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Find out how to balance the scenes in a crime novel or thriller by using different types of beats that help readers understand the fictional world they’re immersed in. There's a free sample scene analysis too!
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Example from published fiction
Adrian McKinty, The Chain, Orion, 2020 (Kindle version, Chapter 1) The doors power lock and Kylie curses herself for missing a chance. She could have unclicked the seat belt, opened the door, rolled out. Blind panic is beginning to overwhelm her. |
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Action beats
Action beats help readers imagine how a character is physically behaving and can give us insights into the environment and the person’s traits. They bring movement to a scene.
Perhaps a viewpoint character stands up because the overly soft chair is making their sciatica play up; maybe an object’s being discussed, and they push it away in disgust; or perhaps they rub their bare feet across the rough pile of a rug in order to soothe themselves in an unformattable situation.
These beats are particularly useful when an author wants to convey emotions being experienced by a non-viewpoint character whose internal head-space isn’t accessible in limited narrative styles. Perhaps wiping sweat off their forehead indicates they’re feeling nervous, or their fidgeting with a beer mat indicates boredom.
Perhaps a viewpoint character stands up because the overly soft chair is making their sciatica play up; maybe an object’s being discussed, and they push it away in disgust; or perhaps they rub their bare feet across the rough pile of a rug in order to soothe themselves in an unformattable situation.
These beats are particularly useful when an author wants to convey emotions being experienced by a non-viewpoint character whose internal head-space isn’t accessible in limited narrative styles. Perhaps wiping sweat off their forehead indicates they’re feeling nervous, or their fidgeting with a beer mat indicates boredom.
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Example from published fiction
Harlan Coben, Win, Arrow, 2021 (Kindle edition, Chapter 1) "You're a little slow, aren't you, Teddy?" I sigh. "No, I won't excuse you. There is no excuse for you. Are you with me now?" The scowl slowly returns to his face. "You got a problem?" |
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Inaction beats
Inaction beats are pauses, hesitations and moments of silence or stillness. Even when these are short, they help the reader understand pace. They bring breathing space to a scene.
They’re powerful because they can show rather than tell more than one character’s contemplation, consideration, indecision, or shock. The prose might state the stillness or silence directly, or it can be nuanced and come in the form of a character’s taking stock of a situation or bracing themselves for a potential upset.
They’re powerful because they can show rather than tell more than one character’s contemplation, consideration, indecision, or shock. The prose might state the stillness or silence directly, or it can be nuanced and come in the form of a character’s taking stock of a situation or bracing themselves for a potential upset.
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Example from published fiction
Kate Hamer, The Girl in the Red Coat, Faber & Faber, 2015 (Kindle edition, Chapter 6) When I wake up in the morning everything's wonderful. For a moment I can't understand why. Then I remember: Mum's said if the weather's good we can go to the storytelling festival and that's today. |
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Description beats
Description beats give readers objective information about the character or environment. They bring stability to a scene.
They help readers understand what characters are wearing, what they look like, what’s surrounding them, what they can hear, see, smell, touch or taste. That brings the scene alive.
They help readers understand what characters are wearing, what they look like, what’s surrounding them, what they can hear, see, smell, touch or taste. That brings the scene alive.
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Example from published fiction
Harlan Coben, Win, Arrow, 2021 (Kindle edition, Chapter 1) His name is Teddy Lyons. He is one of the too-many assistant coaches on the South State bench. He is six foot eight and beefy, a big slab of aw-shucks farm boy. Big T—that's what he likes to be called—is thirty-three years old, and this is his fourth college coaching job. From what I understand, he is a decent tactician but excels at recruiting talent. |
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Dialogue beats
Dialogue beats tell readers what characters are saying and let readers hear those distinct voices in action. Vocal speech can be heard, and so dialogue beats bring expression to a scene.
Like action beats, dialogue is an opportunity to bring depth to non-viewpoint characters in limited narrative styles. Their internal opinions and feelings – which we don’t have access to because we’re not in their heads – are revealed to us.
Like action beats, dialogue is an opportunity to bring depth to non-viewpoint characters in limited narrative styles. Their internal opinions and feelings – which we don’t have access to because we’re not in their heads – are revealed to us.
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Example from published fiction
Adrian McKinty, The Chain, Orion, 2020 (Kindle version, Chapter 1) “What should I tell her?” the man asks. “Don’t tell her anything. Tell her to shut the hell up,” the woman replies. “You need to be quiet, Kylie,” the man says. |
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Why mixing up beats makes scenes more interesting
Too much of anything is rarely a good thing, and the same applies to a novel’s beats. When a scene’s constructed primarily around a particular type of beat, there’s a risk the reader will become frustrated and lose interest.
Writers and their publishing teams can use the drafting and editing stages to analyse the prose and evaluate whether there’s sufficient balance.
Writers and their publishing teams can use the drafting and editing stages to analyse the prose and evaluate whether there’s sufficient balance.
How to analyse a scene for beat balance
Must all 5 beats be introduced? No, certainly not. There’s no formula to writing compelling fiction. Good line craft means making a judgement about what’s missing and what might be added.
Approach 1
One way of approaching this is to think not in terms of the different types of beats but instead in terms of what they contribute, and whether there’s too much or too little.
And so writers and their editors can ask: Which of the following should the reader experience in this scene, and are they present? Here’s a summary of those elements:
Approach 1
One way of approaching this is to think not in terms of the different types of beats but instead in terms of what they contribute, and whether there’s too much or too little.
And so writers and their editors can ask: Which of the following should the reader experience in this scene, and are they present? Here’s a summary of those elements:
- Sensibility (via emotion beats)
- Movement (via action beats)
- Breathing space (via inaction beats)
- Stability (via description beats)
- Expression (via dialogue beats)
Example: Is too much expression dampening the scene?
An over-reliance on dialogue – even if it’s extremely well written – leaves a reader with no nudges about the emotions characters are experiencing or the environment they’re operating in. It’s two or more talking heads on a page.
If there should be expression in the scene, but the characters are chattering too much, think how you might turn the volume down, or at least disrupt it.
Consider introducing a few action, description and emotion beats. Or even turn some of the information contained within the speech into narrative.
An over-reliance on dialogue – even if it’s extremely well written – leaves a reader with no nudges about the emotions characters are experiencing or the environment they’re operating in. It’s two or more talking heads on a page.
If there should be expression in the scene, but the characters are chattering too much, think how you might turn the volume down, or at least disrupt it.
Consider introducing a few action, description and emotion beats. Or even turn some of the information contained within the speech into narrative.
Example: Is too much stability flattening the scene?
An over-reliance on objective description – even if it gives the reader a rich sense of the environment – leaves readers with no way of accessing mood. It’s a menu of what’s where.
Description should stabilise the scene, not crush it so that it’s as flat as a pancake.
Help readers get under the skin of the characters and their environment by adding emotion or dialogue, or a little action that gives the scene some movement.
An over-reliance on objective description – even if it gives the reader a rich sense of the environment – leaves readers with no way of accessing mood. It’s a menu of what’s where.
Description should stabilise the scene, not crush it so that it’s as flat as a pancake.
Help readers get under the skin of the characters and their environment by adding emotion or dialogue, or a little action that gives the scene some movement.
Example: Is too much sensibility overwhelming the scene?
An over-reliance on emotion can be draining and doesn’t give the reader the chance to take a breath. It’s like a counselling session.
If there should be emotion, but a character’s self-absorption is swamping a reader’s ability to make sense of the environment, introduce description and action beats to ground the reader a little more objectively.
An over-reliance on emotion can be draining and doesn’t give the reader the chance to take a breath. It’s like a counselling session.
If there should be emotion, but a character’s self-absorption is swamping a reader’s ability to make sense of the environment, introduce description and action beats to ground the reader a little more objectively.
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Approach 2
Another option is to colour-code the text in a scene according to what type of beats are in play. This can help authors and editors evaluate whether one type of beat is overbearing, and where they might add in additional types of beat to disrupt that dominance. It's a powerful way of communicating the problem visually and quickly. |
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I've carried out a sample scene analysis using this method with a stunning excerpt from SA Cosby’s Razorblade Tears. Use the button below to get your free copy.
Summing up
Using different types of beats in a scene helps readers to understand where the character is, what’s around them, how they feel and what’s important to them. Over-reliance on one type can lead to boredom and frustration; mix things up to keep them interested and turning the page.
Other resources you might like
- Editing Fiction at Sentence Level: book
- Fiction editing line craft: books
- How to Line Edit for Suspense: multimedia course
- How to Write the Perfect Editorial Report: multimedia course
- Narrative Distance: multimedia course
- Resource library
- Switching to Fiction: multimedia course
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
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Writers can place dialogue tags before, between and after speech – there’s no right or wrong way to do it. Tag-first speech does have a different feel to it though, particularly when the construction is used frequently. This post explores the impact on your novel.
In this post ...
Read on to find out more about the following:
- What a dialogue tag is
- Back-loaded tags
- Mid-loaded tags
- Front-loaded tags
- Impact level, psychic distancing and lyricism in front-loaded tags
What a dialogue tag is
A dialogue tag is the short piece of text that tells a reader that a character is speaking, and which character is speaking. For example:
In the above examples, the tags are shown in bold and comprise the subject (someone’s name or their pronoun) doing the speaking, and the verb from which the reader can infer that the action of speech is taking place.
Commonly used effective verbs include ‘said’, ‘asked’, ‘replied’, ‘whispered’, ‘muttered’, ‘yelled’, ‘continued’ and ‘added’.
Ineffective dialogue tags use verbs that bring to mind action that’s not related precisely to speech but to some other behaviour. Examples include ‘sneered’, ‘grimaced’, ‘laughed’, ‘harrumphed’, ‘huffed’, ‘sighed’, ‘snarled’ and ‘urged’.
- Are you enjoying reading that blog post?’ Louise said.
- ‘Are you enjoying reading that blog post?’ she asked.
In the above examples, the tags are shown in bold and comprise the subject (someone’s name or their pronoun) doing the speaking, and the verb from which the reader can infer that the action of speech is taking place.
Commonly used effective verbs include ‘said’, ‘asked’, ‘replied’, ‘whispered’, ‘muttered’, ‘yelled’, ‘continued’ and ‘added’.
Ineffective dialogue tags use verbs that bring to mind action that’s not related precisely to speech but to some other behaviour. Examples include ‘sneered’, ‘grimaced’, ‘laughed’, ‘harrumphed’, ‘huffed’, ‘sighed’, ‘snarled’ and ‘urged’.
Positioning tags in fiction:
Back-loading, mid-loading and front-loading
There is no right or wrong position for a dialogue tag. Authors can mix them up as they choose. Tags can even be omitted when it’s clear who’s speaking.
So where might they go?
Dialogue tags can be front-loaded, mid-loaded and back-loaded.
Back-loaded dialogue tags
Back-loaded tags come after the speech and are used commonly. Consider using them in the following circumstances:
EXAMPLES
So where might they go?
Dialogue tags can be front-loaded, mid-loaded and back-loaded.
Back-loaded dialogue tags
Back-loaded tags come after the speech and are used commonly. Consider using them in the following circumstances:
- Length of dialogue: Your character’s dialogue is a short burst and you want to ensure the reader’s attention is focused on what’s being said straightaway, rather than who’s saying it.
- Impact level: The dialogue is relevant but low key. There’s no punchline that might be flattened by a tag.
EXAMPLES
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‘I won’t be long,’ Bond said, opening the door.
(Boyd: Solo) “Me and Jaymie will call it. You want your boy to go too?” he said. (Crosby: Blacktop Wasteland) |
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Mid-loaded dialogue tags
Mid-loaded tags come between the speech. They, too, are a popular choice for writers. Consider this option in the following circumstances:
- Length: The dialogue stream is longer and you want to ensure your readers don’t wait too long to discover who’s speaking.
- Rhythm and context: You want to introduce a natural pause so that the speech doesn’t turn into a monologue. You can also supplement the tag with descriptive action that grounds the dialogue in the environment and helps the reader picture the scene.
- Impact level: You’ve written a witty, suspenseful or impactful punchline into the dialogue and don’t want it interrupted or flattened by a tag.
- Interrupted speech: You’ve written speech that’s interrupted abruptly and don’t want the tag interfering with the interrupter’s speech.
EXAMPLE 1
This first example is from David Rosenfeld's Collared.
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“Andy,” Laurie says, draping her arm around me. "We love you deeply. As far as Ricky and I are concerned, the sun rises and sets on you. And it is from that place of love and that place of the rising and setting sun that we say this to you: 'Sign the damn form and send it in.'"
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Notice how in the above example of single-character dialogue, which comprises a total of 51 words, the impact point is with the closing sentence: ‘Sign the damn form and send it in’. Because the tag’s located earlier, that dialogue gets to shine.
Compare the original with this version, which I’ve given a back-loaded tag:
“Andy, we love you deeply. As far as Ricky and I are concerned, the sun rises and sets on you. And it is from that place of love and that place of the rising and setting sun that we say this to you: 'Sign the damn form and send it in,'" Laurie says, draping her arm around me.
Back-loading the tag strips ‘Sign the damn form and send it in’ of its oomph.
EXAMPLE 2
Here’s an example from Linwood Barclay’s Parting Shot that shows how mid-loaded tags can protect the flow of interrupted dialogue.
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“Ms. Plimpton,” Duckworth said. “I don’t know if you remember me, but I’m Detective Barry—”
“I know exactly who you are,” she said, and reached out and took his hand in hers. |
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Notice how by mid-loading the dialogue tag, Ms. Plimpton’s interruption – indicated by the closed-up em dash at the end of Duckworth’s speech – feels more authentic because it’s given the space to flow.
Front-loaded dialogue tags
Front-loaded tags come before the dialogue. This position is the one least used in most commercial fiction, and there’s a good reason for that: reader focus.
Those familiar with advice on writing for the web will know that web copy needs to be front-loaded with relevant keywords. This means that the important stuff comes first. That’s because visitors to websites are busy and scanning for solutions to their problems. When they don’t get them fast, they become frustrated and are more likely to jump to another site.
If the novelist’s done their job well, readers will invest way more time in soaking up their prose than if they were shopping for a new duvet cover. Even so, every word in a piece of fiction needs to count, and readers should still be focusing on the most important stuff.
And so if you’ve written great dialogue, most of the time you’ll want to ensure your readers are focusing on it as soon as possible. Front-loading the speech, rather than the tag, helps achieve that.
That’s not to say that front-loaded dialogue tags don’t have their place. They do, and they can be extremely effective when used purposefully.
When front-loaded tags work:
Impact level, psychic distancing and lyricism
Let’s have a look at how a front-loaded dialogue tag can be used to superb effect when used purposefully.
Impact level
A front-loaded dialogue tag can function in the same way as a mid-loaded one when it comes to speech containing impact points. Again, we’re talking about dialogue that’s witty, suspenseful, or closes with an impactful line that you don’t want to flatten with a tag.
EXAMPLE
Let’s return to the excerpt from Collared. Although Rosenfelt uses a mid-loaded tag, he could have opted for a front-loaded one and preserved the oomph in his closing sentence. Here’s how it might look:
Impact level
A front-loaded dialogue tag can function in the same way as a mid-loaded one when it comes to speech containing impact points. Again, we’re talking about dialogue that’s witty, suspenseful, or closes with an impactful line that you don’t want to flatten with a tag.
EXAMPLE
Let’s return to the excerpt from Collared. Although Rosenfelt uses a mid-loaded tag, he could have opted for a front-loaded one and preserved the oomph in his closing sentence. Here’s how it might look:
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Laurie drapes her arm around me and says, “Andy, we love you deeply. As far as Ricky and I are concerned, the sun rises and sets on you. And it is from that place of love and that place of the rising and setting sun that we say this to you: 'Sign the damn form and send it in.'"
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Psychic distancing
If you want the prose to feel more expository so that the reader is less closely connected to the character, front-loading the tag might be just the ticket. Doing this widens the psychic (or narrative) distance.
A tag tells of speaking whereas dialogue shows what’s being said. By placing the tag first, you draw the reader away from the character’s voice and give the prose a more objective feel.
EXAMPLE
This excerpt is from Jens Lapidus’s Life Deluxe.
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They veered onto a side street off Storgatan.
Jorge's phone rang. Paola: "It's me. Que haces, hermano?" Jorge thought: Should I tell her the truth? "I'm in Södertälje." "At a bakery?" Paola: J-boy loved her. Still, he couldn't take it. He said, "Yeah, yeah, ‘course I'm at a bakery. But we gotta talk later—I got my hands full of muffins here." They hung up. |
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Lapidus has front-loaded dialogue tags and thoughts in this excerpt, and it’s an excellent example of psychic distancing in action. The centring of the characters rather than the speech gives the prose a detached, clinical feel that shows rather than tells mood.
Jorge is a drug-dealer operating in Stockholm’s shady underworld. He’s only just out of jail but already he’s frustrated with a life of honesty. In fact, he’s got only one thing on his mind: easy money.
The wider psychic distance means we get to see the world through Jorge’s eyes but without getting too close to him. Perhaps Lapidus doesn’t want us to empathize with him too much. Instead, he widens the psychic distance just enough that we can make up our own minds about whether Jorge deserves the trouble coming his way.
Lyricism
Repeated use of front-loaded tags with short bursts of dialogue can introduce a lyricism into prose whereby the tags function as more than just indications of who’s speaking. They become part of the poetry.
This approach can work particularly well with parody, satire and comedic prose.
EXAMPLE
I posed my conundrum to the class and waited for their insights on what I considered to be my finest theoretical work to date.
Mari said, ‘No.’
Ahmed said, ‘Yes.’
Sol said, ‘Maybe.’
Dave said, ‘I couldn’t give a shit. Is that the best you’ve got?’
Arthur said nothing, just yawned.
The bell rang. Suitably insulted, I raised the SIG, shot each student in the head, and retired to the staff room.
Mari said, ‘No.’
Ahmed said, ‘Yes.’
Sol said, ‘Maybe.’
Dave said, ‘I couldn’t give a shit. Is that the best you’ve got?’
Arthur said nothing, just yawned.
The bell rang. Suitably insulted, I raised the SIG, shot each student in the head, and retired to the staff room.
Notice how the multiple front-loaded dialogue tags are performing anaphorically. Anaphora is the purposeful repetition of words or phrases at the beginning of successive clauses.
It’s often used in poetry and speeches. When it’s used in novels, that repetition draws the reader's eye and can show rather than tell mood – boredom, monotony or, as in this case, disinterest. The tags are therefore key to the lyricism, and as important as the speech.
Summing up
Front-loading dialogue tags is something most authors tend to avoid. However, as is usually the case when it comes to line craft in fiction, there are no rules.
The key is to consider what purpose your tag is serving and how it can best amplify the speech, evoke mood, and improve rhythm.
The key is to consider what purpose your tag is serving and how it can best amplify the speech, evoke mood, and improve rhythm.
Cited sources
- Barclay, l., Parting Shot, Orion; 2017 (p. 380)
- Boyd, W., Solo: A James Bond Novel, Vintage, 2014 (p. 260)
- Crosby, SA, Blacktop Wasteland, Headline, 2021 (Chapter 1, Kindle edition)
- Lapidus, J, Life Deluxe, Pan, 2015 (Chapter 1, Kindle edition)
- Rosenfelt, D, Collared, Minotaur Books, 2017 (Kindle edition)
Fiction editing training: Books and courses
- Editing Fiction at Sentence Level (book)
- Fiction editing and writing resources (online library)
- How to Line Edit for Suspense (multimedia course)
- How to Write the Perfect Fiction Editorial Report (multimedia course)
- Narrative Distance: A Toolbox for Writers and Editors (multimedia course)
- Preparing Your Book for Submission (multimedia course)
- Switching to Fiction (multimedia course)
- What is anaphora and how can you use it in fiction writing? (blog post)
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Want to line edit crime fiction and thrillers? Pick up some handy tips to help you on your way.
Summary of Episode 96
Listen to find out more about:
- What's distinctive about editing crime fiction and thrillers
- What a good line editor needs to look out for
- What new entrants to the field need to study
- Marketing ideas
- Top tips for being a successful freelance editor/proofreader
- Do fiction editors use style guides?
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Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Are your thriller’s sentences front-loaded with filter words? If so, you could be slowing your reader down. This post explains what filter words are, how they affect a sentence and how to decide whether to include them or ditch them.
What’s in this post ...
Read on to find out more about:
- Why the start of a sentence is important.
- What filter words are.
- How filter words reduce momentum.
- How filter words make space for reflection.
Why the start of a sentence is important
If you’ve read any guidance about online writing, you’ll have come across the concept of front-loading a sentence. It means putting the most important stuff at the start. The idea is that website visitors are busy and scan for relevance. The quicker they find it, the more likely they are to engage.
While a novel that reads like a Google snippet from start to finish isn’t likely to win any prizes, the principle is worth paying attention to because the information at the start of a novel’s sentence is still what the reader will pay most attention to.
The start of a sentence is therefore valuable real estate. If filter words are being assigned to that top spot too often, more interesting subjects and verbs are likely being demoted.
While a novel that reads like a Google snippet from start to finish isn’t likely to win any prizes, the principle is worth paying attention to because the information at the start of a novel’s sentence is still what the reader will pay most attention to.
The start of a sentence is therefore valuable real estate. If filter words are being assigned to that top spot too often, more interesting subjects and verbs are likely being demoted.
What are filter words?
In everyday speech, we sometimes use the term ‘filter’ to convey a sense of slowdown or separation, usually because of a barrier of some sort. For example:
In literature, filter words are verbs that do a similar thing – they slow down the reader’s access to what the viewpoint character is experiencing.
Examples include 'watched', 'saw', 'noticed', 'spotted', 'looked at', 'felt', 'thought', 'wondered', 'heard', 'realised' and 'knew'.
Take a look at this short excerpt from Chapter 2 of Razorblade Tears by S.A. Cosby.
- Sunlight filtered through the tree canopy.
- Over the next couple of hours, information about the explosion filtered out of the camp.
- The children filtered through the turnstile and lined up in in yard.
In literature, filter words are verbs that do a similar thing – they slow down the reader’s access to what the viewpoint character is experiencing.
Examples include 'watched', 'saw', 'noticed', 'spotted', 'looked at', 'felt', 'thought', 'wondered', 'heard', 'realised' and 'knew'.
Take a look at this short excerpt from Chapter 2 of Razorblade Tears by S.A. Cosby.
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Ike Randolph let go of his wife's hand. She slumped against him. |
Ike is the viewpoint character, which means we experience the scene from his perspective.
Notice first what’s front-loading those two sentences. The subjects (Ike in the first, ‘she’ – Ike’s wife – in the second) and the verbs ‘let go’ and ‘slumped’.
That front-loading forces our gaze outwards – first towards Ike, then towards the movement of Ike’s wife’s body.
Now let’s introduce a filter word.
Ike Randolph let go of his wife's hand. He watched as she slumped against him.
Now the second sentence is front-loaded with a new verb – ‘watched’. Our access to the movement (the slumping) has been slowed down. We can’t shift directly to it without taking an extra step that involves centring our gaze for just a second on Ike’s watching.
In that brief moment, we’re no longer looking outward at what Ike’s experiencing. Instead, we’re looking inward at Ike and how he acquires that experience – by watching.
Less experienced writers can be tempted to overuse filter words. Indeed, it’s one of the most common problems I see in my editing studio. At sentence-level revision stage – whether that work’s being done by the writer themselves or with the help of a professional editor – it’s therefore worth watching out for them and assessing whether they’re impeding the novel’s pace.
When filter words reduce momentum
Thrillers are supposed to thrill, and action-packed scenes such as escapes, fights, heists and chases need to be written with razor-sharp precision so that readers don’t start skimming.
Problematic filter words can appear anywhere in a sentence, but front-loading sentences with them is even more likely to rip the momentum out of the prose. If you want your readers to focus on the action, make sure that any you retain are earning their keep.
Take a look at an excerpt from a published thriller that I’ve fiddled with. It’s a heist scene and the action takes place in a matter of seconds. The viewpoint character is coked up to his eyeballs and desperate, acting on impulse.
Problematic filter words can appear anywhere in a sentence, but front-loading sentences with them is even more likely to rip the momentum out of the prose. If you want your readers to focus on the action, make sure that any you retain are earning their keep.
Take a look at an excerpt from a published thriller that I’ve fiddled with. It’s a heist scene and the action takes place in a matter of seconds. The viewpoint character is coked up to his eyeballs and desperate, acting on impulse.
He knew that under normal circumstances he would never put his hands on a lady. However, these were not normal circumstances. Not, he thought, by a long shot.
Ronnie struck the manager just above her right eye with the butt of the .38. He watched as a divot the width of a popsicle stick appeared above her eye. Blood spewed from the wound like water from a broken faucet.
Ronnie struck the manager just above her right eye with the butt of the .38. He watched as a divot the width of a popsicle stick appeared above her eye. Blood spewed from the wound like water from a broken faucet.
The three instances of filtering moderate the pace and draw our attention towards the narrator’s doing knowing, thinking and watching, none of which are as interesting as what he knows, thinks and watches. All those filter words act as barriers that the reader has to jump over in order to get to the action.
We could even argue that they introduce a sort of voyeurism – as if Ronnie is reflecting on the impact of his violence, almost in slow motion. But that’s not what’s going on here. Rather, he’s wired, out of control and operating in the moment.
And that’s why the unadulterated version of Blacktop Wasteland (p. 113) – also by S.A. Cosby – is perfect:
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Under normal circumstances he would never put his hands on a lady. However, these were not normal circumstances. Not by a long shot.
Ronnie struck the manager just above her right eye with the butt of the .38. A divot the width of a popsicle stick appeared above her eye. Blood spewed from the wound like water from a broken faucet. |
The filter words have gone, and with them the unintended pathological introspection, but the momentum is restored. We're in the moment with Ronnie as he lashes out. It's no less violent but the pace of the prose now mirrors the action authentically.
When filter words make space for reflection
Sometimes, however, the author wants us to slow down, step back and focus inward on the acquisition of experience.
Let’s take a look at another example from Cosby’s Razorblade Tears, this one also from Chapter 2.
Let’s take a look at another example from Cosby’s Razorblade Tears, this one also from Chapter 2.
The little girl sitting in her lap played with Mya's braids. Ike looked at the girl. Skin the color of honey with hair to match. Arianna had just turned three the week before her parents died. Did she have any inkling of what was happening? When Mya had told her that her daddies were asleep, she seemed to accept it without too much trouble. He envied the elasticity of her mind. She could wrap her head around this in a way that he couldn't.
The filter phrase is ‘looked at’, and it’s important. Ike is looking hard at what’s in front of him. As will be revealed later, this girl is his murdered son’s daughter. Ike recalls something he’d said to his son a few months earlier: ‘But that little girl, she gonna have it hard enough already. She's half Black. Her mama was somebody you paid to carry her, and she got two gay daddies. So now what?’
Ike and his wife will now be raising the little girl. Cosby wants to focus our attention inward for a moment on Ike’s reflection, and the filter word makes space for that.
While filter words can be effective when they’re used to create a sense of introspection, littering prose with them will be disruptive and pull the reader out of the viewpoint character's headspace. In other words, the psychic or narrative distance will be widened and we’ll feel disconnected from the immediacy of the character’s experience.
For that reason, always use filter words judiciously. In the above example, Cosby offers just a single nudge, and it’s enough.
Summing up
Every filter word needs to be assessed on its own merits. Some will have a place in a novel because the author wants to introduce a sense of introspection into a viewpoint character’s narrative. Just bear in mind the following:
- When filter words front-load a sentence, they’re the first thing a reader notices.
- They destroy momentum and so are often best avoided in pacy action scenes, regardless of their position.
- And even if they do serve a purpose – focusing a reader’s attention inwards on how the viewpoint character acquires the experience they’re reporting (by looking, thinking, feeling etc.) – it's worth keeping their use to a bare minimum. One nudge will likely be enough.
Further reading
Take a look at these related resources for editors and writers. They'll help you develop your fiction line craft:
- For editors: Fiction editing learning centre
- For authors: Line craft learning centre
- Becoming a Fiction Editor (free booklet for editors)
- Blacktop Wasteland, Cosby, S.A., Headline, 2020
- Editing Fiction at Sentence Level (book for editors and authors)
- Filter words in fiction: Purposeful inclusion and dramatic restriction (blog post)
- Making Sense of ‘Show, Don’t Tell’ (book for editors and authors)
- Narrative Distance: A Toolbox for Writers and Editors (course)
- Razorblade Tears, Cosby, S.A., Headline, 2021
- Switching to Fiction (course for editors)
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Find out what narrative distance is and why fiction editors and authors need to pay attention to it.
What’s in this post ...
- What is narrative distance?
- Are narrative distance and psychic distance the same thing?
- How is narrative distance related to narrative style?
- Why writers and editors need to learn about narrative distance
- Using a visual framework to understand narrative distance
- Related resources for you to dig into
What is narrative distance?
Narrative means story. It’s the part of a novel that isn’t dialogue.
A narrator is the person who tells the story. They can be a character in the book or an entity that stands outside it.
There can be multiple narrators in a book, too. That allows the author to present events from multiple perspectives.
‘Narrative distance’ describes the space between a novel’s narrator and the reader.
A narrator is the person who tells the story. They can be a character in the book or an entity that stands outside it.
There can be multiple narrators in a book, too. That allows the author to present events from multiple perspectives.
‘Narrative distance’ describes the space between a novel’s narrator and the reader.
- If we, as readers, feel deeply connected to the narrator and their experience of the fictional world they inhabit, narrative distance is tiny.
- If we feel dislocated from them, more like we’re looking out on the story’s landscape objectively, the narrative distance is wide.
Are narrative distance and psychic distance the same thing?
Yes, narrative distance and psychic distance are the same thing. Some writers and editors use one term, some the other. They’re interchangeable. Use whichever you feel comfortable with.
You might find one or other useful depending on what issues you’re dealing with when you’re writing or editing. I like the word ‘narrative’ because it reminds me what part of the prose I’m dealing with.
Then again, I sometimes use the word ‘psychic’ because it reminds me that although I’m dealing with fiction, and therefore something that’s not real, the narrator within that creative realm still has their own lived experience and a raft of emotions that come with that.
You might find one or other useful depending on what issues you’re dealing with when you’re writing or editing. I like the word ‘narrative’ because it reminds me what part of the prose I’m dealing with.
Then again, I sometimes use the word ‘psychic’ because it reminds me that although I’m dealing with fiction, and therefore something that’s not real, the narrator within that creative realm still has their own lived experience and a raft of emotions that come with that.
How is narrative distance related to narrative style?
Narrative style refers to the way in which the narrator offers their perspective. Common narrative styles include:
Each of those narrative styles come with a certain degree of distance between the narrator and the reader.
For example, first-person narrations always feel a little more intimate because the pronoun ‘I’ is used. Second-person narrations can feel equally intimate, but in a voyeuristic way.
Third-person narrations – and the pronouns that come with them – are what we’re used to using for those not being directly addressed, so in prose they naturally put space between readers and narrators using the third person.
When we move beyond a framework of narrative style and start to think specifically in terms of narrative distance, we’re able to analyse the effectiveness of prose in a more nuanced and flexible way.
- First-person limited
- Third-person limited
- Third-person objective
- Third-person omniscient
Each of those narrative styles come with a certain degree of distance between the narrator and the reader.
For example, first-person narrations always feel a little more intimate because the pronoun ‘I’ is used. Second-person narrations can feel equally intimate, but in a voyeuristic way.
Third-person narrations – and the pronouns that come with them – are what we’re used to using for those not being directly addressed, so in prose they naturally put space between readers and narrators using the third person.
When we move beyond a framework of narrative style and start to think specifically in terms of narrative distance, we’re able to analyse the effectiveness of prose in a more nuanced and flexible way.
Why writers and editors need to learn about narrative distance
Take a book off your shelf and read a couple of pages. Even though the entire section might be written in a single narrative style – for example, third-person limited, it’s likely that the narrative distance still changes.
Perhaps you’ve never noticed before, and if that’s the case, the author and their editor have done a great job because the movement is seamless.
If that movement is jarring and too obvious, it could be an indication that narrative distance isn’t being controlled sufficiently. Editors and writers who can recognize narrative distance and evaluate its effectiveness are better equipped to solve the problem, and justify their solutions.
Perhaps you’ve never noticed before, and if that’s the case, the author and their editor have done a great job because the movement is seamless.
If that movement is jarring and too obvious, it could be an indication that narrative distance isn’t being controlled sufficiently. Editors and writers who can recognize narrative distance and evaluate its effectiveness are better equipped to solve the problem, and justify their solutions.
Using a visual framework to understand narrative distance
Are you confused by narrative distance? Don’t worry – you’re not alone! It’s a complex topic. Even experienced line editors and authors can struggle to get their heads around it.
My solution was to structure my own learning as a visual framework. I presented that framework at the Chartered Institute of Editing and Proofreading’s annual conference in September 2021 and then for the Society of Authors in October 2021.
The framework I shared at those two events garnered fabulous reviews and convinced me to record a webinar that everyone could access.
Narrative Distance: A Toolbox for Writers and Editors is available now to anyone who wants to lift the curtain on narrative distance and use it to craft prose that offers a better reader experience.
Use the button below to find out what’s included in the course.
My solution was to structure my own learning as a visual framework. I presented that framework at the Chartered Institute of Editing and Proofreading’s annual conference in September 2021 and then for the Society of Authors in October 2021.
The framework I shared at those two events garnered fabulous reviews and convinced me to record a webinar that everyone could access.
Narrative Distance: A Toolbox for Writers and Editors is available now to anyone who wants to lift the curtain on narrative distance and use it to craft prose that offers a better reader experience.
Use the button below to find out what’s included in the course.
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If you’re a CIEP member, don’t forget that you can save 20% on all my courses. Log in to Promoted courses · Louise Harnby’s online courses. Then enter the coupon code at my checkout.
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Related resources for you to dig into
- Blog post: 7 reasons why I’m not the right editor for you
- Blog post: How to avoid repeating ‘I’ in first-person writing
- Blog post: How to show the emotions of non-viewpoint characters
- Blog post: What’s the difference between a viewpoint character and a protagonist?
- Book: Editing Fiction at Sentence Level
- Book: Making Sense of Point of View
- Course: How to Write the Perfect Fiction Editorial Report
- Course: Switching to Fiction
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Here are three clutter checks you can carry out on your novel. Reviewing, and editing where appropriate, will help keep your crime fiction, thriller or mystery writing tight and engaging.
In this post ...
In this post, I look at the following ways of decluttering prose in commercial fiction:
- Clutter check #1: Reviewing filter words
- Clutter check #2: Reviewing speech tags
- Clutter check #3: Reviewing action beats
Clutter check #1: Review your filter words
Filter words are verbs that focus the reader’s gaze inwards on the senses a character is using to experience action with.
Too many filter words that explain this sensory behaviour in action can make prose feel told rather shown, and increase narrative distance.
Examples include ‘noticed’, ‘seemed’, ‘spotted’, ‘saw’, ‘realized’, ‘felt’, ‘thought’, ‘wondered’, ‘believed’, ‘knew’ and ‘decided’.
Removing them focuses the reader’s gaze outwards on what is being experienced.
Sometimes an author wants an inward focus, but it’s often the case that the reader will assume that an odour is being smelled, a view is being seen, a thought is being thought, and knowledge is being known.
Review your narrative and consider whether the removal of a filter word would make the prose shorter and more immersive.
Here are some examples:
Too many filter words that explain this sensory behaviour in action can make prose feel told rather shown, and increase narrative distance.
Examples include ‘noticed’, ‘seemed’, ‘spotted’, ‘saw’, ‘realized’, ‘felt’, ‘thought’, ‘wondered’, ‘believed’, ‘knew’ and ‘decided’.
Removing them focuses the reader’s gaze outwards on what is being experienced.
Sometimes an author wants an inward focus, but it’s often the case that the reader will assume that an odour is being smelled, a view is being seen, a thought is being thought, and knowledge is being known.
Review your narrative and consider whether the removal of a filter word would make the prose shorter and more immersive.
Here are some examples:
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WITH FILTER
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FILTER REMOVED
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Danni knew there was a door in the back of the hut that led into the woods. She could make her escape there.
[Reader’s gaze focuses inwards on Danni’s doing the action of knowing.] |
There was a door in the back of the hut that led into the woods. She could make her escape there.
[Reader assumes it’s Danni doing the knowing since she’s the viewpoint character, and focuses outwards on the solution – the door.] |
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The backdoor – it leads to the woods, Danni thought.
[Reader’s gaze focuses inwards on Danni’s doing the action of thinking.] |
The backdoor – it leads to the woods.
[Reader assumes the thought belongs to Danni, and focuses on the substance of the thought.] The backdoor – it led to the woods. [This alternative uses free indirect style; it frames the thought in the novel’s base tense and narrative style – third-person past.] |
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He flung open the door and saw the gunman standing over by the window, rifle trained on the street below.
[Reader’s gaze focuses inwards on the man’s doing the action of seeing.] |
He flung open the door.
The gunman stood over by the window, rifle trained on the street below. [Reader assumes it’s the man doing the seeing since he’s the viewpoint character, and focuses outwards on the gunman.] |
Clutter check #2: Review speech tags
Great speech tags help the reader keep track of who’s speaking without drawing attention away from the dialogue.
Review your dialogue tags and consider the following:
If there are only two characters in a scene, it might be obvious who’s speaking, which gives the author space to introduce reminder nudges only now and then.
Review your dialogue tags and consider the following:
- Is the tag necessary?
- Is the tag taking centre stage?
- Is the tag illogical?
If there are only two characters in a scene, it might be obvious who’s speaking, which gives the author space to introduce reminder nudges only now and then.
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ALL THE TAGS!
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REDUCED TAGGING
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‘There’s a door at the back of the hut,’ Danni said.
‘You’re sure it isn’t locked?’ I said. ‘No,’ she said. ‘Trish never locks it. Not since the fire.’ ‘And that’ll get us into the woods?’ I said. ‘Yup. There’s a track. It’s overgrown but I know the way. Used it all the time when I was young and foolish,’ she said. ‘What do you mean was?’ I said. ‘You’re too funny,’ she said, and pulled a face. |
‘There’s a door at the back of the hut,’ Danni said.
‘You’re sure it isn’t locked?’ ‘No. Trish never locks it. Not since the fire.’ ‘And that’ll get us into the woods?’ ‘Yup. There’s a track. It’s overgrown but I know the way. Used it all the time when I was young and foolish.’ ‘What do you mean was?’ I said. Danny pulled a face. ‘You’re too funny.’ |
‘Said’ is often best because it’s used so frequently in novels that it’s almost invisible. ‘Asked’ is also inoffensive when used to tag questions in dialogue. Others like ‘whispered’, ‘yelled’, ‘hissed’, ‘spat’ and ‘barked’ can be useful when used sparingly to convey volume and mood.
Showy speech tags scream their presence from the page, and shift the reader’s attention away from the dialogue and onto the tag. They often tell what the dialogue’s already shown, and indicate a lack of trust in the reader to get the speech. Examples include ‘exclaimed’, ‘opined’, ‘commanded’
Showy speech tags scream their presence from the page, and shift the reader’s attention away from the dialogue and onto the tag. They often tell what the dialogue’s already shown, and indicate a lack of trust in the reader to get the speech. Examples include ‘exclaimed’, ‘opined’, ‘commanded’
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TAG TAKES CENTRE STAGE
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DIALOGUE TAKES CENTRE STAGE
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‘Watch out!’ Danni warned.
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‘Watch out!’ Danni said.
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‘Yup. There’s a track. It’s overgrown but I know the way. Used it all the time when I was young and foolish.’
‘What do you mean was?’ I joked. |
‘Yup. There’s a track. It’s overgrown but I know the way. Used it all the time when I was young and foolish.’
‘What do you mean was? |
Facial expressions used as tags need special care. Examples include ‘laughed’, ‘smiled’, ‘grimaced’ and ‘sneered’. These are best recast as action beats or replaced with simpler speech tags.
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EXPRESSION TAG
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ACTION BEAT
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‘No,’ Danni grimaced. ‘Trish never locks it. Not since the fire.’
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‘No.’ Danni grimaced. ‘Trish never locks it. Not since the fire.’
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EXPRESSION TAG
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SPEECH TAG
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‘Yup. There’s a track. It’s overgrown but I know the way. Used it all the time when I was young and foolish.’
‘What do you mean was?’ I laughed. |
‘Yup. There’s a track. It’s overgrown but I know the way. Used it all the time when I was young and foolish.’
‘What do you mean was?’ I said. |
Removing redundant tags will reduce your word count. Recasting showy and illogical tags won’t, but your prose will still be more immersive.
Clutter check #3: Review action beats
Action beats are short descriptions that come before, between or just after dialogue. They ground speech in the characters’ environment and can be effective alternatives to speech tags.
They key to effective use is ensuring they amplify dialogue rather than interrupt it.
Think about movies. On the screen, all the actors movements and gestures are visible. Replicating this detail in a novel can be invasive and pull the reader away from what’s being unveiled through the speech.
While action beats are superb backdoors into the emotional space of non-viewpoint characters, the dialogue should be where the main action is taking place. If it’s not, what might be required is a reworking of the dialogue, not the introduction of more action beats.
Instead of mimicking the screen experience, use action beats to show what the dialogue doesn’t convey. That needn’t mean including them with every turn. Great dialogue doesn’t need to be anchored every time a character opens their mouth. A purposeful nudge now and then will be enough.
Watch out in particular for prose that’s overloaded with mundane action beats – legs stretching, fingers raking through hair, raised eyebrows, arms folding, fingers steepling.
Review your action beats:
Getting rid of the dull and redundant ones will reduce your word count. And what’s left on the page will be more engaging.
They key to effective use is ensuring they amplify dialogue rather than interrupt it.
Think about movies. On the screen, all the actors movements and gestures are visible. Replicating this detail in a novel can be invasive and pull the reader away from what’s being unveiled through the speech.
While action beats are superb backdoors into the emotional space of non-viewpoint characters, the dialogue should be where the main action is taking place. If it’s not, what might be required is a reworking of the dialogue, not the introduction of more action beats.
Instead of mimicking the screen experience, use action beats to show what the dialogue doesn’t convey. That needn’t mean including them with every turn. Great dialogue doesn’t need to be anchored every time a character opens their mouth. A purposeful nudge now and then will be enough.
Watch out in particular for prose that’s overloaded with mundane action beats – legs stretching, fingers raking through hair, raised eyebrows, arms folding, fingers steepling.
Review your action beats:
- Do they tell the reader something the dialogue doesn’t or are they mundane details that a reader could imagine?
- Are they infrequent nudges or are they littering the dialogue at every turn of speech?
- Could the mood conveyed by the action beat be conveyed better by improving the dialogue?
Getting rid of the dull and redundant ones will reduce your word count. And what’s left on the page will be more engaging.
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ACTION BEATS THAT INTERRUPT DIALOGUE
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ACTION BEATS THAT AMPLIFY DIALOGUE
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Danni pointed at the back of the cellar. ‘Over there. The door. It leads to the woods.’
‘You’re sure it isn’t locked?’ Max rubbed his forehead. ‘Maybe we need a Plan B.’ ‘No.’ Her brow furrowed. ‘Trish never locks it. Not since the fire.’ Max tilted his head. ‘The fire? What happened?’ ‘It was years ago.’ She waved his question away and jabbed a finger towards the door again. ‘Out back there’s a track. It’s overgrown but I know the way. Used it all the time when I was young and foolish.’ ‘What do you mean was?’ he said, and smirked. She pulled a face. ‘You’re too funny.’ |
Danni pointed at the back of the cellar. ‘Over there. The door. It leads to the woods.’
‘You’re sure it isn’t locked?’ Max said. ‘I dunno, maybe we need a Plan B.’ ‘No. Trish never locks it. Not since the fire.’ ‘The fire? What—’ ‘It was years ago. Whatever. Focus. Out back there’s a track. It’s overgrown but I know the way. Used it all the time when I was young and foolish.’ ‘What do you mean was?’ She pulled a face. ‘You’re too funny.’ |
Summing up
There’s nothing wrong with the filter words, speech tags and actions beats. They’re useful tools when they help a reader make sense of the story.
However, if they’re mundane or interruptive clutter that can be assumed, leave them out so we can focus on the words that really matter.
However, if they’re mundane or interruptive clutter that can be assumed, leave them out so we can focus on the words that really matter.
Related reading
- 3 reasons to use free indirect speech in your crime fiction
- Author writing resources
- Becoming a Fiction Editor (free booklet for editors)
- Dialogue tags and how to use them in fiction writing
- Editing Fiction at Sentence Level (book for editors and authors)
- Filter words in fiction
- Making Sense of ‘Show, Don’t Tell’ (book for editors and authors)
- Switching to Fiction (course for editors)
- Tips on lean writing
- What are action beats and how can you use them in fiction writing?
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
One-line paragraphs are powerful tools that pull readers into your story and compel them to turn the page. This post explores why they work and offers some examples of smashing shorties that pack a punch!
What’s in this post
In this post, I look at five reasons why it’s worth experimenting with very short paragraphs in commercial fiction writing and editing, including:
- to show rather than tell internal experience
- to decelerate reading speed
- to emphasize key information
- to create clutter-free immediacy
- to deliver suspenseful chapter finales
Showing rather than telling internal experience
The narrative passages in a novel are often several lines long. This gives the author space for necessary exposition about the environment, the characters and the action. This is where we make sense of a scene and how it relates to the bigger story.
The staccato rhythm of one-line paragraphs is interruptive, both rhythmically and visually. Each short line is its own single beat, one that’s structurally visible on the page. Every time the reader moves onto the next, they take mental breath.
Because the lines are short, the breaths come quickly, and it’s there that the author can show rather than tell a character's internal experience in a way that's rich in mood and voice.
In this excerpt from Recursion by Black Crouch, p. 317 (Pan, 2019), look at how the structure of those two initial short lines in bold mirrors the meaning of the words.
The staccato rhythm of one-line paragraphs is interruptive, both rhythmically and visually. Each short line is its own single beat, one that’s structurally visible on the page. Every time the reader moves onto the next, they take mental breath.
Because the lines are short, the breaths come quickly, and it’s there that the author can show rather than tell a character's internal experience in a way that's rich in mood and voice.
In this excerpt from Recursion by Black Crouch, p. 317 (Pan, 2019), look at how the structure of those two initial short lines in bold mirrors the meaning of the words.
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The memories arrive in a blink.
One moment nothing. The next, he knows exactly where he is, the full trajectory of his life since Helena found him, and exactly what the equations on the blackboard mean. Because he wrote them. They're extrapolations of the Schwarzschild solution, an equation that defines what the radius of an object must be, based upon its mass, in order to form a singularity. That singularity then forms an Einstein-Rosen wormhole that can, in theory, instantaneously connect far-flung regions of space and even time. |
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One minute the memories aren’t there; the next they are. The beat of their arrival is reflected in the way the prose is formatted. We’re therefore shown how the viewpoint character experiences the lightning-speed download of knowledge, and as a result we feel it all the more intensely.
Decelerating reading speed
Those of us who read a lot are used to seeing chunks of ink on a page or pixels on a screen and learn how to zip through them and absorb the content without dissecting each word.
Such speedy reading can lead to skimming because we relax into the flow of the narrative. One-line paragraphs, however, stand out because they contrast so starkly with the longer passages, surrounded as they are by so much white space.
Text that stands out begs for our attention and forces us to slow down and focus on each word. And that means it’s not only the rhythm of the prose that’s changed; so has the rhythm of how we’re interacting with it as readers.
Take a look at this example on p. 470 of The Good Daughter by Karin Slaughter (HarperCollins, 2017).
Such speedy reading can lead to skimming because we relax into the flow of the narrative. One-line paragraphs, however, stand out because they contrast so starkly with the longer passages, surrounded as they are by so much white space.
Text that stands out begs for our attention and forces us to slow down and focus on each word. And that means it’s not only the rhythm of the prose that’s changed; so has the rhythm of how we’re interacting with it as readers.
Take a look at this example on p. 470 of The Good Daughter by Karin Slaughter (HarperCollins, 2017).
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There was more tapping, more tracking, and then colours on the screen were almost too much. The blacks were up so far that gray spots bubbled through the midnight fields.
Charlie suggested, “Use the blue on the lockers as a color guide. They’re close to the same blue as Dad’s funeral suit. Ben opened the color chart. He clicked on random squares. “That’s it,” Charlie said. “That’s the blue.” “I can clean it up more.” He sharpened the pixels. Smoothed out the edges. Finally, he zoomed in as close as he could without distorting the image into nothing. “Holy shit,” Charlie said. She finally got it. Not a leg, but an arm. Not one arm, but two. One black. One red. A sexual cannibal. A slash of red. A venomous bite. They had not found Rusty’s unicorn. They had found a black widow. |
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The non-bold text is what we’re most used to seeing. It makes for a comfortable, leisurely, skimmable read. But when we get to the bold single-line paragraphs, the contrast is visible on the page. Our reading pace decelerates and our attention zooms in on every word.
Emphasizing key information
Very short paragraphs enable authors to place emphasis on key words and phrases that they want us to pay attention to. Perhaps it’s a clue or a moment of suspense. Maybe it’s to shock us. Maybe it’s to draw our focus towards an aspect of a character’s personality.
Because the one-liner stands out, it’s an opportunity for centre-staging. Here’s a great example from Harlan Coben’s Win, p. 38 (Century, 2021).
Because the one-liner stands out, it’s an opportunity for centre-staging. Here’s a great example from Harlan Coben’s Win, p. 38 (Century, 2021).
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Respect, yes. Bow, no. I also don’t use these techniques,
per the platitude, “only for self-defense,” an obvious untruth on the level of “the check is in the mail” or “don’t worry, I’ll pull out.” I use what I learn to defeat my enemies, no matter who the aggressor happens to be (usually: me). I like violence. I like it a lot. I don’t condone it for others. I condone it for me. I don’t fight as a last resort. I fight whenever I can. I don’t try to avoid trouble. I actively seek it out. After I finish with the bag, I bench-press, powerlift, squat. When I was younger, I’d have various lifting days—arm days, chest days, leg days. When I reached my forties, I found it paid to lift less often and with more variety. |
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Coben wants us to know something about his protagonist Windsor Horne Lockwood III, something we might find distasteful and hard to fathom. Nevertheless, it’s central to the characterization; Win’s actions throughout the novel don’t make sense unless we know this. Coben ensures we don’t miss it.
Creating clutter-free immediacy
Very short paragraphs pull the reader through each moment of the action, second by second, step by step.
This can reduce narrative distance – the space between the reader and the viewpoint character.
Here’s beautiful example from p. 296 of The Cold Cold Ground by Adrian McKinty (Serpent’s Tail, 2012)
This can reduce narrative distance – the space between the reader and the viewpoint character.
Here’s beautiful example from p. 296 of The Cold Cold Ground by Adrian McKinty (Serpent’s Tail, 2012)
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“You had to stick your fucking neb in, didn’t ya? You had to open your big yapper. Can’t you fucking take a hint? After all them ciggies we give you too,” he said.
He raised the gun. I closed my eyes. Held my breath. A bang. Silence. When I opened my eyes again Bobby Cameron was staring at me and shaking his head. Billy White was dead to my left with the back of his head blown off. |
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The narration is first person, so it’s already immersive. But the one-line paragraphs in bold drive us deeper into Sean Duffy’s experience. There’s no fluff, no filtering, no cluttering description.
Each moment of the action is presented oh so precisely, slamming us into the now of the novel – the weapon being raised, Duffy’s physical response, then what he hears: first a bang, then nothing.
In five lines and fourteen words, McKinty shows us something powerful – that he trusts us to get it. We don’t know for sure what Duffy is feeling. It could be sadness, terror, anger, resignation, or a combination of some or all those things.
The author’s had the courage to leave it to us, to allow us to imagine what this moment means internally for Duffy, rather than forcing us one way or another. In doing so, we get to be Duffy for a while rather than a fly on the wall. The narrative distance is so small, it’s barely perceptible.
Delivering suspenseful chapter finales
A smart one-liner at the end of a chapter can create suspense. Perhaps it’s a question, a shocking statement or a realization. Regardless, it leaves the reader aching for answers.
When that yearning is encapsulated in one line, it stands out and demands that we turn the page.
Here are the final two paragraphs from p. 132 of David Rosenfelt’s Open and Shut (Grand Central Publishing, 2002)
When that yearning is encapsulated in one line, it stands out and demands that we turn the page.
Here are the final two paragraphs from p. 132 of David Rosenfelt’s Open and Shut (Grand Central Publishing, 2002)
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The next morning, to my undying shame, I did not withdraw my request. I had the time of my life at camp that summer, and I know now that my father, so desperate for me to go that he was in terrible pain, had millions of dollars that he refused to touch.
Money that he did not make delivering newspapers. [Chapter ends] |
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There is only one question on the reader’s mind as the chapter closes: So how did his father make all that money?
And because the answer lies beyond – maybe in the next chapter, maybe right at the end of the book – we turn the page.
Why less is more
Overdependence on any literary device risks reducing its dramatic effect, and short paragraphs are no exception.
One-liners pack the biggest punch when they’re used now and then as a tool with which to vary the pulse of your prose and deepen your reader’s immersion in the world you’ve created.
Save them for best so that they stand out.
One-liners pack the biggest punch when they’re used now and then as a tool with which to vary the pulse of your prose and deepen your reader’s immersion in the world you’ve created.
Save them for best so that they stand out.
More writing and editing resources
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Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Your novel’s written in first person. Here are some tips for how to ensure your narrative doesn’t become overloaded with ‘I’ but remains immersive.
What’s covered in this post
- Why reduce the ‘I’
- Why ‘I’ still has a place front and centre
- Focusing on the exterior rather than the interior
- Reducing the use of filter words
- Removing speech and thought tags
- Applying the principles of free indirect speech
- Taking the 'I' out of introspection
- Balancing ‘I’ with ‘we’
Why reduce the ‘I’
We might think that the mention of ‘I’ would always make prose more immediate, and draw the reader in closer to the viewpoint character. But sometimes the opposite is true.
Too much ‘I’ is a tap on the shoulder, one that says to the reader, ‘Just in case you’ve forgotten who the narrator is, here are lots of reminders.’
The consequence is that readers are pulled away. And that can actually increase rather than reduce narrative distance.
Too much ‘I’ is a tap on the shoulder, one that says to the reader, ‘Just in case you’ve forgotten who the narrator is, here are lots of reminders.’
The consequence is that readers are pulled away. And that can actually increase rather than reduce narrative distance.
Why ‘I’ still has a place front and centre
I confess to being a huge fan of first-person narrations. When done well, the pronoun is almost invisible, even if it’s used frequently. Certainly the books I’ve borrowed excerpts from here allow ‘I’ to take centre stage.
However, they don’t rely on a first-person pronoun to convey experience, thought, speech and action. Below, I'll show you some examples – ones that ensure the intimacy of the narration style is left intact.
And so while we don’t want to obliterate ‘I’, because avoiding it completely would render the prose awkward, inauthentic and overworked, too much ‘I’ can be repetitive and interruptive. What’s required is a balance.
This post aims to offer you choice – fitting alternatives that retain intimacy and immediacy when you’re concerned you’ve overdone it.
However, they don’t rely on a first-person pronoun to convey experience, thought, speech and action. Below, I'll show you some examples – ones that ensure the intimacy of the narration style is left intact.
And so while we don’t want to obliterate ‘I’, because avoiding it completely would render the prose awkward, inauthentic and overworked, too much ‘I’ can be repetitive and interruptive. What’s required is a balance.
This post aims to offer you choice – fitting alternatives that retain intimacy and immediacy when you’re concerned you’ve overdone it.
1. Focus on the exterior rather than the interior
With a first-person narration, what’s reported must be through the lens of the narrator. Since their presence is a given, we don’t always need to be reminded that ‘I’ is involved.
A little peppering in a more objective report will suffice because the reader knows that it’s coming from the narrator, and only the narrator. It has to be.
And while writers can make space to explore the viewpoint character’s emotional behaviour, the exterior world is what grounds their experience in the novel’s physical world. It gives the novel substance, and the reader something to bite into.
Instead of focusing on who’s doing the reporting, shift the prose towards what’s being reported.
What and who else is in the scene? Why are they there? How do they behave? What do they look like? This information can be reported without ‘I’ so that the reader experiences the physical world within which the narrator is operating.
Here’s an example from To Kill a Mockingbird (Harper Lee, Pan, 1974, p. 11).
A little peppering in a more objective report will suffice because the reader knows that it’s coming from the narrator, and only the narrator. It has to be.
And while writers can make space to explore the viewpoint character’s emotional behaviour, the exterior world is what grounds their experience in the novel’s physical world. It gives the novel substance, and the reader something to bite into.
Instead of focusing on who’s doing the reporting, shift the prose towards what’s being reported.
What and who else is in the scene? Why are they there? How do they behave? What do they look like? This information can be reported without ‘I’ so that the reader experiences the physical world within which the narrator is operating.
Here’s an example from To Kill a Mockingbird (Harper Lee, Pan, 1974, p. 11).
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Maycomb was an old town, but it was a tired old town when I first knew it. In rainy weather the streets turned to red slop; grass grew on the sidewalks, the court-house sagged in the square. Somehow, it was hotter then; a black dog suffered on a summer’s day; bony mules hitched to Hoover carts flicked flies in the sweltering shade of the live oaks on the square. Men’s stiff collars wilted by nine in the morning. Ladies bathed before noon, after their three o’clock naps, and by nightfall were like soft tea-cakes with frostings of sweat and sweet talcum.
People moved slowly then. They ambled across the square, shuffled in and out of the stores around it, took their time about everything. A day was twenty-four hours long but seemed longer. There was no hurry, for there was nowhere to go, nothing to buy and no money to buy it with, nothing to see outside the boundaries of Maycomb County. But it was a time of vague optimism for some of the people: Maycomb County had recently been told that it had nothing to fear but fear itself. |
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Notice the (almost) absence of ‘I’. Scout – our narrator – tells us about the town she lived in: Maycomb. The recollection is hers certainly – ‘when I first knew it’ anchors it as such. It’s therefore intimate.
And yet because there’s only one I-nudge, we’re allowed enough emotional distance to step back and pan, like a roving camera, across Maycomb’s vista. We’re dislocated from Scout’s doing the experiencing and encouraged instead to focus on what she’s experiencing.
What’s happening here is a shift from the subjective to the objective.
Here’s an example of a short excerpt that’s subjective. The focus is on the I-narrator.
SUBJECTIVE FOCUS: 'I ...
I’m stunned by the news. Not that Hatchet has been up since early this morning, but that he has a wife. Someone actually sleeps with the man.
And here’s the real excerpt from David Rosenfelt’s Play Dead (Grand Central, 2009, p. 19). Now the focus is objective, yet in no way does this distance us from the centrality of the first-person narrator’s experience. We’re still deep in his head.
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OBJECTIVE FOCUS: NO 'I ...'
This is a stunning piece of news. Not that Hatchet has been up since early this morning, but that he has a wife. Someone actually sleeps with the man.
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2. Reduce the use of filter words
Filter words are a clue that an interior rather than exterior focus is in play. They’re verbs that increase the narrative distance, reminding us that what we’re reading is being told by someone rather than experienced, or shown, through the eyes of the character.
Examples include noticed, seemed, spotted, saw, realized, felt, thought, wondered, believed, knew, and decided.
Filter focus the reader’s gaze inwards (interior focus) on the manner through which the viewpoint character experiences the world – the how.
They come with a pronoun: I saw, they believed, we decided, she knew, he noticed.
By removing filter words, the reader’s gaze is shifted outwards (exterior focus) and onto what is being experienced. That can make for a more immersive read. Plus, the omission means we say goodbye to their accompanying pronoun: 'I'.
Here are a few examples to give you a flavour of how you might recast in a way that avoids first-person filtering.
Examples include noticed, seemed, spotted, saw, realized, felt, thought, wondered, believed, knew, and decided.
Filter focus the reader’s gaze inwards (interior focus) on the manner through which the viewpoint character experiences the world – the how.
They come with a pronoun: I saw, they believed, we decided, she knew, he noticed.
By removing filter words, the reader’s gaze is shifted outwards (exterior focus) and onto what is being experienced. That can make for a more immersive read. Plus, the omission means we say goodbye to their accompanying pronoun: 'I'.
Here are a few examples to give you a flavour of how you might recast in a way that avoids first-person filtering.
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‘I’ plus filter word. Reader’s gaze is inwards, on the how
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Recast: Reader’s gaze drawn outwards towards the what
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I recall the argument we had last week.
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Last week’s argument is still fresh in my mind.
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I recognized the man’s face.
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The man’s face was familiar.
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I saw the guy turn left and dart into the alley.
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The guy turned left and darted into the alley.
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I spotted the red Chevy from yesterday parked outside the bank.
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There, parked outside the bank, was the same red Chevy from yesterday.
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I still feel ashamed about the vile words I unleashed even after all these years.
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The vile words I unleashed still have the power to bathe me in shame even after all these years.
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3. Remove speech and thought tags
Dialogue tags are what writers use to indicate which character is speaking. Their function is, for the most part, mechanical. If the reader can keep track of who’s saying what in a conversation, you can omit dialogue tags.
This will work best if there are no more than two characters. Most writers don’t extend the omission for more than a few back-and-forths before they introduce a reminder tag or an action beat.
Watching out for unnecessary tags is good practice regardless of narration style, but with a first-person narration it’s a particularly efficient way to declutter ‘I’-heavy prose.
Take a look at this excerpt from David Rosenfelt’s Play Dead, pp. 194–5. There are two characters in this scene: Andy Carpenter, the protagonist and narrator, and Sam Willis, the non-POV character on the other end of the phone.
This will work best if there are no more than two characters. Most writers don’t extend the omission for more than a few back-and-forths before they introduce a reminder tag or an action beat.
Watching out for unnecessary tags is good practice regardless of narration style, but with a first-person narration it’s a particularly efficient way to declutter ‘I’-heavy prose.
Take a look at this excerpt from David Rosenfelt’s Play Dead, pp. 194–5. There are two characters in this scene: Andy Carpenter, the protagonist and narrator, and Sam Willis, the non-POV character on the other end of the phone.
“Great!” he says, making no effort to conceal his delight. He's probably hoping it results in another high-speed highway shooting.
“The woman's name is Donna Banks. She lives in apartment twenty-three-G in Sunset Towers in Fort Lee. I don't have the exact address, but you can get it.”
“Pretty swanky apartment,” he says.
“Right. I want you to find out the source of that swank.”
“What does that mean?”
“I want to know how she can afford it. She doesn't work, and she's the widow of a soldier. Maybe her name is Banks because her family owns a bunch of them, but I want to know for sure.”
“Got it.”
“No problem?” I ask. I'm always amazed at Sam's ability to access any information he needs. “Not so far. Anything else?”
“Yes. I left her apartment at ten thirty-five this morning. I want to know if she called anyone shortly after I left, and if so, who.”
“Gotcha. Which do you want me to get on first? Although neither will take very long.”
“I guess her source of income.”
“Then say it, Andy.”
“Say what?”
“Come on, play the game. You're asking me to find out where she gets her cash. So say it.”
“Sam …”
“Say it.”
“Okay. Show me the money.”
“Thatta boy. I'll get right on it.”
“The woman's name is Donna Banks. She lives in apartment twenty-three-G in Sunset Towers in Fort Lee. I don't have the exact address, but you can get it.”
“Pretty swanky apartment,” he says.
“Right. I want you to find out the source of that swank.”
“What does that mean?”
“I want to know how she can afford it. She doesn't work, and she's the widow of a soldier. Maybe her name is Banks because her family owns a bunch of them, but I want to know for sure.”
“Got it.”
“No problem?” I ask. I'm always amazed at Sam's ability to access any information he needs. “Not so far. Anything else?”
“Yes. I left her apartment at ten thirty-five this morning. I want to know if she called anyone shortly after I left, and if so, who.”
“Gotcha. Which do you want me to get on first? Although neither will take very long.”
“I guess her source of income.”
“Then say it, Andy.”
“Say what?”
“Come on, play the game. You're asking me to find out where she gets her cash. So say it.”
“Sam …”
“Say it.”
“Okay. Show me the money.”
“Thatta boy. I'll get right on it.”
The exchange involves 19 speech elements within the thread, but only 3 speech tags, and only one of those marks our first-person narrator.
At no point do we lose track, and at no point are we distracted by repetitive ‘I said’s.
4. Apply the principles of free indirect speech
If you’ve played with free indirect speech (also called free indirect style/discourse) in third-person narratives, call on your craft for first-person narration.
In a nutshell, free indirect speech offers the essence of first-person dialogue or thought but through a third-person viewpoint. The character’s voice takes the lead, but without the clutter of speech marks, speech tags, italic, or other devices to indicate who’s thinking or saying what.
Here’s an example of third-person narration. Notice the filter words ‘glanced’ and ‘noticed’, the italic present-tense thought, and the thought tag:
In a nutshell, free indirect speech offers the essence of first-person dialogue or thought but through a third-person viewpoint. The character’s voice takes the lead, but without the clutter of speech marks, speech tags, italic, or other devices to indicate who’s thinking or saying what.
Here’s an example of third-person narration. Notice the filter words ‘glanced’ and ‘noticed’, the italic present-tense thought, and the thought tag:
Dave glanced at the guy’s hand and noticed that the signature tattoo was missing. Christ, maybe my intel’s been compromised again, he thought.
Let’s change that to a first-person narration. The filter words are still there and there’s a thought tag with the ‘I’ pronoun.
I glanced at the guy’s hand and noticed that the signature tattoo was missing. Christ, maybe my intel’s been compromised again, I thought.
Here’s what the third-person version could look like in free indirect style. The filter words and tags are gone. It feels like a first-person thought but the base tense and third-person narration remain intact.
The signature tattoo on the guy’s hand was missing. Christ, had his intel been compromised again?
And now the first-person version. All I’ve done is swapped out the pronoun ‘his’ for ‘my’.
The signature tattoo on the guy’s hand was missing. Christ, had my intel been compromised again?
5. Take the ‘I’ out of introspection
There’s nothing wrong with contemplation and introspection. Authentic characters ruminate just like real people.
However, when prose is littered rather than peppered with constructions such as I wasn’t sure if, I didn’t know whether, I wondered if, it can feel muddled and be laborious to read. The reader might respond: Well, of course you’re wondering. Who else could it be? You’re the narrator.
Worse, readers might think the narrator’s rather self-absorbed and unsure of themselves. While that might be necessary now and then, it’s problematic if it’s a staple because a narrator who’s always focused on themselves, and who never instils confidence in us, can’t tell the story as effectively.
Look out for ‘I’-centred introspection and experiment with statements and questions that allow the ‘I’ to be assumed.
Here are a few examples to show you how it might work.
However, when prose is littered rather than peppered with constructions such as I wasn’t sure if, I didn’t know whether, I wondered if, it can feel muddled and be laborious to read. The reader might respond: Well, of course you’re wondering. Who else could it be? You’re the narrator.
Worse, readers might think the narrator’s rather self-absorbed and unsure of themselves. While that might be necessary now and then, it’s problematic if it’s a staple because a narrator who’s always focused on themselves, and who never instils confidence in us, can’t tell the story as effectively.
Look out for ‘I’-centred introspection and experiment with statements and questions that allow the ‘I’ to be assumed.
Here are a few examples to show you how it might work.
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‘I’-centred introspection
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‘I’-less introspection
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I wasn’t sure if Shami was a reliable witness but I couldn’t afford to ignore her, given what she’d divulged.
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Was Shami a reliable witness? Maybe, maybe not. She couldn’t be ignored given what she’d divulged.
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I still didn’t know who the killer was.
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The killer’s identity was still a mystery.
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I wondered whether Shami was a reliable witness.
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Shami might or might not be a reliable witness.
Shami’s reliability as a witness was hardly a given. Shami’s reliability as a witness was questionable. |
6. Balance ‘I’ with ‘we’
Another option is to consider whether your narrator’s lived experience at particular points within the novel involves others.
This is an opportunity to frame the narrative around ‘we’ rather than just ‘I’.
Here’s an excerpt from To Kill a Mockingbird (p. 162) in which Scout, Harper Lee’s first-person narrator, frames the recollection around not just her own experience but those of the people she was hanging out with.
This is an opportunity to frame the narrative around ‘we’ rather than just ‘I’.
Here’s an excerpt from To Kill a Mockingbird (p. 162) in which Scout, Harper Lee’s first-person narrator, frames the recollection around not just her own experience but those of the people she was hanging out with.
As the county went by us, Jem gave Dill the histories and general attitudes of the more prominent figures: M4 Tensaw Jones voted the straight Prohibition ticket; Miss Emily Davis dipped snuff in private; Mr Byron Waller could play the violin; Mr Jake Slade was cutting his third set of teeth.
A wagonload of unusually stern-faced citizens appeared. When they pointed to Miss Maudie Atkinson's yard, ablaze with summer flowers, Miss Maudie herself came out on the porch. There was an odd thing about Miss Maudie – on her porch she was too far away for us to see her features clearly, but we could always catch her mood by the way she stood. She was now standing arms akimbo, her shoulders drooping a little, her head cocked to one side, her glasses winking in the sunlight.
A wagonload of unusually stern-faced citizens appeared. When they pointed to Miss Maudie Atkinson's yard, ablaze with summer flowers, Miss Maudie herself came out on the porch. There was an odd thing about Miss Maudie – on her porch she was too far away for us to see her features clearly, but we could always catch her mood by the way she stood. She was now standing arms akimbo, her shoulders drooping a little, her head cocked to one side, her glasses winking in the sunlight.
The effect is powerful because we’re shown rather than told a sense of her belonging, of her being in a group, of the togetherness of that experience. And that intensifies our immersion in her world.
Summing up
There’s nothing wrong with ‘I’, but a first-person narrator can tell a story without relying on their pronoun all the time. Since they’re the ones doing the reporting, the ‘I’ can often be assumed.
Try recasting sentences that start with ‘I’ more objectively, so that the focus is on the what – the emotion, the object, the person, the action and so on – rather than the sense being used to experience it or the I-narrator doing the experience.
Use the principles of free indirect speech to reduce your ‘I’ count. It’s a tool that encourages a narrowing of narrative distance to such a degree that the reader feels deeply connected to the viewpoint character – more like we’re reading a thought than straight narrative.
As for speech and thought tags, you might not need as many as you think. The speaker can usually be identified without them if there are only two people in the conversation. Removing redundant tags is worth considering whichever narration style you’re writing in.
Try recasting sentences that start with ‘I’ more objectively, so that the focus is on the what – the emotion, the object, the person, the action and so on – rather than the sense being used to experience it or the I-narrator doing the experience.
Use the principles of free indirect speech to reduce your ‘I’ count. It’s a tool that encourages a narrowing of narrative distance to such a degree that the reader feels deeply connected to the viewpoint character – more like we’re reading a thought than straight narrative.
As for speech and thought tags, you might not need as many as you think. The speaker can usually be identified without them if there are only two people in the conversation. Removing redundant tags is worth considering whichever narration style you’re writing in.
Related resources
- 3 reasons to use free indirect speech
- 6 ways to improve your novel right now
- Author resource library (includes links to free webinars)
- Editing Fiction at Sentence Level: A Guide for Beginner and Developing Writers
- Filter words in fiction: Purposeful inclusion and dramatic restriction
- Making Sense of Point of View: Transform Your Fiction 1
- What is head-hopping, and is it spoiling your fiction writing?
- Switching to Fiction: Course for new fiction editors
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Novel dialogue is not like reality, where much of what we say is of little consequence to the bigger picture of our lives. Here’s how to check that all your dialogue needs to be there. Then remove the mundane!
Why speech in a novel is different
Artful dialogue requires balancing realism with engagement and ensuring that every word spoken by a character pushes the novel forward rather than making the reader feel like they’re eavesdropping on a mundane conversation at the bus stop
Every line of dialogue should have a purpose. If it doesn’t, it probably shouldn’t be in your book.
It can take courage to remove words you've spent an age crafting but as I hope to show in the example below, readers don't need every little detail. Less is so often more!
Every line of dialogue should have a purpose. If it doesn’t, it probably shouldn’t be in your book.
It can take courage to remove words you've spent an age crafting but as I hope to show in the example below, readers don't need every little detail. Less is so often more!
A three-pronged approach to dialogue
My favourite way of assessing whether dialogue is working is to think in terms of voice, mood and intention.
When we focus on those three things, we avoid dull dialogue – conversations about the weather, how someone takes their tea or coffee, and courtesy statements such as ‘Hi, how are you?’
When we focus on those three things, we avoid dull dialogue – conversations about the weather, how someone takes their tea or coffee, and courtesy statements such as ‘Hi, how are you?’
Voice
Voice tells us who characters are, what makes them tick – their fears, frustrations, hopes and dreams, identity, preferences.
Perhaps their speech is abrupt, rude, measured, polite, sweary or seductive.
When we change the way a character speaks, we change their voice. And that means we change them.
Voice tells us who characters are, what makes them tick – their fears, frustrations, hopes and dreams, identity, preferences.
Perhaps their speech is abrupt, rude, measured, polite, sweary or seductive.
When we change the way a character speaks, we change their voice. And that means we change them.
Mood
Characters can show us how they’re feeling via their dialogue.
Emotionally evocative speech allows readers to access the internal experience of a non-viewpoint character. And that makes it a powerful tool.
Perhaps their speech is abrupt, assertive, hesitant, forceful, pleading. Using the right words means the speech tags and narrative won’t need to be cluttered with further explanation.
Characters can show us how they’re feeling via their dialogue.
Emotionally evocative speech allows readers to access the internal experience of a non-viewpoint character. And that makes it a powerful tool.
Perhaps their speech is abrupt, assertive, hesitant, forceful, pleading. Using the right words means the speech tags and narrative won’t need to be cluttered with further explanation.
Intention
Intention is another way of framing subtext. How characters speak tells us what they want.
Perhaps they’re asking questions for the purpose of discovery and understanding whodunit (doctors, lawyers, PIs and police officers regularly use dialogue in novels to this end). Dialogue can express a multitude of motivations.
Ask yourself what your character wants every time they open their mouth.
Intention is another way of framing subtext. How characters speak tells us what they want.
Perhaps they’re asking questions for the purpose of discovery and understanding whodunit (doctors, lawyers, PIs and police officers regularly use dialogue in novels to this end). Dialogue can express a multitude of motivations.
Ask yourself what your character wants every time they open their mouth.
Example: Real but mundane dialogue
Let’s look at an example of dialogue that represents the kind of conversation one would expect to hear in real life. It includes the polite chitchat that people indulge in before they get down to business.
Laurie comes back to the office with me for a meeting with Kevin. These meetings are basically of dubious value, since all we seem to do is list the things we don’t understand in our preparation for a trial we don’t know will even take place.
“Hi, Kevin,” I say.
“Hey, Andy. How you doin’?”
“Not too bad, thanks. Christ, it’s cold out though. I need something to warm me up. Gonna grab a coffee. Want one? Laurie, you?”
Kevin nods.
Laurie says, “Please. Milk and sugar.”
“So Kevin,” I say as I hand around the drinks, “we need to talk about Petrone.”
It’s the first chance I’ve had to tell Kevin about my meeting with the guy. I fill him in. When I get to the part where Petrone denied trying to have me killed, Kevin asks, “And you believed him?”
“I did.”
“Just because that’s what he said?”
I nod. “As stupid as it might sound, yes. I’ve had dealings with him before, and he’s always told me the truth, or nothing at all. And he had nothing to gain by lying.”
“Andy, the guy has had a lot of people murdered. How many confessions has he made?”
“Hi, Kevin,” I say.
“Hey, Andy. How you doin’?”
“Not too bad, thanks. Christ, it’s cold out though. I need something to warm me up. Gonna grab a coffee. Want one? Laurie, you?”
Kevin nods.
Laurie says, “Please. Milk and sugar.”
“So Kevin,” I say as I hand around the drinks, “we need to talk about Petrone.”
It’s the first chance I’ve had to tell Kevin about my meeting with the guy. I fill him in. When I get to the part where Petrone denied trying to have me killed, Kevin asks, “And you believed him?”
“I did.”
“Just because that’s what he said?”
I nod. “As stupid as it might sound, yes. I’ve had dealings with him before, and he’s always told me the truth, or nothing at all. And he had nothing to gain by lying.”
“Andy, the guy has had a lot of people murdered. How many confessions has he made?”
Were you enthralled by the welcome and refreshments section, or did you just wish we could get to the point? I think I know the answer!
The slimmed-down version
Now let’s look at how author David Rosenfelt actually wrote this excerpt from Play Dead (Grand Central, 2009, p. 175), and beautifully too:
Laurie comes back to the office with me for a meeting with Kevin.
These meetings are basically of dubious value, since all we seem to do is list the things we don’t understand in our preparation for a trial we don’t know will even take place.
It’s the first chance I’ve had to tell Kevin about my meeting with Petrone. I fill him in. When I get to the part where Petrone denied trying to have me killed, Kevin asks, “And you believed him?”
“I did.”
“Just because that’s what he said?”
I nod. “As stupid as it might sound, yes. I’ve had dealings with him before, and he’s always told me the truth, or nothing at all. And he had nothing to gain by lying.”
“Andy, the guy has had a lot of people murdered. How many confessions has he made?”
These meetings are basically of dubious value, since all we seem to do is list the things we don’t understand in our preparation for a trial we don’t know will even take place.
It’s the first chance I’ve had to tell Kevin about my meeting with Petrone. I fill him in. When I get to the part where Petrone denied trying to have me killed, Kevin asks, “And you believed him?”
“I did.”
“Just because that’s what he said?”
I nod. “As stupid as it might sound, yes. I’ve had dealings with him before, and he’s always told me the truth, or nothing at all. And he had nothing to gain by lying.”
“Andy, the guy has had a lot of people murdered. How many confessions has he made?”
What readers don’t care about
Rosenfelt knows that none of his readers care about the weather, the coffee, or whether people say hello to each other or not.
And so he leaves all of that out and lets the reader imagine that this stuff took place. And it’s enough. In the published novel, as opposed to the version I butchered, the first line of speech is “And you believed him.”
With that, we’re straight into Kevin’s incredulity and concern, and his desire to understand what the team is dealing with in regard to Petrone.
Meanwhile, Andy has his lawyer hat on. His initial reply is succinct, so that we are left in no doubt about his belief that Petrone was telling the truth, and that he is determined to reassure Kevin.
This is no-messing dialogue that focuses on story, not whether the speech is what we might actually hear – in its entirety – in real life.
It’s an excellent example of an author ensuring that every word counts and that there’s no bus-stop-talk filler.
And so he leaves all of that out and lets the reader imagine that this stuff took place. And it’s enough. In the published novel, as opposed to the version I butchered, the first line of speech is “And you believed him.”
With that, we’re straight into Kevin’s incredulity and concern, and his desire to understand what the team is dealing with in regard to Petrone.
Meanwhile, Andy has his lawyer hat on. His initial reply is succinct, so that we are left in no doubt about his belief that Petrone was telling the truth, and that he is determined to reassure Kevin.
This is no-messing dialogue that focuses on story, not whether the speech is what we might actually hear – in its entirety – in real life.
It’s an excellent example of an author ensuring that every word counts and that there’s no bus-stop-talk filler.
Summing up
To declutter dialogue and make every word count, ask yourself the following:
Want the booklet version of this post? It's available on my Dialogue resources library. Click on the cover below to hop over to the page. Once you're there, choose the Booklets icon.
- Is every line relevant to the story?
- Is the character speaking with purpose or taking up ink/pixels on the page?
- Can mundane chitchat be removed without damaging sense and flow?
- Could the dull stuff be replaced with speech that deepens character?
Want the booklet version of this post? It's available on my Dialogue resources library. Click on the cover below to hop over to the page. Once you're there, choose the Booklets icon.
More fiction editing resources for authors and editors
- Editing Fiction at Sentence Level
- Making Sense of ‘Show, Don’t Tell’
- Making Sense of Point of View
- Making Sense of Punctuation
- How to Write the Perfect Fiction Editorial Report
- Switching to Fiction
- The Differences Between Developmental Editing, Line Editing, Copyediting and Proofreading (free webinar)
- How to Punctuate Dialogue in a Novel (free webinar)
- Resource library: Dialogue and thoughts
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
FIND OUT MORE
> Get in touch: Louise Harnby | Fiction Editor & Proofreader
> Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
> Learn: Books and courses
> Discover: Resources for authors and editors
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
FIND OUT MORE
> Get in touch: Louise Harnby | Fiction Editor & Proofreader
> Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
> Learn: Books and courses
> Discover: Resources for authors and editors
Your novel features characters from different countries. Should their dialogue, thoughts or narration be spelled differently just because their voices are regionally distinct and they come from different places? The answer’s no. Here’s why.
What's covered in this post
In this post, I explore the following:
- How there are multiple Englishes with different spellings
- The difference between spelling style and voice
- A case study from the 007 files
- Overcoming ‘But it looks wrong’
- Adding regional flavour to voice
- 3 examples of when spelling inconsistency works
- A note on suffixes, dashes and quotation marks
Multiple Englishes, different spellings
There are multiple Englishes each with their own spelling conventions: British, Indian, Canadian, American and Australian are just five examples of English.
Most words are spelled the same regardless of which English is in play, though there are many that aren’t, for example ‘color’/’colour’, ‘judgment’/‘judgement’, ‘harmonize’/‘harmonise’, ‘behavior’/‘behaviour’, ‘gray’/‘grey’, 'liter'/'litre'.
None are right or wrong, better or worse, or correct or incorrect. Rather, the way each version of English is spelled is about convention and style.
This post uses examples of American English (AmE) and British English (BrE) style to explain how to approach spelling/voice conundrums in fiction.
Most words are spelled the same regardless of which English is in play, though there are many that aren’t, for example ‘color’/’colour’, ‘judgment’/‘judgement’, ‘harmonize’/‘harmonise’, ‘behavior’/‘behaviour’, ‘gray’/‘grey’, 'liter'/'litre'.
None are right or wrong, better or worse, or correct or incorrect. Rather, the way each version of English is spelled is about convention and style.
This post uses examples of American English (AmE) and British English (BrE) style to explain how to approach spelling/voice conundrums in fiction.
The difference between spelling style and voice
Strive for a mindset that separates style and character voice.
Voice isn’t something that’s spelled. Rather, it’s something the reader experiences, ‘hears’ with their mind’s ear. It therefore follows the base spelling style, regardless of where the character comes from. With that in mind:
The easiest way to illustrate how spelling consistency works is with a case study. Let’s take a peek into the world of 007!
- How the words in a novel are spelled is for the most part a question of style.
- What a character says, thinks, feels, and the words used to report this on the page, is a question of voice. This is the case for dialogue and narrative.
Voice isn’t something that’s spelled. Rather, it’s something the reader experiences, ‘hears’ with their mind’s ear. It therefore follows the base spelling style, regardless of where the character comes from. With that in mind:
- If you’re writing fiction, decide on your spelling style and stick to it.
- If you’re editing for an author, identify the spelling style and aim for consistency.
The easiest way to illustrate how spelling consistency works is with a case study. Let’s take a peek into the world of 007!
A case study from the 007 files
I’ve chosen Jeffery Deaver’s Carte Blanche, a continuation novel featuring Ian’s Fleming’s British MI6 agent, James Bond.
The version from Hodder & Stoughton (part of Hachette UK), published in 2011, is styled as follows:
The version from Hodder & Stoughton (part of Hachette UK), published in 2011, is styled as follows:
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Here’s are three snippets from Chapter 2.
It was eight forty and the Sunday evening was clear here, near Novi Sad, where the Pannonian Plain rose to a landscape that the Serbs called ‘mountainous’, though Bond guessed the adjective must have been chosen to attract tourists;
‘Now, I’m ninety per cent sure he’ll believe you,’ Bond said. ‘But if not, and he engages, remember that under no circumstances is he to be killed. I need him alive. Aim to wound in the arm he favours, near the elbow, not the shoulder.’ Despite what one saw in the movies, a shoulder wound was usually as fatal as one to the abdomen or chest.
The Night Action alert meant an immediate response was required, at whatever time it was received. The call to his chief of staff had blessedly cut the date short and soon he had been en route to Serbia, under a Level 2 project order, authorising him to identify the Irishman, plant trackers and other surveillance devices and follow him.
‘Now, I’m ninety per cent sure he’ll believe you,’ Bond said. ‘But if not, and he engages, remember that under no circumstances is he to be killed. I need him alive. Aim to wound in the arm he favours, near the elbow, not the shoulder.’ Despite what one saw in the movies, a shoulder wound was usually as fatal as one to the abdomen or chest.
The Night Action alert meant an immediate response was required, at whatever time it was received. The call to his chief of staff had blessedly cut the date short and soon he had been en route to Serbia, under a Level 2 project order, authorising him to identify the Irishman, plant trackers and other surveillance devices and follow him.
The version from Pocket Star Books (a division of Simon and Schuster), published in 2012, is styled as follows:
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Bond’s words haven’t changed. Bond’s nationality hasn’t changed. Bond’s job hasn’t changed. Bond’s narrative voice hasn’t changed. All that’s changed is the novel’s styling.
It was eight forty and the Sunday evening was clear here, near Novi Sad, where the Pannonian Plain rose to a landscape that the Serbs called “mountainous,” though Bond guessed the adjective must have been chosen to attract tourists;
“Now, I’m ninety percent sure he’ll believe you, Bond said. “But if not, and he engages, remember that under no circumstances is he to be killed. I need him alive. Aim to wound in the arm he favors, near the elbow, not the shoulder.” Despite what one saw in the movies, a shoulder wound was usually as fatal as one to the abdomen or chest.
The Night Action alert meant an immediate response was required, at whatever time it was received. The call to his chief of staff had blessedly cut the date short and soon he had been en route to Serbia, under a Level 2 project order, authorizing him to identify the Irishman, plant trackers and other surveillance devices and follow him.
“Now, I’m ninety percent sure he’ll believe you, Bond said. “But if not, and he engages, remember that under no circumstances is he to be killed. I need him alive. Aim to wound in the arm he favors, near the elbow, not the shoulder.” Despite what one saw in the movies, a shoulder wound was usually as fatal as one to the abdomen or chest.
The Night Action alert meant an immediate response was required, at whatever time it was received. The call to his chief of staff had blessedly cut the date short and soon he had been en route to Serbia, under a Level 2 project order, authorizing him to identify the Irishman, plant trackers and other surveillance devices and follow him.
Later in the novel (Chapter 26), Felix Leiter, an American, joins Bond on his mission. Here’s how Leiter’s dialogue is rendered in the AmE version:
Felix Leiter, a former marine whom Bond had met in the service, was a HUMINT spy. He vastly preferred the role of handler—running local assets, like Yusuf Nasad. “I pulled in a lot of favors and talked to all my key assets. Whatever Hydt and his local contacts’re up to, they’re keeping the lid on really tight. I can’t find any leads. Nobody’s been moving any mysterious shipments of nasty stuff into Dubai. Nobody’s been telling friends and family to avoid this mosque or that shopping center around seven tonight. No bad actors’re slipping in from across the Gulf.”
And here it is in the BrE version. Leiter is still American and still has the same distinct voice, but now the spelling has changed (as has the punctuation; note the spaced en dash and single quotation marks).
Felix Leiter, a former marine whom Bond had met in the service, was a HUMINT spy. He vastly preferred the role of handler – running local assets, like Yusuf Nasad. ‘I pulled in a lot of favours and talked to all my key assets. Whatever Hydt and his local contacts’re up to, they’re keeping the lid on really tight. I can’t find any leads. Nobody’s been moving any mysterious shipments of nasty stuff into Dubai. Nobody’s been telling friends and family to avoid this mosque or that shopping centre around seven tonight. No bad actors’re slipping in from across the Gulf.’
Overcoming ‘But it looks wrong’
Our brains can mess with us when we associate a particular spelling style with a character’s place of birth or residence, particularly if their voice is regionally distinct.
For example, perhaps they use idiomatic phrases that wedge them firmly in a country, state/province/county or even town/city that we’re from.
The British editor working on a book set in Southern California and written by an American author who writes in AmE might well struggle when a viewpoint character from Norfolk (the UK one where I live) turns up in Santa Barbara and mutters the following on seeing a cluster of huge ladybirds:
“Look at the color o’ them bishy barnabees. And big as a thruppence too!”
The spelling of ‘color’ might jar because ‘thruppence’ is so clearly unAmerican, so very British, while ‘bishy barnabees’ is particular to Norfolk. And yet the spelling is (and should be) AmE if that’s how the novel’s been styled overall.
An editor colleague recently reported this kind of problem in a Facebook group discussion. The novel was set in AmE, but the British viewpoint character spoke, thought and talked to herself in a Yorkshire accent. The first-person narration style deepened the voice still further.
‘The character's voice is really strong,’ the editor said, ‘and the US spelling seems at odds.’
The editor slept on it and the next day announced a simple but clever solution that had enabled her to overcome her resistance.
‘I mentally changed the British voice to a South African one so that I'm not so conscious of spelling variations, et voilà! It's suddenly clear as day.’
It’s a neat trick, a way of breaking the false connection between spelling and voice. If you come up against a similar situation, try it!
For example, perhaps they use idiomatic phrases that wedge them firmly in a country, state/province/county or even town/city that we’re from.
The British editor working on a book set in Southern California and written by an American author who writes in AmE might well struggle when a viewpoint character from Norfolk (the UK one where I live) turns up in Santa Barbara and mutters the following on seeing a cluster of huge ladybirds:
“Look at the color o’ them bishy barnabees. And big as a thruppence too!”
The spelling of ‘color’ might jar because ‘thruppence’ is so clearly unAmerican, so very British, while ‘bishy barnabees’ is particular to Norfolk. And yet the spelling is (and should be) AmE if that’s how the novel’s been styled overall.
An editor colleague recently reported this kind of problem in a Facebook group discussion. The novel was set in AmE, but the British viewpoint character spoke, thought and talked to herself in a Yorkshire accent. The first-person narration style deepened the voice still further.
‘The character's voice is really strong,’ the editor said, ‘and the US spelling seems at odds.’
The editor slept on it and the next day announced a simple but clever solution that had enabled her to overcome her resistance.
‘I mentally changed the British voice to a South African one so that I'm not so conscious of spelling variations, et voilà! It's suddenly clear as day.’
It’s a neat trick, a way of breaking the false connection between spelling and voice. If you come up against a similar situation, try it!
Adding regional flavour to voice
If you’re still worried that a spelling choice looks odd, remember that voice lies not in how the text is spelled but in what the character is saying, the turns of phrase they use, and the emotions and motivations behind their action (whether that action comes through speech, thought, movement or narration).
It’s worth bearing in mind, too, that language is often borrowed to the extent that some words no longer feel like, say, Britishisms, Americanisms, Canadianisms or Indianisms when they roll out of our mouths, regardless of how we identify or where we live.
Would I, a Brit, ever use the terms ‘cell phone’ and ‘movie’ rather than ‘mobile’ and ‘film’? Yes, I would.
How about ‘elevator’ rather than ‘lift’, ‘sidewalk’ rather than ‘pavement’, ‘aluminum’ rather than ‘aluminium’? Would I refer to ‘my mom’ rather than ‘my mum?’ Not while roaming around Norwich, but on a visit to Chicago, possibly, if I wanted to ensure people understood me. And almost definitely if I'd made my home there for some time.
Perhaps, then, the trick is not to be too precious about it, either when we’re writing or editing. Instead, we can consider the character’s environment and the degree to which the ‘local’ language flavour is something they’re likely to have assimilated into their speech, thoughts and narratives.
Those choices aside, the spelling style will be consistent. Unless …
It’s worth bearing in mind, too, that language is often borrowed to the extent that some words no longer feel like, say, Britishisms, Americanisms, Canadianisms or Indianisms when they roll out of our mouths, regardless of how we identify or where we live.
Would I, a Brit, ever use the terms ‘cell phone’ and ‘movie’ rather than ‘mobile’ and ‘film’? Yes, I would.
How about ‘elevator’ rather than ‘lift’, ‘sidewalk’ rather than ‘pavement’, ‘aluminum’ rather than ‘aluminium’? Would I refer to ‘my mom’ rather than ‘my mum?’ Not while roaming around Norwich, but on a visit to Chicago, possibly, if I wanted to ensure people understood me. And almost definitely if I'd made my home there for some time.
Perhaps, then, the trick is not to be too precious about it, either when we’re writing or editing. Instead, we can consider the character’s environment and the degree to which the ‘local’ language flavour is something they’re likely to have assimilated into their speech, thoughts and narratives.
Those choices aside, the spelling style will be consistent. Unless …
3 examples of when spelling inconsistency works
There are instances where inconsistent styling will be called for. Here are 3.
The character is spelling a spelling
Imagine a Bond novel is styled in BrE. Bond and Leiter are speaking to each other on the phone and the line is terrible. Bond thinks Leiter has said ‘dissenter’. Leiter’s dialogue might go like this: ‘Not dissenter. The centre. C-E-N-T-E-R. Move to the centre.’
A proper noun is being referenced
Now imagine Bond’s telling Leiter that he’s received intelligence about a heist in the Rockefeller Center. Even if the novel’s styled in BrE, the AmE spelling of ‘Center’ should be retained because it’s referencing the name of a building.
Excerpts from written materials have been transcribed
Excerpts from diaries, newspaper cuttings, reports, letters, texts and so on can be rendered in the spelling style most likely used by whomever in the novel wrote them because they’re supposed to be authentic transcripts.
Imagine that Bond’s reading a document written by an American CIA operative. Even if the novel is styled in BrE, the spelling in the report would be AmE, unless referencing a proper noun that required a BrE spelling.
The character is spelling a spelling
Imagine a Bond novel is styled in BrE. Bond and Leiter are speaking to each other on the phone and the line is terrible. Bond thinks Leiter has said ‘dissenter’. Leiter’s dialogue might go like this: ‘Not dissenter. The centre. C-E-N-T-E-R. Move to the centre.’
A proper noun is being referenced
Now imagine Bond’s telling Leiter that he’s received intelligence about a heist in the Rockefeller Center. Even if the novel’s styled in BrE, the AmE spelling of ‘Center’ should be retained because it’s referencing the name of a building.
Excerpts from written materials have been transcribed
Excerpts from diaries, newspaper cuttings, reports, letters, texts and so on can be rendered in the spelling style most likely used by whomever in the novel wrote them because they’re supposed to be authentic transcripts.
Imagine that Bond’s reading a document written by an American CIA operative. Even if the novel is styled in BrE, the spelling in the report would be AmE, unless referencing a proper noun that required a BrE spelling.
A note on suffixes, dashes and quotation marks
Finally, a quick note on style and how writers and editors need to consider whether they're being overly prescriptive. I recommend thinking in terms of common conventions rather than rules.
Suffixes
In AmE, it’s standard to spell with -iz- suffixes.
In BrE, both -iz- and -is- are standard. Again, it’s a matter of style.
Thus, in the Night Action alert excerpt above, if Hodder had elected to use ‘authorized’ instead of ‘authorised’, this would not have been a slippage into American spelling but a style choice – an accepted BrE variant that’s been around since the sixteenth century.
Dashes
While most US publishers favour closed-up em dashes and most British publishers favour spaced en dashes when used parenthetically (see the Leiter snippet in the case study), it’s not wrong to used unspaced em dashes when writing in BrE style; it’s Oxford’s preference, for example.
Quotation marks
Again, while it’s more common to see single quotation marks in BrE styling and doubles in AmE, this isn’t an unbreakable rule. Indie authors can choose, for example, BrE spelling and double quotation marks if they wish.
In all three cases, consistency is what counts.
Suffixes
In AmE, it’s standard to spell with -iz- suffixes.
In BrE, both -iz- and -is- are standard. Again, it’s a matter of style.
Thus, in the Night Action alert excerpt above, if Hodder had elected to use ‘authorized’ instead of ‘authorised’, this would not have been a slippage into American spelling but a style choice – an accepted BrE variant that’s been around since the sixteenth century.
Dashes
While most US publishers favour closed-up em dashes and most British publishers favour spaced en dashes when used parenthetically (see the Leiter snippet in the case study), it’s not wrong to used unspaced em dashes when writing in BrE style; it’s Oxford’s preference, for example.
Quotation marks
Again, while it’s more common to see single quotation marks in BrE styling and doubles in AmE, this isn’t an unbreakable rule. Indie authors can choose, for example, BrE spelling and double quotation marks if they wish.
In all three cases, consistency is what counts.
Summing up
Voice can be flavoured by what is said, thought and narrated, and it can show us aspects of a character’s personality, emotions, motivations and background – regardless of how the words that convey it are spelled.
Spelling is about style. The goal is consistency in the main, complemented by good-sense deviation when necessary.
That’s how the mainstream publishing industry approaches it, and editors and writers will do well to follow their lead.
Spelling is about style. The goal is consistency in the main, complemented by good-sense deviation when necessary.
That’s how the mainstream publishing industry approaches it, and editors and writers will do well to follow their lead.
Related resources
- Author and editor resources library
- Blog post: How do I find spelling inconsistencies when proofreading and editing?
- Blog post: How to convey accents in fiction writing: Beyond phonetic spelling
- Blog post: What's the difference between a rule and a preference? Advice for new writers
- Booklet: British English and US English in your fiction, and why you should be consistent
- Podcast: Think it’s American? Think again!
- Podcast: Linguist Rob Drummond on grammar pedantry, peevery and youth language
Visit the grammar and spelling page in my resource library to download a free booklet summarizing suffix variations in American and British English.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
FIND OUT MORE
> Get in touch: Louise Harnby | Fiction Editor & Proofreader
> Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
> Learn: Books and courses
> Discover: Resources for authors and editors
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
FIND OUT MORE
> Get in touch: Louise Harnby | Fiction Editor & Proofreader
> Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
> Learn: Books and courses
> Discover: Resources for authors and editors
Give your novel a sentence-level workout. Here are 6 common problems, and the solutions that will improve the flow of your fiction and make the prose pop.
Review your novel for 6 common problems. None involve major rewriting, just relatively gentle recasts that will improve your prose significantly, and make your reader's experience more immersive.
1. Assess invasive adverbs
2. Remove redundant filter words
3. Take the spotlight off speech tags
4. Pick up dropped viewpoint
5. Trim anatomy-based action
6. Turn intention into action
1. Assess invasive adverbs
Not all adverbs and adverbial phrases are bad. Suddenly, slightly, slowly, nervously, calmly, quietly can be effective if used now and then.
However, overuse is often a symptom of an author telling us what’s already been shown, which means the adverbs are repetitive and cluttering. In the two examples that follow, they can be ditched because 'fidgeted' shows the nervousness, and the apology in the dialogue shows the regret.
However, overuse is often a symptom of an author telling us what’s already been shown, which means the adverbs are repetitive and cluttering. In the two examples that follow, they can be ditched because 'fidgeted' shows the nervousness, and the apology in the dialogue shows the regret.
EXAMPLES
- Jane fidgeted nervously with the napkin.
- ‘I’m so sorry to keep you waiting,’ she said with regret. ‘It’s been one of those days.’
- Jane fidgeted with the napkin.
- ‘I’m so sorry to keep you waiting,’ she said. ‘It’s been one of those days.’
Even when adverbs are telling us something new, consider elegant recasts that use stronger verbs but still keep readers in the moment.
EXAMPLES
- Jane turned around suddenly and ducked.
- Jane opened the shed door cautiously and peeked in.
- Jane spun around and ducked.
- Jane inched open the shed door and peeked in.
2. Remove redundant filter words
When readers are told of doing being done by a viewpoint character, filtering is in play. Realized, knew that, wondered, thought, saw, and decided are just a few examples.
The reader is already experiencing the story through a viewpoint character. For that reason, we often don’t need to be told that they realize, see, think or feel anything. We’re already in their heads.
It’s telling what’s already been shown.
The reader is already experiencing the story through a viewpoint character. For that reason, we often don’t need to be told that they realize, see, think or feel anything. We’re already in their heads.
It’s telling what’s already been shown.
EXAMPLES
- Jane’s phone trilled. She glanced at the screen and saw that it was James calling again.
- Matthew felt a thumping in his temples and thought about how that third glass of wine had been a bad idea.
- Jane’s phone trilled. She glanced at the screen. James again.
- Mathew’s temples thumped. That third glass of wine had been a bad idea.
Filtering pulls us out of the deep, limited viewpoint. Worse, it’s repetitive and obvious. Jane has already looked at the screen so we know her eyes are doing the work; telling us that she saw as a result of her glancing is redundant.
In the example where Matthew’s the narrative viewpoint character, we needn’t be told he feels the thumping in his temples, since if he weren’t feeling it he couldn’t report it. Nor do we need to know he’s thinking about that third glass because we’re already in his head.
3. Take the spotlight off speech tags
'Said' is almost invisible when it comes to dialogue tags. A smattering of 'asked', 'replied', 'whispered', and 'yelled' can also work well.
Sometimes tags aren’t even necessary because it’s obvious who’s speaking. Other times, we can replace a tag with an action beat than conveys movement and emotion.
Readers should be focused on the dialogue. If a showy tag is necessary to convey a character’s voice or mood, the speech might need a rethink.
In the examples below, the speech tags do the following:
Sometimes tags aren’t even necessary because it’s obvious who’s speaking. Other times, we can replace a tag with an action beat than conveys movement and emotion.
Readers should be focused on the dialogue. If a showy tag is necessary to convey a character’s voice or mood, the speech might need a rethink.
In the examples below, the speech tags do the following:
- tell what the punctuation’s already shown
- tell what the dialogue’s already shown
- tell us what the dialogue could have shown but doesn’t
- express non-speech-related behaviour
EXAMPLES
ALTERNATIVES
- 'That’s extraordinary!’ Jane exclaimed, and ran her index finger over the polished wood.
- ‘Put the damn thing down now. That’s an order, soldier,’ Reja commanded, raising her rifle.
- ‘Stop,’ Mathew pleaded.
- ‘I really need to hit the sack,’ James yawned.
ALTERNATIVES
- ‘That’s extraordinary!’ Jane ran her index finger over the polished wood.
- ‘Put the damn thing down now.’ Reja raised her rifle. ‘That’s an order, soldier.’
- ‘Stop,’ Mathew said. ‘I’m bloody begging you.’
- James yawned. ‘I really need to hit the sack.’
4. Pick up dropped viewpoint
Narrative viewpoint is a big topic so I’ve focused on two common sentence-level slips:
The viewpoint character reports what they can’t know
Reporting what can’t be known often comes with filter phrases such as 'could tell (that)' and 'knew (that)'.
In this example, John is the viewpoint character. We experience the story though his senses.
- The viewpoint character reports what they can’t know.
- The reader is given access to non-viewpoint characters' internal experiences.
The viewpoint character reports what they can’t know
Reporting what can’t be known often comes with filter phrases such as 'could tell (that)' and 'knew (that)'.
In this example, John is the viewpoint character. We experience the story though his senses.
EXAMPLE
There, behind the desk, sat Reja, the girl he’d dated two decades earlier.
‘Sergeant John Davis,’ he said, and held out his hand. He could tell she didn’t remember him.
There, behind the desk, sat Reja, the girl he’d dated two decades earlier.
‘Sergeant John Davis,’ he said, and held out his hand. He could tell she didn’t remember him.
Actually he can’t tell any such thing. It might seem that way, but for all John knows, she could be hiding it because she has another agenda. Telling us that’s not the case removes any underlying suspense – stops us asking the question.
This might seem like a small slip but it’s the kind of thing that turns over all the power of a limited/deep viewpoint to an all-knowing narrator and rips apart the tight psychic distance between reader and the viewpoint character.
Here are two recasts that avoid the viewpoint drop:
ALTERNATIVES
There, behind the desk, sat Reja, the girl he’d dated two decades earlier.
‘Sergeant John Davis,’ he said, and held out his hand.
She showed no sign of recognizing him.
There, behind the desk, sat Reja, the girl he’d dated two decades earlier.
‘Sergeant John Davis,’ he said, and held out his hand.
There was no recognition on her face.
There, behind the desk, sat Reja, the girl he’d dated two decades earlier.
‘Sergeant John Davis,’ he said, and held out his hand.
She showed no sign of recognizing him.
There, behind the desk, sat Reja, the girl he’d dated two decades earlier.
‘Sergeant John Davis,’ he said, and held out his hand.
There was no recognition on her face.
Non-viewpoint characters’ internal experiences
Here we’re talking about head-hopping. It’s when readers are able to access emotions, mood and thoughts of a non-viewpoint character. In the example that follows, Reja is the viewpoint character.
EXAMPLE
Bloody fool. Who did he think he was? Reja jammed her hat down over her ears. No way was she leaving with him.
John could have kicked himself. He shouldn’t have come on that strong. Not after what she’d been through.
Bloody fool. Who did he think he was? Reja jammed her hat down over her ears. No way was she leaving with him.
John could have kicked himself. He shouldn’t have come on that strong. Not after what she’d been through.
The solution is to recast the text so that these emotions, mood and thoughts can be inferred or accessed externally – for example, through movement or speech – by the viewpoint character only. Here’s a possible recast.
ALTERNATIVE
Bloody fool. Who did he think he was? Reja jammed her hat down over her ears. No way was she leaving with him.
John palmed his forehead and spluttered an apology. ‘I shouldn’t have asked. Not after … well, you know.’
Bloody fool. Who did he think he was? Reja jammed her hat down over her ears. No way was she leaving with him.
John palmed his forehead and spluttered an apology. ‘I shouldn’t have asked. Not after … well, you know.’
5. Trim anatomy-based action
Prose is more immersive when readers aren’t told what they can assume is being done by body parts that are associated with particular actions – holding with hands, gazing with eyes, standing to their feet, kneeling on their knees, nodding heads, and shrugging shoulders.
In the example below, we might remove the obvious body parts and focus more specifically on the part of John's legs doing the kicking and the impact of his action. As for the gun-toter, the hands have been ditched.
In the example below, we might remove the obvious body parts and focus more specifically on the part of John's legs doing the kicking and the impact of his action. As for the gun-toter, the hands have been ditched.
EXAMPLE
John kicked out with his legs. The woman stumbled, righted herself and came at him again, pistol raised in her hands.
ALTERNATIVE
John kicked out, slamming his heel into her kneecap. The woman stumbled, righted herself and came at him again, pistol raised.
John kicked out with his legs. The woman stumbled, righted herself and came at him again, pistol raised in her hands.
ALTERNATIVE
John kicked out, slamming his heel into her kneecap. The woman stumbled, righted herself and came at him again, pistol raised.
6. Turn intention into action
Sometimes the reader needs to know what a character wants to achieve from a particular action. This is about the why of an action.
EXAMPLE
Jane squeezed the detergent into the porridge. Just a couple of squirts to give Alice a taste of her own medicine.
Jane squeezed the detergent into the porridge. Just a couple of squirts to give Alice a taste of her own medicine.
However, when an author means to show the how of an action but tells of intention to act, there’s a problem. The red flag to watch out for is 'to'.
We can check whether the focus is on point by asking a question: What action do we want to show the reader (via Jane)?
If we want to show the reader that Jane can lift her wrist – because that’s what the first example below is showing us – we can leave as is.
However, that's rather dull; it's more likely that we want to show that Jane is checking the time, and so a leaner alternative is more effective.
EXAMPLE
Jane lifted her wrist to look at her watch. Bang on two.
ALTERNATIVE
Jane checked her wristwatch. Bang on two.
Jane lifted her wrist to look at her watch. Bang on two.
ALTERNATIVE
Jane checked her wristwatch. Bang on two.
Summing up
None of these 6 tweaks are rules! Think of them instead as suggestions to consider, ideas that can help you smooth and tighten up your prose.
And don't worry about them at first-draft stage. Use that space to get the words on the page. Put your sentence-level editing craft in play with a later draft, and once your story's structure, plot and characterization have been fully developed.
And don't worry about them at first-draft stage. Use that space to get the words on the page. Put your sentence-level editing craft in play with a later draft, and once your story's structure, plot and characterization have been fully developed.
Further reading
Want to develop your line-editing skills? Check out these resources:
- Author resource library (includes links to free webinars)
- Editing Fiction at Sentence Level: A Guide for Beginner and Developing Writers
- Making Sense of Point of View: Transform Your Fiction 1
- Making Sense of Punctuation: Transform Your Fiction 2
- ‘Playing with sentence length in crime fiction. Is it time to trim the fat?’
- ‘Playing with the rhythm of fiction: commas and conjunctions’
- ‘What is anaphora and how can you use it in fiction writing?’
- '2 ways to write about physical pain'
- 'What is head-hopping, and is it spoiling your fiction writing?'
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
FIND OUT MORE
> Get in touch: Louise Harnby | Fiction Editor & Proofreader
> Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
> Learn: Books and courses
> Discover: Resources for authors and editors
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
FIND OUT MORE
> Get in touch: Louise Harnby | Fiction Editor & Proofreader
> Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
> Learn: Books and courses
> Discover: Resources for authors and editors
In this episode of The Editing Podcast, Louise Harnby and Denise Cowle talk to thriller writer Andy Maslen about the creative-writing process.
Listen to find out more about
- Writing a series vs standalone novels
- Tips on developing a coherent series
- Starting afresh with a new set of characters in a new environment
- Top creative-writing tips for beginner author
- Recommended writing-craft resources
- Back-cover blurb and Amazon blurbs
- Cover design
Here's where you can find out more about Andy Maslen's thrillers.
Dig into these related resources
- Author resources
- Book: Editing Fiction at Sentence Level
- Blog post: 3 reasons to use free indirect speech in your crime fiction
- Blog post: Crime fiction subgenres: Where does your novel fit?
- Blog post: How to write dialogue that pops
- Blog post: Playing with sentence length in crime fiction. Is it time to trim the fat?
- Blog post: Writing a crime novel – should you plan or go with the flow?
- Podcast episodes: The indie author collection
Music Credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
Good news! It is perfectly okay to start a sentence with ‘And’ or ‘But’ in fiction writing. Doing so can enrich narration and dialogue, and inflect the prose with voice, mood and intention. The key is to make sure those conjunctions are being used purposefully and logically. This post shows you how.
What the style guides say
Here's what two industry-recognized style guides have to say on the matter.
New Hart’s Rules (Oxford University Press): ‘You might have been taught that it’s not good English to start a sentence with a conjunction such as and or but. It’s not grammatically incorrect to do so, however, and many respected writers use conjunctions at the start of a sentence to create a dramatic or forceful effect.’
Chicago Manual of Style Online, 5.203 (Chicago University Press): ‘There is a widespread belief—one with no historical or grammatical foundation—that it is an error to begin a sentence with a conjunction such as and, but, or so. In fact, a substantial percentage (often as many as 10 percent) of the sentences in first-rate writing begin with conjunctions. It has been so for centuries, and even the most conservative grammarians have followed this practice.'
6 good reasons to start a sentence with ‘And’ or ‘But’
Great! We have the go-ahead from a couple of big hitters to use our two conjunctions at the beginning of a sentence. Now let’s dig a little deeper into why doing so can make fiction more effective. Here are my top six reasons:
Serving natural speech
When we speak in real life, conjunctions are often the first things out of our mouths. So it should be in novels that want to render speech authentically.
Fictional dialogue doesn’t replicate real-life speech completely – that would mean including a lot of boring stuff that one might hear at the bus stop. Rather, it’s a sort of hybrid that has the essence of reality but with the mundanity judiciously removed. It might sound like a cheat but readers thank authors who don’t bore them!
Small nudges towards reality help with the authenticity goal, which is where our conjunctions come in handy. Here are a few examples for you:
Here's what two industry-recognized style guides have to say on the matter.
New Hart’s Rules (Oxford University Press): ‘You might have been taught that it’s not good English to start a sentence with a conjunction such as and or but. It’s not grammatically incorrect to do so, however, and many respected writers use conjunctions at the start of a sentence to create a dramatic or forceful effect.’
Chicago Manual of Style Online, 5.203 (Chicago University Press): ‘There is a widespread belief—one with no historical or grammatical foundation—that it is an error to begin a sentence with a conjunction such as and, but, or so. In fact, a substantial percentage (often as many as 10 percent) of the sentences in first-rate writing begin with conjunctions. It has been so for centuries, and even the most conservative grammarians have followed this practice.'
6 good reasons to start a sentence with ‘And’ or ‘But’
Great! We have the go-ahead from a couple of big hitters to use our two conjunctions at the beginning of a sentence. Now let’s dig a little deeper into why doing so can make fiction more effective. Here are my top six reasons:
- To serve natural speech
- To shorten narrative distance
- To introduce tension and suspense
- To add drama
- To emphasize the unexpected
- To make contrast explicit
Serving natural speech
When we speak in real life, conjunctions are often the first things out of our mouths. So it should be in novels that want to render speech authentically.
Fictional dialogue doesn’t replicate real-life speech completely – that would mean including a lot of boring stuff that one might hear at the bus stop. Rather, it’s a sort of hybrid that has the essence of reality but with the mundanity judiciously removed. It might sound like a cheat but readers thank authors who don’t bore them!
Small nudges towards reality help with the authenticity goal, which is where our conjunctions come in handy. Here are a few examples for you:
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‘And you will have no hesitation in doing what has to be done? You have no doubts?’ (At Risk, Stella Rimington, p. 187)
‘And where’s he getting the money from? You know the situation as well as I do. He isn’t on leave of absence from a university.’ (The Dream Archipelago, Christopher Priest, p. 227) “But your way makes more sense. So you think Maura was working with Rex?” “I do.” “Doesn’t mean she didn’t set Rex up.” “Right.” “But if she wasn’t involved in the murder, where is she now?” (Don’t Let Go, Harlan Coben, p. 76) |
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Shortening narrative distance
Dialogue gives us the character’s speech; narrative gives us the character’s experience. When that’s a first-person narrative, it’s easy to feel close to the narrator. With a third-person narration, the reader can feel separated from the character, as if they’re on the outside looking in.
Authors who want to reduce that space between the reader and the character – called narrative distance or psychic distance – can experiment with a narration style that sounds like natural speech even though it’s not dialogue.
Here’s a lovely example from Blake Crouch’s Recursion (p. 182).
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There's a part of him that wants to run down there, charge through, and shoot every fucking person he sees inside that hotel, ending with the man who put him in the chair. Meghan’s brain broke because of him. She is dead because of him. Hotel Memory needs to end.
But that would most likely only get him killed. No, he'll call Gwen instead, propose an off-the-books, under-the-radar op with a handful of SWAT colleagues. If she insists, he'll take an affidavit to a judge. |
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Notice how the narration style is third person, though it doesn’t feel like it. Instead, we’re right inside the viewpoint character’s head.
The position of the conjunction in this example isn’t the sole reason why the narrative distance feels short – the free indirect speech above and beneath plays a huge part – but it certainly helps to give us a sense of the character’s mentally working out a problem.
Introducing tension and suspense
Take a look at this excerpt from p. 21 of The Matlock Paper by Robert Ludlum.
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Matlock walked to the small, rectangular window with the wire-enclosed glass. The police station was at the south end of the town of Carlyle, about a half a mile from the campus, the section of town considered industrialized. Still, there were trees along the streets. Carlyle was a very clean town, a neat town. The trees by the station house were pruned and shaped.
And Carlyle was also something else. |
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