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MILLLICENT G. DILLON, represented by Harold Ober Associates, is the world’s expert on authors Jane and Paul Bowles. She has won five O. Henry Awards and been nominated for the PEN/Faulkner. I worked with Dillon on her memoir, The Absolute Elsewhere, in which she describes in luminous prose her private meeting with Albert Einstein to discuss the ethics of the atomic bomb. Read more. . .

SASHA TROYAN is a Professor of English at Montclair University and author of the critically-acclaimed novels Angels in the Morning and The Forgotten Island, both Booksense Selections, beautiful stories based upon her childhood in France. I worked with Troyan to develop her new novels, Marriage A Trois and Semester. Read more. . .

LUCIA ORTH is the author of the debut novel, Baby Jesus Pawn Shop, which received critical acclaim from Publisher’s Weekly, NPR, Booklist, Library Journal and Small Press Reviews. I have edited a number of essays and articles for Orth. Read more. . .

BHAICHAND PATEL, retired after an illustrious career with the United Nations, is now a journalist based out of New Dehli and Bombay, an expert on Bollywood, and author of three non-fiction books published by Penguin. I edited Patel’s best-selling debut novel, Mothers, Lovers, and Other Strangers, published by Pan Macmillan. Read more. . .

SCOTT WILBANKS, represented by Barbara Poelle of the Irene Goodman Literary Agency, is the author of the debut novel, The Lemoncholy Life of Annie Aster, published by Sourcebooks in August, 2015. I’m working with Wilbanks on his sophomore novel, Easy Pickens, the story of the world’s only medically-diagnosed case of chronic naiveté. Read more. . .

SCOTT WARRENDER is a professional musician and Annie Award-nominated lyricist specializing in musical theater. I work with Warrender regularly on his short stories and debut novel, Putaway. Read more. . .

M. TERRY GREEN enjoys a successful self-publishing career with multiple sci-fi/fantasy series set in the Multiverse, based upon her expertise in anthropology and technology. I worked with Green to develop a new speculative fiction series. Read more. . .

ANIA VESENNY, represented by Beverly Slopen Literary Agency, is a recipient of the Evelyn Sullivan Gilbertson Award for Emerging Artist in Literature and has been nominated for the Pushcart Prize. I edited Vesenny’s debut novel, Swearing in Russian at the Northern Lights, and her second novel, Sandara. Read more. . .

STUART WAKEFIELD is the #1 Kindle Best Selling author of Body of Water, the first novel in his Orcadian Trilogy. Body of Water was 1 of 10 books long-listed for the Polari First Book Prize. I edited Wakefield’s second novel, Memory of Water, and look forward to editing the final novel of his Orcadian Trilogy, Spirit of Water. Read more. . .

GERALDINE EVANS is a best-selling British author. Her historical novel, Reluctant Queen, is a Category No 1 Best Seller on Amazon UK. I edited Death Dues, #11 in Evans’ fifteen popular Rafferty and Llewellyn cozy police procedurals, which received a glowing review from the Midwest Book Review. Read more. . .

JUDY LEE DUNN is an award-winning marketing blogger. I am working with Dunn to develop and line edit her memoir of reconciling liberal activism with her emotional difficulty accepting the lesbianism of her beloved daughter, Tonight Show comedienne Kellye Rowland. Read more. . .

JEFF RUSSELL is the author of the debut novel, The Rules of Love and Law, based upon Jeff’s abiding passions for legal history and justice. Read more. . .

LEN JOY is the author of the debut novel, American Past Time. I worked with Len to develop his novel from its core: a short story about the self-destructive ambitions of a Minor League baseball star. Read more. . .

ALEX KENDZIORSKI is an American physician working in South Africa on community health education and wildlife conservation. I edited Kendziorski’s debut novel Wait a Season for Their Names about the endangered African painted wolf, for which he is donating the profits to wildlife conservation. Read more. . .

ALEXANDRA GODFREY blogs for the New England Journal of Medicine. I work with Godfrey on her short fiction and narrative nonfiction, including a profile of the doctor who helped save her son’s life, “Mending Broken Hearts.” Read more. . .

In addition, I work with scores of aspiring writers in their apprenticeship to this wonderful literary art and craft.

  • By Victoria Mixon

    We’re talking about the pros and cons of the three aspects of scenes: description, action, dialog.

    Now, as we all know, dialog is the mainstay of modern fiction. Raised in a world of television, radio, and telephones, we as an industrialized race are familiar with nothing if not the power of talk.

    Dialog is important because:

    1. Fiction is talking, and dialog is talking from the core of character

      It’s words, all words. Words in your mind, words on the page, words in your characters’ mouths. That’s what fiction is. That’s what sets it apart from the other arts.

      When you take that one step further—move from your own words to your characters’—you pull your reader that one step further into your imaginary world.

      And writing is all about pulling your reader as far as humanly possible out of their world into yours.

    2. We are social animals, and we socialize through speech

      More than anything, your reader is human, and human beings need connection. When we speak to each other, we’re making connections to each other. When our characters speak to each other, they’re making connections to each other and to your reader.

      Be aware of this at all times: your reader is in the room with your characters, listening to them talk and getting to know them through their conversation. That’s your magic pill! Take full advantage of it.

    3. Readers love eavesdropping

      Even better than hearing what they’re supposed to hear, readers love hearing what they’re not supposed to hear. She said that? He blurted out this? They confessed what?

      The thrill of eavesdropping through fiction—rather than real life—is that no character ever says, “Our reader’s such an idiot.” And this sometimes does happen to eavesdroppers in real life.

      It’s a win-win situation!

    Dialog is not important because:

    1. We say a lot more than anyone cares to hear

      Even the most stoic non-conversationalist says more than they need to. Nobody gets the chance to go back and edit their own dialog. That means all that extra crap is always there.

      Your job as a writer is to edit out the extra crap.

    2. A great deal of real conversation is boring beyond boring

      By far, the majority of what we say in real life is shorthand allowing us to cooperate on the things we want to do.

      “Is it?” “No.” “Yes.” “Oh, yeah?” “Um, well.” “I guess.” “Then what?” “I, uh. . .” “Huh-uh.” “Uh-oh.” “Call me?” “See you.” “Yep.”

      Do not inflict this on your reader. They don’t even listen to it when people they like say it.

    3. Talk is cheap

      What readers want is a story with legs.

      Use dialog to introduce your reader to your characters, to reveal the hidden dramas inside that complicate the characters’ worlds all out of proportion, to move your plot always, inevitably forward toward the catastrophe that is the point of using all these words and characters to illuminate something about life that your reader needs to know. . .

      . . .but don’t get bogged down in the chatter.

      Go wherever the excitement is.



    “The freshest and most relevant
    advice you’ll find.”

    —Helen Gallagher, Seattle Post-Intelligencer

    The Art & Craft of Writing Fiction

    The Art & Craft of Writing Stories




9 Responses to “3 Reasons Dialog is Important, 3 Reasons It’s Not”

  1. Awesome article as always, Victoria! I’ve enjoyed all three of these, and have been dropping links to these posts like a madwoman.

  2. Victoria said on

    Rachel, I saw the links. Thank you! I’m still laughing about the readers’ brains dripping out of their ears.

  3. Yes, readers want stories with legs!

    What a great line (gold as dialog) and totally true for me. I stop reading fiction so fast. I’ll hang out longer with nonfiction to learn a topic I’m enthralled with, but in a short story or a novel, one false word and I’m out of there.

  4. Victoria said on

    That’s the key, Deborah: “to learn a topic I’m enthralled with.” We read to learn. We read fiction to learn how to be human. And the instant it stops being enthralling. . .good-bye, Constant Reader.

  5. I’d be careful with this assessment. I think you ened those boring mannerisms in contemporary speech to make it feel authentic.

  6. Victoria said on

    There’s a whole science to making fiction dialog sound authentic without being boring. Unfortunately, it doesn’t happen naturally.

  7. Fantastic advice. I’ve loved and very much needed what you’ve said about dialog, action and description.

    Sarah Allen
    (my creative writing blog)

  8. Victoria said on

    Thank you, Sarah—they’re the three pillars of scene, and if I can teach writers just that much they’ll have learned a lot.

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