How to Get Published

by Al Kalar

As an editor, I see a number of problems that either spell “rejection” or “more work for me - sigh”. This is the first of a series on those problems.

The problem of “voice” is actually a two-part problem:

1. The author’s voice
2. Character voice.

The author’s “voice”

The sum of how s/he writes non-dialog prose (or poetry). Word choices, sentence structure, slang, contractions, and unique ways of expressing things.

If you write your prose to exactly follow the rules of English, you can overdo it and end up sounding like the Queen of England, rather than a “regular person”. There is a pretty wide range of language use that the average reader will find to be acceptable, but if you go outside that range, you may alienate your audience. (more…)

by John Bowers

During my first year in college (which was also my last year in college) I took a creative writing course; only three of those enrolled were regular day students - the rest were older people with families and jobs. It was an informal class in which we talked a lot about writing and everyone shared stories and chapters, which were read aloud. I expected my writing to be a big hit, but I had a surprise in store.

“I’m amazed at your dialog!” one man told me. “It sounds so natural.”

“What’s your secret?” another lady asked.

Secret? I didn’t know there was a secret. I was telling a story, the characters spoke, and I wrote it down. I was more amazed than they were, that anyone would have trouble writing dialog.

But apparently some people do. So what’s the “secret”? (more…)

by Al Kalar

“The writer is a man who is paid per piece or per word or perhaps.”

Robert Benchley

Dialog

Many a good story dies because of poorly written dialog. It’s all the fault of your English teacher, so blame it on him/her if it makes you feel better.

People don’t speak the way we were taught to write (with a few exceptions). We use contractions, slang, and made-up words that would get an “F” on an English term paper. (more…)