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Being a Word Smith by Robin Moyer

Image by Engin Akyurt from Pixabay

Language — the words we use to express ourselves can be concise or overly confusing. Everyone is basically familiar with the idea of marriage vows. We all know they are interpreted to mean that we will stick with that other person come hell or high water, through good times and bad, and be faithful to them. At one ceremony I had, I always think I might have been jinxing myself from the get-go. Turned out he didn’t honor any of them. In this ceremony, though, the words used, in part, were, “Cleave ye only to each other as long as you both shall live.”

Language. Cleave not only means to cling to one another but also to cut apart. Funny how they don’t use that phrase anymore

But it goes a long way to exemplify the importance of using the right words when attempting to communicate.

According to Robin Marantz Henig, “The English language has 112 words for deception, according to one count, each with a different shade of meaning: collusion, fakery, malingering, self-deception, confabulation, prevarication, exaggeration, denial. Some languages have innumerable The Inuit have 47 words for snow. Tamil is an official language of the sovereign nations of Sri Lanka and Singapore. They have fifty-plus words for love. English has love, like, adore, infatuated all more or less defined by words like ‘a lot’ or ‘unconditionally.’

Language is full of descriptive words. Beyond the ‘making story,’ we have a wealth of ways to bring actions and locale alive — it is one of the best parts about being a writer. We get to play with words. Best sandbox ever! Above, I asked about your least favorite words. My least favorite word is VERY. Mark Twain once said, “Substitute ‘damn’ every time you’re inclined to write ‘very;’ your editor will delete it and the writing will be just as it should be.”

Why say ‘very bad’ when you can say atrocious? Don’t say ‘very poor’ — say destitute. Very is a very, very, very poor word to use!

As writers, our job is to communicate. Regardless of the type of writing, if we fail to impart the concept we are trying to describe or explain, then we fail. Given the vast number of cultures, religions, and lifestyles that may or may not perceive any scenario as you or I might, language becomes even more important.

So what got me on this latest ‘wordy’ kick? I’m two-thirds of the way through a book named The Dictionary of Lost Words: A Novel
by Pip Williams. This is following mid-step my reading History in English Words by Owen Barfield. I’ve always had a love of words: where they came from, how we use them, why use one and not another. My grandmother once said I’d grow up to be a lexicologist or an etymologist. I told her I wanted to be a writer. (and I thought bugs were creepy.) Not an entomologist, she had explained before saying that good writers were both. Two days later, she handed me a notebook and a dictionary.

Over the years she’d ask me what my latest favorite words were. She’d also ask me about words I thought were ‘important’ words or boring words or over-used words. She taught me how words spelled the same and pronounced the same but had different meanings were called homonyms. Book (to read) or book (a reservation) for example. Then she threw heteronyms my way. Just because (at the time) I was invalid, my excuse not to learn was invalid. She didn’t believe for one minute that such a minute issue should ever stop me from learning. She wasn’t finished. Then there were homophones.

These, it turned out were the tricky ones. These are the words people often mix up and use the wrong version. Your, you’re, and yore. Their, they’re and there. Rein, reign and rain. Two, to, and too.

I was hooked. My grandmother bought me many notebooks over the next few months. Then she said I needed to buy them. I was crestfallen. I had no money. “You’ll buy them with words,” she’d told me. “Lists of words. When you need a notebook, I’ll give you a list I want for the last page of the old notebook.” Colors beyond red, green, blue, etc.. Synonyms for hot or set or school. Later on, she’d have me write a description of something without saying what it was. Or having to describe a color/place/activity to someone who was blind. (As I spent almost a year unable to see, I always enjoyed those.)

She’d have me describe something. Once I spent over six months describing a simple wooden rocking chair. Then she’d tell me to write it again, but differently. Next, I’d have to write it from the perspective of a cat or a mouse or a mother holding a baby. Once, I had to write it from the perspective of that area on the crossbar I always seemed to miss when I dusted. Then from the chair itself. Over the months, that blasted chair grew a history. It developed a personality, had dreams, temper tantrums, and felt loss, grief. hunger and joy. [side note: I still have that rocking chair!]

Some of my favorite words? Myriad for sure – so many – like a meadow full of butterflies dancing to the song of the breeze. (That, and I love how it sounds!) Another is the word and because it links and keeps things/people/places and words together. And, due to my grandmother, in part, the word grand. So many meanings on multiple levels. That, and the fact that my children’s children call me simply, Grand. No Grandma or Nana for me. How do I love being a grandmother, indeed, a great grandmother? It’s grand, simply grand!

My grandmother seeded my mind with a love of words. It’s still blooming.


I’m Fyndorian and Robin Moyer. I’m also Great-grams, Grand, Mom, and Hubby’s other half. Beyond these, there is a space, a fathomless well of unsprung thoughts that exists inside me. I write to pull forth the words; grasp and yank them screaming or dancing, from deep within, and set them free upon the page. Cut me: I bleed ink. This, this is why I write, for if I didn’t, then I shouldn’t be alive at all. Writer, poet, author of seven books with four more in progress. My company, Wynwidyn Press, hits the ten-year mark later this spring.

My award-winning series, The Journey Collection – (Journey to Jukai, A Gathering of Glass, and A Masquerade of Mirrors) is available on Amazon in both print and Kindle versions.

No Wasted Ink Writers Links

No Wasted Ink Writers Links

Welcome to another set of No Wasted Ink Writers Links. These are my top-ten articles about the craft of writing, designed with the science fiction and fantasy writer in mind. This batch are mainly writing tips, but they are solid articles. I hope you get much use from them. Enjoy!

Conflict in Fiction: What It Really Is and Why It’s Important to Plot

Getting Your Work Out: How to Choose Your Best Avenue for the Time, Money, and Effort

5 Tips to Engage Readers Online by Dave Chesson

I’ll have what she’s having

How to Keep Your Favorite Character From Ruining Your Story

Why editors reject submissions

Writing Magic in a Real-World Setting

Who Are You Writing For?

How Much Research is Enough?

What Happens When You Write 20 Minutes a Day?

No Wasted Ink Writers Links

No Wasted Ink Writers Links

Welcome to another No Wasted Ink writers link where we explore my top ten writing articles of the week. This time I have plenty of general writing tip articles for you to choose from. Enjoy!

On Writing Narratives, Questioning Standards, and Oral Traditions in Storytelling

Six Character Archetypes for Sidekicks

Use Awe to Spark Creativity

On “Significant Authorship:” Writing as a Team

A Call to the Children’s Publishing Community: Join the Fight for School Librarians

Short Story Plot: How to Use Ideas and Structure to Plot a Short Story

Stories Will Save You

How To Use Sound To Make Your Writing Memorable

7 Steps for Tackling a Revise & Resubmit (R&R)

On the Most Adapted Ghost Story of All Time

No Wasted Ink Writers Links

No Wasted Ink Writers Links

Happy Monday! It is time for the top-ten writing articles from No Wasted Ink. I admit, I needed to surf twice as long for articles this week. Writers were taking a vacation or doing holiday related articles for the most part and I wanted to find things with more useful content. I found a good batch and I hope you’ll enjoy them.


International Interactions with Tolkien – A Roundtable

Breaking Into Publishing Isn’t Easy, but if You’re Not in America, It’s Even Harder

Writing Goals: Clearing Your Path For Creativity In The New Year

Why Book Reviews Are Important and Where to Find Them

How to Write When You’re Not Writing

Five Unnecessary World Additions in Popular Stories

How to Write a Compelling Antihero

2022 Publishing Predictions

Journals adopt AI to spot duplicated images in manuscripts

Trusting the Reader

Three Tips For Writing Compelling Dialogue by Rita M. Reali

Photo by Julia Kicova on Unsplash

When folks in the writers group I belong to comment on the work I submit each month, the most frequent comments I hear are how spot-on my dialogue is, how I seem to have captured the essence of each character through his or her words, and how the dialogue really rings true.

I’m often asked how I manage to write such realistic and compelling dialogue. It boils down to a few key elements, which I’ll share with you here.

First, it’s important to realize how real people speak. You probably wouldn’t ever hear anyone have this conversation:

“Where are you going this weekend?”
“I am not sure where I am going this weekend. I think I might go up to the mountains. They are really pretty at this time of year.”
“Yes. I understand the mountains are pretty this time of year.”
“I would also like to stop in to see my cousin. She is going to be having surgery next week and she is pretty nervous. So I thought I would pay her a visit.”
“That is nice of you. You are always so considerate.”

This exchange is stilted and awkward. Folks just don’t talk that way. If you listen to conversations around you, you’ll realize people tend to use contractions – and speak in sentence fragments. A lot. Here’s how this bit of conversation would sound if two real people were having it:

“Where you going this weekend?”
“Dunno. Maybe the mountains – they’re really pretty this time of year.”
“Yeah, I’ve heard that.”
“I’ll probably stop in to visit my cousin, too. She’s pretty nervous about her surgery next week.”
“That’s nice of you. You’re always so considerate.”

It’s 50 percent shorter, it’s more direct and it sounds more natural. People rarely reply to questions with full sentences – or by including the wording of the original question; they respond in fragments. I also used contractions. Not including contractions in speech sounds wooden and unnatural.

Second, be aware of what your characters are doing while they’re speaking. Include beats that give readers a visual on what’s happening. Here’s part of an exchange between two characters in my work in progress, Brothers by Betrayal. Gary is talking with Erin, his teenage daughter, who’s been grounded for two weeks (but who wants to go out with her friends for her birthday tomorrow):

Gary leaned against the doorjamb, his arms folded. “Look, Erin, you keep saying you want me to treat you like an adult. Then act like one. Children whine. Grownups accept the consequences of their actions without complaining.”
“But it’s not fair.”
He shook his head. “I’m done discussing this, Erin. I told you no and that’s final.”
“But Daddy…” she whined.
“Punkin, I gotta be up early in the morning. I’m going to bed. Talk to me again on Monday.”
“But the party’s tomorrow night.”
“I’m aware of that. And we’ve already established you’re not going.”
Erin thrust her lower lip out in a pout. She kicked at the leg of her desk. “Then what’s the point of talking on Monday?”
Gary gave a weary sigh and shoved away from the doorjamb. “I’m not having this discussion with you now, Erin. Goodnight.”

Note the absence of “he said” and “she said.” The only attribution is “she whined,” which tells the reader how the line gets delivered. The rest of the excerpt uses beats – snippets of narrative that precede, follow or are interwoven amid dialogue – to clue readers in to action taking place with the dialogue. Sometimes, when action is concurrent with dialogue, the author will interrupt the dialogue with a beat. Like this:

Inside, Gary approached Paula G., the woman who was serving as leader for the meeting. “Hi Paula, I’m Gary” – he laid his hands on the teen’s shoulders – “and this is my daughter Erin. This is her first meeting.”

I tend to get pushback from the writers group denizens about my use of en dashes with spaces to offset beats within dialogue. As it turns out, it’s a U.K. style. U.S. style favors em dashes (—) with no spaces. For a fine discourse on use of the various dashes (en, em and 2em) in your writing, read this blog post.

Third, run your dialogue aloud to hear the cadence of the words instead of simply seeing them in print. Often, we write what we think we want our characters to say, only to find, when reading it aloud, it’s clunky or awkward. And if it sounds off to you, think how it’ll sound in your readers’ heads. And no matter how fond you may be of a bit of dialogue, sometimes it has to go. The difference between a good writer and a great writer is often the willingness to excise those bits of dialogue that don’t sound right or advance the story.

For more tips on ways to improve your dialogue, check out this helpful article from the folks at Writer’s Digest.

When you’re tackling a tough bit of dialogue, what advice do you find works best for you?


Author and Editor Rita M Reali

Rita M. Reali is an international award-winning author and longtime editor who most enjoys editing memoir, general fiction and romance, along with inspirational writing. She’s self-published four novels: Glimpse of EmeraldDiagnosis: LoveThe Unintended Hero and Second Chances – the first four in the seven-volume Sheldon Family Saga. Her fifth novel, Tender Mercies, is due out this June. As a former disc jockey in her native Connecticut, Rita used to spend her days “talking to people who weren’t there” – a skill which transferred perfectly to her being an author. Now she talks to characters who aren’t there on “a little chunk of heaven in rural Tennessee.” Contact Rita.

Rita Reali Books