Writers read with different eyes than non-writers. We pay more attention to the “how” of a book. How does the author structure the plot? Handle dialogue? Describe a scene so beautifully that I see every detail?
Each time I read Shelley Costa, I am left in awe by the way she handles all these elements. Her words are little jewels, each and every one of them used precisely and for full impact. Her plots are taut and interesting. Her dialogue sparkles. No Mistaking Death is no exception, a mystery that examines good and evil, right and wrong, the choices people make and the consequences of their actions.
Reading Costa makes me want to be a better writer. To me, there’s no higher praise from an author to an author.
I am a Professor at MIT and co-founder of both the inter-university Program on Negotiation at Harvard Law School and the not-for-profit Consensus Building Institute that provides help in resolving some of the most complex resource management disputes around the world. I have been teaching negotiation and dispute resolution, doing research about the circumstances under which various negotiation strategies do and don’t work, and offering online training for more than four decades. Given the many negotiations I've observed, I’m convinced that negotiating for mutual advantage is the way to go -- avoid unnecessary conflict, get what you want in all kinds of negotiating situations, and walk away with good working relationships and a solid reputation.
Bill Isaacs offers a pioneering approach to communicating in business and in life. His book starts with the assumption that people don’t know how to talk in a way that will make it easier for them to work together with others to solve shared problems. His company, DIAlogos, has organized dialogues in a wide variety of public and private settings. In the book, his discussion of “the architecture of the invisible” makes clear why better communication begins with listening, respect, suspending our own opinions, and finding our voice. I’m particularly taken with his discussion of how we can “cultivate organizational and system dialogue.” He also has some important ideas about how we can return to civility in our public discourse in the current time when “Red” and “Blue” have forgotten how to communicate at all.
Dialogue provides practical guidelines for one of the essential elements of true partnership--learning how to talk together in honest and effective ways. Reveals how problems between managers and employees, and between companies or divisions within a larger corporation, stem from an inability to conduct a successful dialogue.
Words have been part of my life since I was ten years old when my father suggested I read a page from the dictionary each school night. “Words have lives and histories,” he said, ”make them your friends.” In my teens, I saw individual words setting the tone for how someone felt, and I promised myself one day I'd write a book about words and how they were a window to one's inner self. Little did I realize that when I wrote that book, it would morph into one about dialogue writing and achieve international kudos. The book offers this simple truth: make sure each line of dialogue moves your story forward...
Savvy writers don't limit themselves to writing dialogue in a single media market; they welcome opportunities and challenges in print and broadcast, whether it's writing fiction or doing film or television scripts. This book spells out how to approach dialogue writing with specific media and how to achieve realistic and dramatic effects. The author urges writers to listen... listen... listen...and “hear the people around you!” Be an eavesdropper, he suggests, and remember what you hear!
Whether you're writing an argument, a love scene, a powwow among sixth graders or scientists in a lab, this book demonstrates how to write dialogue that sounds authentic and original. You'll learn ways to find ideas for literary discussions by tuning in to what you hear every day. You'll learn to use gestures instead of speech, to insert silences that are as effective as outbursts, to add shifts in tone, and other strategies for making conversations more compelling. Nuts and bolts are covered, too - formatting, punctuation, dialogue tags - everything you need to get your characters talking.
Saving the planet one death at a time is truly what the world needs now: to reduce our carbon footprint and go out in eco-friendly style. As the one-woman funeral service in the rural town of Boring, Oregon, I support the philosophy of old-school burial practices that are kinder to both humans, the earth, and our wallets. I have humbly been baptized the Green Reaper for my passionate advocacy of green burial, and as an undertaker and the owner and undertaker of Cornerstone Funeral, the first green funeral home in the Portland area. I love to devour all literature possible on green burial and environmentally friendly death care.
I first learned of the Death Dialogue Projects through Instagram. The author has a standing open call for Tiny Death Stories of 100 words or less, and a few of mine were showcased along with many lovely true tales of personal loss and grief. What a welcome resource as well as her emotionally raw nature of her podcast translates well into her pages. The book is an obvious project of passion embracing death literacy. I love how healing and understanding are weaved through the shared stories.
The impending or actual death of someone close to you can be devastating. It doesn't matter if you knew it was coming, or if it was a total shock-you'll never be the same. There is no right way to grieve, and no appropriate time frame. It's different for everyone.
Author and therapist gone rogue, Becky Aud-Jennison, the creator of The Death Dialogues Project and podcast, has sewn together threads from people's shared personal stories and her own experiences, using them to offer insight and comfort to those who are experiencing the…
I have a life-long love of Westerns. I’ve researched the period and the events extensively. One of the first things I look for in any book I read is period accuracy. The books I write are historically accurate, though they are fiction. I’m on a mission, through my writing, to save the Western genre.
While this is a short story, not a novel, it is, in my opinion, the quintessential psychological Western. Depicting the struggle of an ordinary man saddled with extraordinary tasks, to maintain his honor and his values in the face of temptation, it delves into the minds of the two participants, and takes the reader on a wild ride as they wait for the train. Tension you could cut with a knife replaces action, keeping the reader on the edge of his/her seat until the end.
The New York Times-bestselling Grand Master of suspense deftly displays the other side of his genius, with seven classic western tales of destiny and fatal decision . . . and trust as essential to survival as it is hard-earned.
Trust was rare and precious in the wide-open towns that sprung up like weeds on America's frontier—with hustlers and hucksters arriving in droves by horse, coach, wagon, and rail, and gunmen working both sides of the law, all too eager to end a man's life with a well-placed bullet. In these classic tales that span more than five decades—including the first…
I have always been drawn to the ocean. When I decided to start writing novels, I knew that I wanted to set them in coastal locations. I live in the Boston suburbs and spend time whenever I can at the beach. I have written books centered in Cape Elizabeth, Maine, Portsmouth, New Hampshire, and Cape Cod. I am working on a story set on the north shore of Massachusetts. I am a high school social studies teacher of twenty-four years and a parent of two teenagers. All of my writing includes cooking and the enjoyment of good food as a major focus. I hope my books make you hungry!
I love books that take me to other places, particularly when the settings are vivid and almost another character in the story.
A wedding book is the perfect beach read as we get a peek into family and friend dynamics and all the drama that goes with such a major event. This book is full of all of the above, with charming dialogue, road-not-taken romance, and memorable characters.
Amazing book. I wish I'd known more about Dante and The Divine Comedies, though this book is so well written and all necessary background information is so cleverly provided to the reader, it isn't required.
Brilliant premise, wonderfully quirky and off the wall, yet grounded with relatable characters and strong, realistic dialogue. It got in my head and stayed there as I tried to figure out what it all meant, how it all worked. Totally captivating.
Words have been part of my life since I was ten years old when my father suggested I read a page from the dictionary each school night. “Words have lives and histories,” he said, ”make them your friends.” In my teens, I saw individual words setting the tone for how someone felt, and I promised myself one day I'd write a book about words and how they were a window to one's inner self. Little did I realize that when I wrote that book, it would morph into one about dialogue writing and achieve international kudos. The book offers this simple truth: make sure each line of dialogue moves your story forward...
This author is a renowned Master Teacher of storytelling art whose students have won numerous writing awards across the media spectrum. He covers dialogue writing for live theater, film, and television and offers suggestions on building effective dialogue writing skills, no matter the media, even showing how a dialogue line might change depending upon the writing category. He provides easy-to-follow examples of both good and bad dialogue writing in the various media categories.
The long-awaited follow-up to the perennially bestselling writers' guide Story, from the most sought-after expert in the art of storytelling. Robert McKee's popular writing workshops have earned him an international reputation. The list of alumni with Oscars runs off the page. The cornerstone of his program is his singular book, Story, which has defined how we talk about the art of story creation.
Now, in Dialogue, McKee offers the same in-depth analysis for how characters speak on the screen, on the stage, and on the page in believable and engaging ways. From Macbeth to Breaking Bad, McKee deconstructs key scenes…
I had the passion to write Necessary Deeds because: 1) as someone who'd spent 20+ years writing novels, dealing with untrustworthy literary agents, and book-doctoring other writers’ novels in order to pay rent, I'd come to know betrayal (“best friend” writers who stole drafts of mine and called them their own, novelists who backstabbed me after I helped them land agents and book contracts, and so on); 2) like many people who lived through the drug-and-alcohol-laced Eighties, I had a long relationship with someone that ended because they cheated on me. So I never doubted that, as I wrote Necessary Deeds, my heart knew well what motivated its characters.
How can I not include an Elmore Leonard title in a list of favorite novels about murder and matters of the heart?
Of course, no compliment by me of Mr. Leonard will be anywhere in the vicinity of new, but I will add to the heap of praise of the man that in this particular novel of his, the snappiness of the dialogue, the overall wit, and the surprising nature of the twists and turns will always strike me as ideals to strive for as I write my own noir.
Words have been part of my life since I was ten years old when my father suggested I read a page from the dictionary each school night. “Words have lives and histories,” he said, ”make them your friends.” In my teens, I saw individual words setting the tone for how someone felt, and I promised myself one day I'd write a book about words and how they were a window to one's inner self. Little did I realize that when I wrote that book, it would morph into one about dialogue writing and achieve international kudos. The book offers this simple truth: make sure each line of dialogue moves your story forward...
Here is a “look-see” at writing fiction dialogue while mindful of and applying some of Elmore Leonard's classic Ten Rules of Writing: when to use dialogue tags... why using “said” is best... why not to use adverbs to modify “said”...? There's history here, too, as Hough traces the refining of fiction dialogue as an art form from the nineteenth and early twentieth century to the present while providing stunning examples along the way.
Dialogue is often overlooked as a necessary and potent instrument in the novelist's repertoire. A novel can rise or fall on the strength of its dialogue. Superb dialogue can make a superb novel. F. Scott Fitzgerald wrote, "Action is character." George V. Higgins said, "Dialogue is character." They were both right, because dialogue is action. It comprises much, if not all, of the clarifying drama of any novel. How much physical action can there be in 300 pages, even in a crime novel or a thriller? And all conflict, even physical, begins as dialogue.
