Write a Fiction

I found this thing in some place i added some stuff ,, it well help you to write your first fixtion .

Dialogue tags are those little phrases that come after dialogue to tell the reader who was speaking--like "he said" or "she shouted." They are among the most necessary and most ill-used components of writing.

There are two main schools of thought about dialogue tags. One says that dialogue tags in general, and dialogue tags that use the word "said" in particular, are repetitive and annoying. The other school says that the word "said" is invisible--or at least unobtrusive--and therefore not a problem.

That's all very nice for writing theory, but what about those of us who just want to know the best and most effective way to attribute dialogue to our characters? As with many things in writing, each writer has to figure out what works best for them--but we can look at the two ways of thinking about dialogue tags and take the most important points from each. Then you'll be equipped to make your own informed decision, as it relates to your own writing.

"Said is repetitive," they complained.

One school of thought about dialogue tags say that they are too repetitive. Endless sentences beginning with "he said" become annoying. There are two main ways of reducing the repetition, each with its own problems.

One way to eliminate the repetition of "said" is to replace it with equivalents. Instead of "he said," why not use "he proclaimed," "he pontificated," or "he explicated"? It's certainly a good idea to have many "said"-equivalents in your vocabulary, but it's easy to get carried away. One problem is that the replacements for "said" are often more unusual words, and tend to draw attention to themselves. Instead of becoming absorbed in your brilliant dialogue, your readers may be distracted by all the exclaiming and proclaiming and pontificating.

Another problem, is that too many writers replace "said" with words that aren't really speaking actions. "She laughed," may seem like a good alternative to "she said," but can you really laugh words? Try it. There's no reason why you can't have a character laughing and speaking, but they aren't really the same action. Instead of "I'm going to blow up the planet," she laughed, try something like She started to laugh. "I'm going to blow up the planet," she said, between guffaws, or even more simply, "I'm going to blow up the planet." She laughed. In that last example the sentence "She laughed" acts like a dialogue tag, in that it tells the reader who is speaking, but as a separate sentence, it keeps the two actions of speaking and laughing separate. The thing to remember is that replacements for "said" should be actual speaking actions. If they're not, try using them in a separate phrase or sentence instead.

Another way to eliminate excessive "said"s is to just leave them out. Some writers take this to an extreme, and remove nearly all dialogue tags. If your characters have distinct enough voices that readers can tell who is speaking just from the words they use, you're probably safe, but in most cases, you'll need to use dialogue tags once in a while to remind the reader of who is speaking when.

For the second school of thought about dialogue tags, and some points on style, be sure to continue reading on
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Characters can be found just about anywhere, but they tend to come about in three ways:

they come from within: they grow from a fragment of the writer's own personality
they are observed: characters can be built from bits and piece of assorted real people
they arrive: characters may appear fully-formed in the writer's head
Generally you don't want to use an entire real person as a character. This is partly because the person might recognize themself and become angry with you (you may find this happening even when you only use a small part of a real person). Another reason is that real things often seem unbelievable or implausible in fiction, even if they are true. In fiction we're not aiming for the actual, but for the seeming of reality, which is strangely quite a different thing. I once tried to use someone I knew quite well as a character in a novel, and when I re-read what I'd written -- after carefully describing some actual things they did and said -- the character seemed a complete caricature and nothing like a real person at all. It wasn't due to my lack of skill, either -- I had some mutual acquaintances read the piece and they agreed I had captured the person dead-on -- it was just that reality does not often translate well into fiction. Fiction is art after all, and from art comes artifice (and artificial).
Discovering who your characters are is a fascinating process. You eventually want your characters, as Jack Hodgins says, to "sit up and start breathing on their own." Finding the right name helps. A name should be the essence of who a character is. It can have symbolic connections, as well. For some help with names, see The Meaning in Names: A Character Exercise and the Character Naming Links.

Other things to consider when creating or discovering characters are appearance, tastes, clothes, age, social standing, religion, and whatever else you can think of. "Accumulated information that is merely gathered data rarely brings a character to life," says Jack Hodgins, and that is true. Most of the details you think up won't make it into your story, either, but it is important for you to know them -- the better you know your characters the easier it will be to bring them to life on the page. The most important thing to know about a character is their goals -- their motivations. Knowing why they do what they do will help you figure out how they will react in any given situation. And, most importantly, it is the characters' motivations that drive the plot.

Whose Story is It?

Although the hero of the story is the person the readers root for, he/she may not be who the story is about (of course, the story could be about the hero, it just isn't always). As Orson Scott Card says, the main character is the one who makes everything happen, the person who drives the immediate action. In fact the main character could even be an anti-hero or villain. We pity them or sympathize with them, but don't actually want them to win.

This may seem a bit confusing. Just remember that the protagonist, or the hero, is the person we want to win -- the good guy. The main character is the person that the story is actually about; it is their life we follow most closely in the story.

To help clear things up little, remember also that the main character should be two things:

the person who hurts the most
someone with the power and freedom to act (though they may not know they have it)
To figure out who should be the main character in your story, ask yourself, "Who is hurt in this situation?" (especially "Who is hurt the most?") and "Why are they hurt?" As David Gerrold says, "If [the main character] doesn't hurt, why should we care?" We find out who the character is most clearly when they are hurt. That is what will hold a reader and make them believe your characters are real (at least for as long as they are reading your work).
Viewpoint Character

The viewpoint character is the person through whose eyes we see the story. This may or may not be the same as the main character, and in a longer work such as a novel, there may be more than one viewpoint character. We will explore the idea of viewpoint in more detail in Part 5: Point of View and Narrative Voice. For discussions of other kinds of characters, see the Glossary definitions for character (this also talks about flat and round characters), protagonist, and antagonist.

Building Character

Once you know who your characters are, you then have to figure out ways to introduce them to your readers. There are four main ways to show character in fiction:

1. Tell the reader: This is the easiest way of showing character, but your reader won't necessarily believe you (who believes everything they are told?). And even if they do believe you, this kind of character description is easy to forget.

The warning had come and she had accepted it. She was used to waiting. Perversity, endurance, and guile were her other weapons, loaded with the inexhaustible patience of vengeful dedication. (from Dragonflight by Anne McCaffrey)
2. Have the character tell the reader: This is usually a substitute for #1 in stories told in first person (see Part 5 for more on point of view), but can also be done in a third person story through the character's thoughts.

The warning had come and I had accepted it. I was used to waiting. Perversity, endurance and guile were my other weapons, loaded with the inexhaustible patience of vengeful dedication. (re-written from Dragonflight by Anne McCaffrey)
3. Have other characters tell the reader: This is usually done by having other characters speaking to each other about the character in question. If you are using a shifting viewpoint (see Part 5), you can also have various characters express their opinions (through thoughts or dialogue) while they are the viewpoint character.

"He's considered a vicious fighter," F'nor advised, his smile gone. (from Dragonflight by Anne McCaffrey)
4. Use the character's actions: This is probably the strongest and most believable means of depicting character available to a writer. The reader won't believe everything they are told, but they will believe it if they "see" it.

He left his partner chattering to thin air and courteously extended his arm to the Lady Gemma to support her down the steps and to the table. (from Dragonflight by Anne McCaffrey)
There are also other techniques for evoking character:
Body language: This is especially effective when described using strong, active verbs.

Fax sliced and speared meat, occasionally bursting out with a louder bark of laughter as his thoughts amused him. F'lar sauntered down to the carcass and, without waiting for invitation from his host, began to carve neat slices also, beckoning his men over. (from Dragonflight by Anne McCaffrey)
Emotions: Emotions can be shown through physical evidence such as twitching or sweating, facial expressions, stream-of-consciousness thoughts, dialogue and more.

Fax erupted into action. He leaped across the intervening space, bellowing denials of the news. Before Lessa could dodge, his fished crashed down across her face. F'lar's lips tightened to a thinner line.(from Dragonflight by Anne McCaffrey)
Dialogue: What people say can be very revealing of character, perhaps nearly as effective as what people do.

" . . . laughed at we were, good F'lar," Tillarek was saying, moistening his throat with a generous gulp of Weyr-made wine, "for doing as men ought." (from Dragonflight by Anne McCaffrey)
You will use all of these techniques at some point. In fact you'll often combine more than one in the same paragraph, or even the same sentence, as you can see from the examples above. The important thing to be aware of the possibilities and decide which technique would work best, given the situation and the information you are trying to convey.
Now that you know how to express your characters, you'll need to figure out which one of them is going to tell your story . . .