Opened book with sheets in the form of heart, studio shot
Many self-published authors find it challenging to find reviewers. However, putting in the effort and remaining increases your book’s chance of being reviewed. Here are some tips to consider:
Reaching out
Reach out to book reviewers and introduce yourself and your book. Use a personalized cover letter that includes a book blurb. Here is a sample template you can use:
Dear [book blogger’s name],
I hope this letter finds you well. My name is [your name], and I am contacting you because I recently published a book I believe you would find interesting.
The book, titled [your book’s title] is a/an [your book’s genre] novel.
[1-2 paragraphs describing your book, similar to the back cover and/or sales copy blurb.]
I would be thrilled to have your expert opinion on it.
I came across your blog on the [website title where you found the blogger’s information] website, and I would be honoured if you would consider reviewing this book.
I am happy to provide you with a free digital copy of the book for your review. Please let me know which file type you prefer. I understand that you likely receive a large number of review requests, and I can wait until you are available. Additionally, I would be happy to participate in an author interview or provide any other information you might require.
Thank you for your time and consideration, and I look forward to hearing back from you.
[end salutation],
[your name]
1. Blogger list websites
You can find several reviewers for free at The Book Blogger Listand similar websites. These are sites on which bloggers post their contact information, looking for books to review. There are so many more authors than reviewers, so you will likely have to wait. Reading a book takes time, and there are so many more authors than reviewers.
2. Connect on social media
Use social media platforms like Twitter, Facebook, and Instagram to promote your book and connect with book reviewers and bloggers. You can offer a free eCopy of your book in exchange for a review.
3. Online communities
Join online communities of self-published authors and book reviewers like GoodReads. You can connect with other authors and reviewer in online communities that may be interested in reviewing your book.
4. Advanced reader copies
Offer advanced reader copies (ARCs) of your books to reviewers for free for bloggers to read and review your book before it’s officially released. Providing ARCs is a great way to get copy and quotes for ads in the queue, ready for when your book is published.
5. Purchase a review
Some websites and blogs review self-published books for a fee. Keep in mind that Amazon might not approve paid reviews, but they are a way to get a quote from a reputable source for marketing campaigns.
6. Search for bloggers on your own
You can also contact book bloggers directly. Most reviewers maintain blogs and websites to showcase their work. Britbear Book Reviews (maintained by the owner of EMSA Publishing) is one such site. Submitting your book does not guarantee your book will be reviewed. However, the Britbear site does not post anything under three stars.
Culling reviews is time consuming but rewarding
Getting your book reviewed takes time, from composing a query letter, emailing it, receiving a response, and waiting for your book to be read and edited, but reaching out to reviewers is a great place to start. The key is to be persistent and patient and build relationships with reviewers.
Your narrative voice is the way you tell a story. The author’s personality and emotions as they tell the story make up their narrative voice. A strong narrative voice gives a story a unique tone and perspective, creating a sense of intimacy between the reader and the characters. It also makes the reader feel like they are a part of the story. Here are some tips to help you find your narrative voice when writing.
Make your narrative voice distinctively you.
Your voice is unique, reflecting your experiences, perspective on important themes, and writing style. Developing your personal voice is what will make you stand out as an author. The more books you read by the same author, the more you get to know their distinctive storytelling voice that helps their stories stand out.
Consider the point of view.
Deciding on the point of view can make or break a story. Each point of view has its benefits and drawbacks, so choose the one that best suits your story. For more on point of view, see “3 Popular Points of View.”
The point of view can make all the different for the story’s narrative tone. Here is a scene from The Guardian by Elise Abram, written in third-person limited point of view from the protagonist’s, Molly McBride’s, point of view:
Molly opened the door of the women’s dorm to a rush of stale, humid air. “Let’s get the windows open. Air this place out,” she said, wincing.
Once inside, she tried the lights. “Huh. Looks like the electrician’s a no-show, too,” she said.
The dormitory was a double trailer set up so that rooms ran down either side of the structure. Each dorm room contained two bunk beds. A lavatory incorporating several toilet stalls, a few shower stalls, and some sinks made up the dorm’s central block. A common room occupied the front quarter of the structure, furnished with a padded bench running along the front wall of the trailer and beneath a bank of windows.
“There’s supposed to be a washer and dryer in each dorm that hasn’t arrived yet. Surprise, surprise,” Molly said. She thought she saw a gleam in Clint’s eye, indicating how much he enjoyed her plans gone awry.
“The bathrooms are this way,” she said, leading them down a narrow hallway. She paused in the lavatory doorway. Because the washrooms were in the centre of the structure, there were no windows to aid in the illumination of the room. Gradually, her eyes adjusted to the lack of light, and she entered the lavatory, making a beeline for the first stall. She flushed the toilet; it worked. The sound of swirling water against porcelain was like music to her ears. “At least the septic system’s on line,” she said.
“Yeah, but no running water,” said Meagan, turning sink taps.
“So let me get this straight,” said Clint. “We can pee, but we can’t see to aim straight? Hitting a bulls eye’s hard enough in the light—any contingencies for cleaning near misses?”
“You are such a pig, Clint,” said Meagan.
“Too much information, buddy,” Gabriel said. He clapped Clint on the back on his way out of the room.
Third-person limited has the same parameters as first-person limited. This scene sets up the adversarial relationship between Clint and pretty much everyone else. The problem is that it lacks emotion, probably because Molly is more concerned about the field school running smoothly than she is Clint’s grudge. Molly is too busy exploring the trailer to care about much of anything else. This is why the narrative focuses on describing the setting.
The next excerpt is the same scene, described through Clint’s eyes:
McBride opens the door of the first trailer to a rush of stale, humid air that smells like dirty socks. “Let’s get the windows open, and air this place out,” says Mary Sunshine. She flicks the lights a few times, like if she can prime the switch she’ll eventually be able to pump some light into the joint. “Huh. No power,” she says, stating the obvious.
To call the battered, shoebox-sized trailers behind the house ‘dormitories’ is to call a prison cell the Taj Mahal. This is what we’re forced to call home for the next few weeks. The front door opens into a common room that occupies the front quarter of the metal structure. There’s a padded bench under the portal windows near the door, and a washer and drier in the corner. The rest of the trailer is furniture free, save for two, bivouac-style metal bunks, in each stall that tries to pass as a dorm room.
“The bathrooms are this way,” McBride says, drawing our attention to what was supposed to be the lavatory in the centre of the trailer. Though the room’s dark, what with no electricity and no windows, I can make out several toilet stalls, some shower stalls and sinks.
McBride pushes past Sykes and I where she makes a beeline for the nearest stall. She flushes the toilet and I can barely hear her sigh of what sounds like relief over the well-water sluicing around the bowl. “At least the septic system’s on line,” she says
“Yeah, but there’s no running water,” says Sykes, turning sink taps like he’s tuning the radio or something.
I think about this for a minute. “So let me get this straight,” I say.” We can pee, but we can’t see far enough to aim straight?”
McBride clucks her tongue against her teeth and shakes her head either in disgust or frustration at me, I ‘m not sure with. Six of one, half-a-dozen of the other; I’m quite content with either reaction.
“Too much information, buddy,” says Sykes. He claps me twice on the back, hard, like we’re good buddies or something, on his way out of the room.
Told in first-person limited from Clint’s point of view, this scene is more descriptive and vivid. It focuses on what’s going on inside Clint’s head. As a result, the animosity between the two characters is brought to life. This is because Clint cannot get over his resentment of Molly being his boss. The narrative focuses on what’s going on in Clint’s head, so the animosity between the characters takes the forefront in favour of describing the setting.
The choice to switch the point of view and the point of view character brings the scene to life while making it more interesting for the reader.
Use vivid imagery.
Descriptive language, also known as imagery, helps create a sense of tone and atmosphere. The language you use reflects the tone and mood of the story, allowing the reader feel as if they are present in the action alongside your characters as a part of the story. Use descriptive language, figurative language, and sentence structure to create a unique, distinctive writing voice for your story. Describe the sights, sounds, smells, and feelings of your characters and settings to bring your story to life.
Experiment with different narrative techniques.
Narrative techniques include stream-of-consciousness, writing from multiple perspectives, and unreliable narrators. These techniques can help create suspense and interest in your stories, setting them apart from other authors.
Read like a writer to develop your narrative voice.
Reading widely will help you to develop your narrative voice. The next time you read a book, read like a writer instead of a reader. Question every choice the author makes, asking yourself why the author included each element of the story and its purpose. Reading different authors and genres will help you become familiar with various narrative voices and techniques that you can borrow for use in your own stories.
In conclusion…
A strong narrative voice can make a story more engaging, memorable, and powerful. It is the voice of the author and/or narrator that sets the tone of the story. A distinct narrative voice can make your story stand out, connecting you to your readers.
If you are struggling to develop your narrative voice, EMSA Publishing can help. Contact us for a developmental edit of your manuscript. For more details, see our page on developmental editing specifics.
Scene (aka section) and chapter breaks are important structural tools, indicating to the reader that something in the setting has changed. They can also indicate flashbacks and signal changes in time, location, and point of view. Using scene and chapter breaks is a good way for authors to control the flow of their stories. Chapter breaks are usually indicated by starting a new page and assigning a chapter number. Scene breaks can be indicated by an extra line between paragraphs, asterisks, or some other symbol.
Use scene and/or chapter breaks to
Indicate a change in the narrative.
Scene and chapter breaks indicate the passage of time, a location change, or introduce a shift in the point of view character. They can also introduce new characters or plot points. For example, you might use a chapter break to indicate a change in point of view or narrative style.
Fallen Angel is mainly written in first person limited point of view using Braelynn as the point of view character. However, some chapters show the reader what is happening in the world of Samael, the antagonist, before they meet. These chapters are written in third person omniscient point of view.
On the left is the last page of one of Samael’s chapters.
On the right is the first page of chapter 2. Note the difference in point of view and narrative style. As the two differ significantly in tone and voice, so a chapter break is a good way to let the readers know to expect something completely different moving forward.
Scene 1: the beginning of the chapter. It begins after one event has concluded (the girls go up against the leader of a gang of greaser vampires and survive). Because the girls must attend class or get into trouble for skipping, they cannot debrief.
Scene 2: time has passed. The girls are now in the middle of class. The author inserts a section break and skips all the irrelevant stuff that has happened since the last section, helping the story to move quickly forward. The girls hatch a plan to fake a bathroom break and meet in the stairwell.
Scene 3: the setting changes. The girls are now in the stairwell instead of the classroom. There is no need to show Braelynn getting up from her desk and walking down the hall to the stairwell, so the author uses a section break to show the change in setting.
Scene and chapter breaks also signal a change in tone or point of view. For example, the shift from one point of view character to another can be indicated by a section or chapter break, allowing the reader to follow the different perspectives of the story easily.
You can also assign different section breaks for different purposes. In a single chapter, for example, you can use “soft” section breaks to show a change in setting or the passage of time. Indicate this with an extra blank line between sections. “Hard” section breaks might show a change in point of view. For example, showing the same events from two different characters’ points of view. Indicate this with asterisks or some other symbol between sections.
Scene breaks are transitions between scenes. Use a scene break to get the characters from one plot point to another. Your book does not unfold in real time. You can speed up or slow down the narrative with your sentence, paragraph, and scene structure. Scene breaks help speed up the narrative by telling your story and skipping the boring stuff that would otherwise transition your characters from one plot point to the next.
In conclusion…
Experiment with different types of breaks, such as flashbacks, flash-forwards, and cliffhangers, to add variety and interest to your story. By using chapter and scene breaks effectively, you can tighten up the structure of your story, making it easier for readers to follow the action of your carefully constructed plot.
The next time you write, think about how you can add scene and/or chapter breaks to your writing to help structure and control your narrative.
A book cover should be easy to read and understand at a glance. Simplify the number of design elements and use a limited color palette. Avoid using fancy fonts and limit the number of font faces you use. The cover should be visually pleasing but not overwhelming. Remember that your reader’s first glance is often thumbnail-sized, ensure all of your design elements work at that size and that your text remains legible.
2. Use high-quality images.
A high-quality image on the cover can make a huge difference in how the book is perceived. The image should be relevant to the story and of a high resolution so it will look good when viewed at various sizes. Three hundred dots per inch (DPI) is standard. Consider using free images from sites like Pixabayor Pexelsfor free cover art.
3. Use typography effectively.
Use typography effectively: The title and author’s name should be the most prominent elements on a book cover as they are the most important. Ensure they are easy to read and in a font appropriate for your genre and audience. You can find a great list of suggestions on the DIY Book Covers website. Use a font that is easy to read and not overly stylized. If you install a custom font from sites such as dafontor 1001 Fonts, only those in the public domain (Freeware) or those free for commercial use.
4. Consider the book’s genre.
The book cover should reflect the genre of the book. For example, a thriller will have a different type of cover than a romance novel. Be sure to research the genre and understand the conventions to ensure the cover is appropriate. To do this, search Google images for books in your genre and list the most popular and prominent elements. Consider including some of these elements when making your cover.
5. Make your book cover memorable.
The cover should be memorable so readers can find the book easily. This can be achieved through interesting image, an attention-grabbing title, or a unique design.
6. Test it with different audiences.
Before publishing the book, test the cover with diverse audiences, including people from the target age group, to get their feedback so you will know if the cover resonates with your target audience and readers in general. One way to do this is to create a poll on Facebook or Instagram, asking people for their opinions.
Conclusion
Your book cover is the first thing readers see when browsing the market to find their next read. All you need to do is visit Amazon to see this; the only information your readers see about the books is a thumbnail of the cover and the first sentence or two of your blurb. That’s not much to go on. But if you can design an effective book cover that grabs the reader’s attention and makes a great first impression, your cover will help sell your book, and you’ll be a best-selling author in no time.
Still not sure what to do for your book cover? Let us help! Contact EMSA Publishing for a quote.
One of the most significant decisions you must make is whether to self-publish or pursue a more traditional publishing route. It is essential to weigh the pros and cons of each carefully before making a decision. What follows should help you to make an informed decision.
Self-publishing pros
Self-publishing gives you complete control over the final product, from the contents to the cover design to the price.
When you self-publish, you can publish your book immediately. There is no red tape or working on someone else’s schedule. Self-publishing is the way to go if you want to get your book quickly out into the world.
Self-published authors typically earn a higher percentage of royalties than traditionally published authors. As you are the author and publisher, there is no one to share your royalties with.
You are the one who builds a direct connection with your readers, increasing your fan base and getting immediate feedback.
Self-publishing cons
Self-published books often have limited distribution compared to traditionally published books. This means that you may be limited to online sellers. Most won’t have connections with brick-and-mortar stores.
Some readers may be less likely to take self-published books seriously, affecting your sales. Self-publishing your work and building your credibility as a reputable author can sometimes take years.
Traditionally published books carry more weight and credibility in the industry. Traditional publishers have connections with agents, who are gatekeepers when it deciding what gets published.
Publishers provide professional editing, cover design, and marketing services. Though you still must be active on social media, publishers assume some responsibility for getting your book out there.
Traditional publishers have established distribution channels, making your book available in more places, both online and in bookstores.
Traditional publishing cons:
Traditional publishing can take a long time, from querying agents to getting your book on shelves.
You’ll have less control over the final product. Your publisher may make changes you don’t agree with about the editing, the cover, or how it is marketed.
Traditional publishers often offer lower royalties. All stakeholders in the process (from editors, cover designers, agents, and publishers to bookstores) receive a percentage of the book’s earnings.
Pros and cons: the conclusion
Ultimately, self-publishing or pursuing traditional publishing comes down to your personal preferences, goals, tech-savvy, and the amount of time you have available. Consider these pros and cons when deciding what’s important to you. Don’t hesitate to seek advice from other authors and professionals in the industry.
Self-publishing a book can seem a daunting task, but the process of book cover fornattubg is really quite simple once you know how. With the right tools and this primer, you will be formatting professional-looking book covers in no time.
Calculate dimensions for your book cover template.
Once your book interior is formatted and you know the final page count, go to the KDP Cover Calculator and complete the form there. Fill in the binding, interior, and paper types according to your preference, the page-turn direction, preferred measurement units, interior trim size, and page count, and click “Calculate Dimensions.”
Download formatted book cover template.
You should see something like this once the dimensions have been calculated.
Next, click “Download Template.” This will download a zipped folder to your computer containing EPS and PDF documents.
Open your book cover template.
Open the template PDF in Photoshop. As you create your cover, make sure that nothing important will appear in the areas marked in pink. The pink border is the “bleed,” and it will be cut away in the production process, The pink lines in the middle will be on the crease to form the spine. The yellow area is where the bar code and ISBN will be placed, so avoid this area as well.
Add guidelines to your template marking all no-go zones. This will help you place your design elements later on.
Create your book cover design.
Place your graphic design elements on the template, taking care to ensure that nothing important will be cut off from the edges of your cover, hidden by the bar code, or on the fold of the spine.
Add text to your book cover template.
Add your text. Be sure to centre the text on the front and back cover images. In the image below, make note of where the text is placed in relation to the elements marked on the original template:
Convert your book cover to PDF.
When you are happy with the layout, go to “File,” click “Save a Copy,” and save as a PDF to upload to KDP. At this point, you will be asked to select the settings. On the Standard menu, I always choose PDF/X-1a:2003, although PDF/X-1a-2001 should also work.
Click “Save PDF.”
Congratulations! You have just formatted your paperback cover, ready to upload to KDP!
If you are still unsure about creating your own cover, contact EMSA Publishing to create your cover and upload it for you.
Get into a good book–new educational and fiction books just published.
Braelynn’s Birthright–Book 2: Fallen Angel
Join Braelynn and her friends as they face their greatest challenge yet!
Inheriting her grandmother’s ring and the family curse was just the beginning for Braelynn. A few years have passed since then. Braelynn and her friends have graduated high school and set up a supernatural detective agency of sorts, helping people cleanse their homes of malevolent spirits and paranormal creatures. When what should be a case of a simple haunting turns out to be a portend of dark things to come, Braelynn soon realizes that she’s up against a fallen angel with powers the likes of which she never imagined.
Braelynn realizes she’s been chosen to fight against this force of darkness. It is her calling to navigate the dangerous world of otherworldly attachments, shapeshifters, and the mysterious troika, who follows her every move. Along the way, she meets other hunters who become her allies and friends as they battle to save the world from the chaos and destruction of Armageddon and their souls from eternal damnation. With the fate of the world at stake, they set out to defeat the fallen angel in a dangerous quest that will push them to their limits and test their strength and courage.
Set in a contemporary world where magic and the paranormal are real, this thrilling tale of adventure, danger, and self-discovery will keep readers on the edge of their seats. With its thrilling blend of contemporary magical realism, paranormal and urban fantasy, the supernatural, and a touch of romance, this book is sure to leave readers eager for more.
Buy Braelynn’s Birthright–Book 2: Fallen Angel at Amazon.
365-Day Writing Challenge: A Year of Writing Prompts
Looking for a way to keep your creativity flowing every day of the year?
TAKE THE 365-DAY WRITING CHALLENGE
With 365 writing prompts, one for each day of the year, you’ll never be short on inspiration. Use this book to jumpstart your writing routine, break through writer’s block, or simply explore new ideas, genres, settings, and characters. With a year’s worth of prompts at your fingertips, you’ll be well on your way to becoming a more prolific and confident writer.
365 DAYS, 365 WRITING PROMPTS
Are you ready to take the challenge?
Get ready to explore new ideas and develop your writing skills with this amazing resource.
Start your writing journey today and see where these prompts take you!
If a student has difficulty meeting some of the expectations for a course, it doesn’t mean they cannot meet any of the other expectations. In this case, as a teacher, your goal is to pivot to differentiate your instruction while figuring out how else you might get students to demonstrate achievement of as many of the remaining expectations as they can.
The goal of this book is to illustrate methods of differentiated instruction, demonstrating how teachers might pivot their practice and change their approaches to allow their students to shine.
Longtime teacher Elise Abram’s eureka moment happened while teaching grade 11 college-level students when she noticed that students had difficulty recalling and analyzing fiction when presented with the text but not after watching the film version of the text. Using the concept of differentiated instruction (changing the efforts of the teacher to accommodate the students in front of them), Abram switched out film versions of texts for the remainder of the semester and saw a marked improvement in student performance.
The purpose of this book is to share this unit with you should you ever find yourself in a similar situation. Inside, you will find:
Organizers you can photocopy and use in your practice.
How to use choice boards to differentiate your assignments.
Tips for creating groups, techniques, and student seating during collaborative activities
Suggestions for writing effective paragraphs and summaries.
How to get students to make meaningful text-to-world connections.
Ways for students to discuss theme in a text no matter the format.
Checklist rubrics and other ways to evaluate student work, be it diagnostic, formative, or summative
Whether you use this book as a unit plan or break it up into a series of individual lessons you can employ in your practice, this book is sure to give you a better understanding of how college-level students work and learn.
Getting feedback on whatever you write is crucial for helping identify areas in need of improvement and giving you a sense of whether or not your story resonates with your target audience. This is where beta readers come in.
What is a beta reader?
A beta reader reads your manuscript before it is published to provide you with feedback. They can be friends, family members, writing group members, or even strangers. Beta readers are not involved in the creative process, so they can provide an objective perspective on your story. They can provide feedback on things like plot holes, character inconsistencies, and pacing issues. This feedback can be invaluable as it will help to make your manuscript stronger when it comes to polishing.
What can a beta reader do for you?
Beta readers can also give you a sense of if your story will resonate with your intended audience. For example, if beta readers are confused by a particular plot point, chances are that your readers will be, too. If beta readers are bored by a particular scene, it may indicate that it needs to be made more exciting.
It is important to note that a beta reader’s feedback is not the only type of feedback you should consider, but it is definitely a piece of the final puzzle. Be sure to get multiple perspectives, and don’t lose sight of your own vision and voice as an author.
How to get constructive feedback from beta readers
When it comes to getting feedback from beta readers, there are a few things to keep in mind. First, it’s important to be clear about what you’re looking for. For example, do you want to know if the story is interesting, if the characters are well-developed, or if the pacing is good? Provide your beta readers with a specific list of where they should focus their attention so you will receive clear feedback on these areas. You can make it easy for them by providing them with a feedback form or a list of specific questions to answer.
Another important thing to keep in mind is that beta readers are doing you a favour, so be sure to thank them for their time and effort.
Beta readers can help identify areas in your writing that need improvement. Keep these tips in mind when building your “street team,” a tried and true devoted group of dedicated beta readers.
When it comes to writing a novel, short story, or even a blog post, the first pages are critical. The first few sentences need to hook the reader in, making them eager to read more. Without this, you run the risk of turning off the reader. The danger is that they might put down the book and move on to something else. If in doubt as to the power of a strong opening, consider these iconic lines:
“It was the best of times, it was the worst of times…” –Charles Dickens, A Tale of Two Cities
“In my younger and more vulnerable years my father gave me some advice that I’ve been turning over in my mind ever since.” –F. Scott Fitzgerald, The Great Gatsby
“When he was nearly thirteen, my brother Jem got his arm badly broken at the elbow.” –Harper Lee, To Kill a Mockingbird
How to write strong opening pages
Keep it interesting from the start
Your opening should be strong and interesting. It doesn’t need to be action-packed or filled with suspense to grab the reader’s attention and keep them reading. One way to do this is to start with a question or a statement that piques the reader’s curiosity. For example, “It was the best of times, it was the worst of times” makes the reader wonder what is going on. “When he was nearly thirteen my brother Jem got his arm badly broken at the elbow” might cause the reader to question how he broke his arm and want to read what happens next.
Begin with strong imagery
Another way to hook readers is to start with a strong image or vivid description. This could be a description of a character, a setting, or an action. The key is to make it as detailed and evocative as possible. For example, “Far out in the uncharted backwaters of the unfashionable end of the western spiral arm of the Galaxy lies a small, unregarded yellow sun” (Douglas Adams, The Hitchhiker’s Guide to the Galaxy). This description sets the scene by creating an image in the reader’s mind that draws them in.
Introduce a sense of urgency early on
You can also create a sense of urgency by starting with a problem or a conflict. This could be a character dealing with a personal issue or a group of characters facing a larger problem. For example, “’Where’s Papa going with that ax?’ said Fern to her mother as they were setting the table for breakfast.” This opener establishes a problem that needs to be solved from the first page (a conflict exists because her father holding an axe is unusual occurrence), and it makes the reader want to find out what happens next.
Establish tone from the first page
A strong opening should also establish the tone of the story. You can do this by using specific words and phrases or introducing the characters. For example, “Scarlett O’Hara was not beautiful, but men seldom realized it when caught by her charm as the Tarleton twins were” (Margaret Mitchell, Gone With the Wind). This opener establishes that the story is about a popular and beautiful young woman, and her courtship is likely going to figure into it.
Conclusion
A strong opening is crucial if you want to hook readers from the first page. The first page contains some of the most important words of your novel. Don’t neglect the opportunity this valuable real estate presents. When it comes to grabbing and keeping your reader’s attention, take the time to carefully craft your opening pages.
Dialogue allows readers to get inside the minds of your characters. As an editor, I have realized that many authors struggle with how to punctuate dialogue correctly. Here is a primer that explores the basics of punctuating dialogue in fiction with tips for making it more effective.
Dialogue is set off by quotation marks. Each time a character speaks, what they say should be enclosed in quotation marks. For example,
“Hello,” said John.
When a character speaks, their dialogue should be followed by a tag that identifies who is speaking. Tags can be a simple (“said” or “asked”) or more descriptive (“yelled” or “whispered”). For example,
“Hello,” said John or “Hello,” John yelled.
It’s important to note that punctuation in dialogue comes before the quotation marks and not after them. For example,
“Hello,” said John. NOT “Hello”, said John.
When a character speaks for multiple sentences, the sentence before the tag ends with a comma unless it is the last sentence of the character’s speech, in which case it should end with a period. For example,
“Hello,” said John. “How are you doing today?”
If your character speaks in paragraphs, changing the subject one or more times in a long speech, the convention is to omit the close quotation marks from the first paragraph, begin the next paragraph with an open quotation mark, and continue in this manner until the character is done talking. At that point, end the speech with an end quotation mark.
When a character’s dialogue is interrupted by another character or an action, use a comma to separate the dialogue and an em-dash to indicate the interruption. For example,
“Hello,” said John, “How are you do—” Before he could finish his sentence, the phone rang.
Use an ellipsis to show a pause in a character’s speech (“I just…I don’t know.”) or when the character trails off before finishing their sentence (“I just can’t believe…”).
It’s also important to consider the context of the dialogue when choosing punctuation. For example, if a character is shouting, you could use an exclamation point to indicate this (“Get out!” he shouted.), but the fact that the tag says he shouted is enough (“Get out,” he shouted.). Try to use exclamation points sparingly, as people rarely shout entire paragraphs. Try to use the character’s words to show they are enraged instead of ending every sentence they utter with an exclamation point. Also, avoid using multiple punctuation marks at the end of a sentence (!?).
By understanding the basics of punctuation in dialogue, authors can write conversations that are clear, believable, and engaging. Remember that good dialogue is not only about what is said; it is also about how it is said, and the right punctuation can make all the difference.
