Tag Archives: Ryan Lanz

Guest Post: AVOIDING FIRST CHAPTER BLUNDERS by Ryan Lanz

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Thank you to Ryan Lanz of A Writer’s Path for this excellent article on your novel’s opening chapter.

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You’ve got your idea. Your characters are fleshed out. The setting is crystallized in your mind.

You power up the laptop, and you place your fingers on the keys. Chapter one.

There’s a magic in that. You can practically feel the readers forming an orderly line to purchase your book, even before you finish the first paragraph. But what do you want to accomplish? What are the things to avoid in your first chapter? In this post, we’ll look at the nitty-gritty of a novel’s first chapter.

What are you looking to accomplish?
In a first chapter, you have several things that you want to accomplish and clue the reader on. This is not an exhaustive list, but let’s look at some common items.

  • Identify a protagonist
  • Establish something the protagonist wants
  • Set the tone for the book
  • Make a few promises
  • Indicate what time/place in history
  • Present an immediate conflict/issue

Let’s take a look at each.

To continue reading this article, click here.

Guest Post: THE DOS AND DON’TS OF DIALOGUE TAGS by Ryan Lanz

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Many thanks to Ryan Lanz of A Writer’s Path for this article on good writing.

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Writers use dialogue tags constantly. In fact, we use them so often that readers all but gloss over them. They should be invisible. However, there are ways to misuse them and make them stand out.

In an effort to avoid that, let’s take a closer look at dialogue tags. Toward the end of “Tag travesties” is something I sorely wish someone had told me before I started writing.

Why do we use dialogue tags?
The simple answer is that we use them to indicate who’s speaking. In visual media, such as movies or television, the viewer can easily tell who’s talking by lip movement and camera angles. When reading a book, obviously that’s not an option.

Tag travesties
There are certainly ways to misuse dialogue tags. When I was a new writer, I felt compelled to overwrite. I ‘m sure every new writer goes through a version of this. I observed how successful writers used simple tags like “said/asked” and thought to myself, that’s boring. I’m going to be an awesome writer by making them more interesting. You don’t have to admit it aloud, writers, but we all know that most of us have. Let’s look at an example of this:

  • “We can’t cross this river,” Alanna exclaimed repugnantly.
  • John crossed the room and shouted disgustedly, “I’ll never take you with me.”
  • “This has been the worst day ever,” Susie cried angrily.

For those of you who still aren’t convinced, let’s up the dosage with a paragraph:

Hank crossed the room and sat down. “We should have never waited this long for a table,” he seethed, leaning over to glare at her. 
“If you wanted a better spot, you should have called ahead for a reservation,” Trudy returned pointedly.
“Well, perhaps if you didn’t take so long to get ready, I could have,” he countered dryly.

Can you imagine reading an entire book like that? *shiver*

So why do new writers feel the urge to be that . . . creative with their dialogue tags? Back in the beginning, I thought the typical tags of “said/asked” were too boring and dull. It didn’t take me long to realize that dull (in this context) is the point.

Imagine your words as a window pane of glass, and the story is behind it. Your words are merely the lens that your story is seen through. The thicker the words, the cloudier the glass gets. If you use huge words, purple prose, or crazy dialogue tags, then all you’re doing is fogging up the glass through which your reader is trying to view your story. The goal is to draw as little attention to your actual words as possible; therefore, you keep the glass as clear as possible, so that the reader focuses on the story. Using tags like “said/asked” are so clear, they’re virtually invisible.

Now, does that mean that you can’t use anything else? Of course not. Let’s look further.

Alternate dialogue tags
Some authors say to never use anything other than “said/asked,” while others say to heck with the rules and use whatever you want. Some genres (such as romance) are more forgiving about using alternate dialogue tags. I take a more pragmatic approach to it. I sometimes use lines like:

“I’m glad we got out of there,” she breathed.

The very important question is how often. I compare adverbs and alternate dialogue tags to a strong spice. Some is nice, but too much will spoil the batch. Imagine a cake mix with a liter of vanilla flavoring, rather than the normal tablespoon. The more often you use anything other than “said/asked,” the stronger the flavor. If it’s too powerful, it’ll tug the reader away from the story and spotlights those words. In a full length book of around 85,000 words, I personally use alternate dialogue tags only around a few dozen times total.

By saving them, the pleasant side effect is that when I do use them, they pack more of an emotional punch.

To continue reading this article, click here.

Guest Post: How to Feel Like Writing Again…by Ryan Lanz

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Guest Post: How to Feel Like Writing Again…by Ryan Lanz

All artists have days when they just don’t feel it. Thank you to guest blogger Ryan Lanz of A Writer’s Path for strategies to get you back in the mood.

A Writer's Path

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We’ve all felt it at one time or another. The story loses its shine and you’re left with a half-completed story. Why does this happen, and how do you continue?

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