Every so often, a novelist should make it a point to remember that most readers have about 54,000 other things they could be doing instead of reading a book. A novel will only hold your reader’s attention ahead of all those other things if it’s truly worth reading.
Aside from all the various mechanics and methods of writing that can turn off a reader, one item sure to doom your novel is goofing up on so-called little details—especially when you need to include subject matter that may not be familiar to you.
To wit: Continue reading
It will probably come as no surprise that editors enjoy the written word, which means that most of us wordsmiths not only work with words as a profession, but we also have our noses in books each day for the pure joy of reading. To wit, just the other night, I was re-reading an old trade paperback comic book (X-Men: The Dark Phoenix Saga) because I think it’s a great story overall, with super artwork to boot.
Anyway, at one point I came across some dialogue that is common enough in comic books because they are such a visual medium, and it reminded me of an issue that I come across all too often in my work as an editor: dialogue that doesn’t sound realistic because it’s so full of backstory and/or information dumps.
Again, in comic books I expect this to some degree because the writers have limited space with captions and word/thought balloons, but I have to admit that it still bugged me a little because it just sounded so unrealistic. When I see it in a novel I’m working on, I flag it and let the writer know that such dialogue will not ring true in a reader’s ears and will feel like a hiccup or speed bump even amidst well-written prose.
Here’s an example: Continue reading