). I just completed an Advance Reader Copy of a novel that did not follow this guideline, and more than once I had to go back to check who was actually talking. Be sure the action beat belongs to the person who spoke the line of dialogue. If the reader knows who is speaking–because of alternating lines or a distinct manner of speech–that’s often enough.Ī word of caution. Variety is called for, and often the best choice is no tag at all. The action tag is often the better choice, because it offers a character’s physical movements … This is not to be done every time, of course. James Scott Bell summarizes the principle in “Creating Active Dialogue” (Writer’s Digest, June 2003): Nor is there a speaker attribution with every line of dialogue. Too many actions can distract from the conversation. Notice that not every line contains an action beat. “If this is about the golf tournament, my hands are tied.” “Maybe someplace a little more private.” Jim edged toward the patio. “Talk away.” His brother picked up another plate, piled it with a variety of stuffed pastries, a handful of baby carrots, and a couple cauliflower clumps, then spooned dip into the center. “I just wanted to talk to you for a sec.” “There’s punch with a little kick, ice tea, or coffee. Here, have some food.” Eddie pushed his plate into Jim’s hand and gave him a paper cup. When he reached his brother, Jim bent toward him to keep from raising his voice. “What sort of a riddles are it?” she asked.Ĭontrast that to this dialogue which uses action to paint the scene as well as to help the reader keep track of who is talking (subject and verb in boldface font). “They are mine,” answered the Dragon scornfully, “for I shall only give them three riddles which they will never be able to guess.” “I haven’t had much luck to-day,” he said, “but I have a tight hold on three soldiers.” Both should be tools in the writers kit.īelow is an example of a conversation taken from the Grimms fairytale “The Dragon And His Grandmother” which favors dialogue tags (attributions marked in bold type). Some writers might favor one method over the other, but in reality, there is no conflict. The favored approach instead is to replace the dialogue tag with an action beat–a simple action the character does while talking.Īction beats, then, serve to let the reader know who is talking but also show the character in motion. Rowling and Stephen Lawhead use them successfully. Many writing instructors today frown on using adverbs in that way, though authors such as J. Consequently a tag might be she said coyly or he said warily. In addition, adverbs often added insight as to how a character delivered lines of dialogue. In other eras, strong verbs were in fashion, so characters were often found to mutter, shout, cry, mumble, whisper, and the like. The common wisdom these days is to limit the verb in attributions, with some occasional exceptions, to “said.” Dialogue tags–or speaker attributions–tell the reader who is talking in a written conversation.
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