How To Dialogue

Dialogue punctuation is something I really harp on about to my students, because there are a lot of rules in fiction, and you can break every single one of them if you have a good reason – except dialogue. Yeah, okay, I know there are some big-name authors out there who DO break the rules of dialogue punctuation and paragraphing, but essentially, I tell my students, the rules of dialogue punctation and paragraphing are unbreakable, because they exist to make things clear to the reader. You want your ideas to be clear, right? Yes, yes you do. *ahem*.

So anyway, in conversation with the Twinny One, I realised I’d never shared my dialogue videos with you before. So I’ve set up a special new page: you can click here to go to Dialogue 101, where there are three videos that step you through all the finicky ins and outs of how to punctuate and paragraph dialogue correctly, as well as the difference between beats and tags, and how to use them 🙂

How To Build A World From The Ground Up Week 5: Hot and Cold, Wet and Dry

So, a while ago I started the map-building series as a backlash against All Those Authors that get it Wrong, and as an attempt to prevent that happening in the future. I’ve talked about the very fundamental stuff – the underlying structure of the world, the fun you can have with hotspots and volcanos – and have developed a few rules to keep you on the right track:

– Lesson #0 in Map-Building: Always have a reason.
– Lesson #1 in Map Building: The mountains are where things crash together. So are the volancos and the earthquakes.
– Lesson #2 in Map Building: You need to have a reason for where you put things on your map. But you can pretty much invent a reason for anything.


Today, we’re going to move on to above-surface stuff, and look at the basics of climate. Two things form the fundamental basis of all climate: temperature, and precipitation. You can get hot dry climates (like deserts), hot wet climates (like rainforests), warm dry, warm wet, temperate regions that have four distinct seasons and varying rainfall in each, cold wet climates, cold dry climates, climates that are prone to snow and forms of precipitation other than plain rain.

Your plain average rain, however, isn’t really plain or average. It can be pure or acidic to various degrees, it can be cold rain or warm rain, come in torrential downpours or gently soaking drizzle. Acidic rain is found in areas of high pollution or places downwind from high-pollution areas; pure rain is often found in low population density areas, but not always, because these places can be receiving pollution from other areas. Torrential rain is most usually found in the tropics; hurricanes need the right mix of airflow and water; thunderstorms need a cold front meeting a bank of warm air; drizzle often accompanies lower temperatures; and so the list goes on.


You can get so caught up in the fascinating minutia of weather – well, at least, I could – that you forget your story is actually supposed to ever be anything more than an excuse to build a really spiffy, perfectly logical world. I don’t recommend this.
The amount of worldbuilding you DO want to do is up to you, but remember:
1) More worldbuilding makes your world seem more real.
2) Most of your worldbuilding won’t make it directly into your novel, so it can be a waste of time.
and most importantly,
3) ALL worldbuilding should serve one aim: to increase conflict in your story. If you can’t think of a way for it to increase conflict, you’re pretty much wasting your time.
I mean, sure, it’s important to know what kind of clothes your MC wears, and whether or not their society could actually legitimately make silk stockings – but this all matters a lot more to your reader if it’s in some way related to the conflict, like your MC needs to masquerade as an aristocrat from another country only can’t get her hands on the kind of stockings they wear, or something. Be creative. Make it matter.


And so to round off on climates: Do know your climate, because it will affect how your people live. More on that later. But don’t feel you need to obsess. Most climates exist in most regions of the world, with the exception being the poles and the equator. Mountain ranges or lack thereof, ocean currents and whether they are hot or cold, costalness or continentality, prevailing winds – these are the four key things that will determine your climate. But really, weather is so complicated that even now we can’t accurately predict it more than about four days out. So you know. As long as your climate is within the bounds of plausibility, most readers won’t try to kill you for them.
With one exception. Please, please, please, don’t try to make your poles hot and your equator cold for no reason better than ‘to be different’. This will result in you being hunted down and smacked over the head with some basic physics.
Why?
Because the poles are, by the very nature of a ROUND planet, further away from the sun. The equator is closest. Ergo, unless you have some sort of fancy magic field that reverses the effect of the sun, your poles will be colder and your equator hotter.
And, for the love of peace, please have a round planet unless you’re writing fantasy and have a deliberate reason for not making it so (and making it, say, a Disc carried by elephants on the back of a turtle). Gravity + spinning = round world.
Note also that it’s the TILT of the earth’s axis that gives us seasons; straight axis, no seasons. Bear that in mind when designing both round planets and especially non-round planets. If you’re not round and/or you have no tilt, will you have seasons, or will your climates be stable?

Lesson #3 in Map Building: In the middle, things are grey and you can do what you like. At the edges, things have a reason. Don’t mess with this, unless you have a very good reason.

Tune in next time for more on humanity’s favourite liquid: water!

How To Build A World From The Ground Up Week 4: And Then It Exploded

I mentioned volcanos very briefly in the last post in this series in talking about where mountains are usually formed. Often, the volcanos appear where one plate is sliding under another, forcing the upper plate even up-er, and providing a weak spot for all that yummy magma and lava to come spewing out. Yay, fire and destruction!

But there is a second way for volcanos to appear, and since it isn’t on a plate boundary, it’s kind of a neat writerly world building trick that’s almost as good as a deus ex machina for getting a volcano and/or string of islands wherever and whenever you want them.

Raise your hand if you’ve heard of Hawaii. Good. Now keep your hand up if you think you could point to it on a map. Keep your hand up if you think you could point to it on THIS map (you can find it if you click on the image to make it bigger).

Found it yet? Okay. Question. Is it on a plate boundary?

Hopefully, we agree on the location of Hawaii, and you’ve said no. Excellent. So, Hawaii is a chain of islands with both active(ish) and extinct volcanos – and it’s in the middle of nowhere, not actually near a plate boundary. How does this happen?

One word: Hot spots.

Randomly, some places of the plate will be thinner than others, allowing the magma to break through to the surface even though there’s no plate boundary in sight. This is called a hot spot. If the hot spot is under land (less likely, since the land plate is thicker than oceanic plate), you’ll get a regular volcano; if it’s underwater, you’ll either get an underwater volcano, or if its strong enough, a volcanic island.

But here’s the thing: the plates are moving, right? And some times, the hot spot isn’t caused just by the thinner crust; it’s also mysteriously caused by a literal ‘hot spot’ in the magma underneath. So when the plate moves on, rolling its way from one boundary to another, the hot spot stays behind – and a new volcano appears.

Rinse and repeat, and you get a lovely chain of volcanos/islands, each of which will become extinct as it moves away from the hot spot and a new volcano erupts behind it. So,

Lesson #2 in Map Building: You need to have a reason for where you put things on your map. But you can pretty much invent a reason for anything.

Doncha just love how rules in writing are made to be broken? 😀

How To Build A World From The Ground Up Week 3: Tall Pointy Things

To really understand how and why things work, it’s usually a pretty good idea to strip things back to their most basic level and build your way up from there. Maps are no different, if you want to get really serious. The world works in layers, and really good maps that Work will be designed around the same principles. If you want to go the full hog and draw all your layers (and drawing skills aren’t necessary, I promise), tracing paper is the medium of choice, because it allows you to stack all your layers on top of each other and see the whole depth of the map at once.

So, if you’re going to start at the very beginning (which we all know is a very good place to start O:)), where exactly is that? Not, alack, with a-b-c, or even do-re-me; rather, with transform, convergent and divergent.

Which are what? Plates, of course! Not the dinner kind, but the continental kind.

Modern science posits that the entire crust (outer surface) of the Earth is not one solid shell, but actually a whole bunch of bits of shell (plates) all forming a patchworky kind of crust. And because the centre of the Earth is full of molten rock, and molten rock is hot, and hot stuff tends to want to rise, creating convection currents as it reaches the highest point it can go and then bounces along at the top for a while getting cooler before it sinks again*, these plates move. In fact, if you were to record the Earth from outer space for a significant while and then hit fast forward, the plates fairly zoom around the surface of the world.

So where do transform, convergent and divergent come in? Well, as map builders we care about plates mostly because the edges where they touch each other have the potential to do Interesting Things. To save you the science infodump, here’s a pretty picture that explains what they are (click to embiggen):

And here’s another pretty picture that shows you where Earth’s plates are and what type of boundaries they have (click through for bigger):

One thing should hopefully stand out to you: if you think about where all the major mountain ranges of the world are, they’re often along plate boundaries. The Himalayas are where the Indian plate is bashing into the Eurasian plate. The Andes are where the Nazca plate is sliding under the South American Plate. The Alps? Middle Eastern plate smashing up into the Eurasian one. Lots of crashing = lots of mountains.
Of course, plate tectonics at the global level isn’t the only reason mountain occur; Australia boasts the Great Diving Range right down its east coast, and you can see in the images that Australia is smack bang in the middle of a plate, not anywhere near a boundary. But in general, plate boundaries are where you have the fun stuff: mountains, volcanoes, earthquakes. That sort of fun >:)
How do you employ all this with map building? Very easily. You scribble in some plates, scribble over some continents kind-of roughly based on the plate outlines (but really, you can do anything – look at Australia!), and then have fun deciding where to cause all the chaos >:) Impassable mountain ranges, volcanoes, undersea geysers, rifts and trenches both terrestrially and undersea… Bwa ha. So much potential conflict for your poor little characters.

Lesson #1 in Map Building: The mountains are where things crash together. So are the volancoes and the earthquakes.

Until next time, have fun causing chaos. Chaos #ftw! 😀

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How To Build A World From The Ground Up Week 2: Groundwork

I realise from the outset that a lot of people will decide that this post isn’t relevant to them. And maybe, to some extent, that’s true: not every writer needs to know where mountain ranges are likely to pop up, especially if you’re writing in the ‘real world’. Still, mapping has its place for everyone. For example, the kitchen of a house doesn’t usually migrate from front to back to top floor to basement; the writer obviously knows where in the house it is, and I guarantee you there was a map involved, even if said map is only in the writer’s head.

Cartography: it’s for everyone!
O:)
But I want to go a little further than that to discuss something I’ve seen a lot of lately: a blatant disregard for the actual, physical constraints of the world when creating a map. Published authors are just as guilty of this as non-published, and both are equally shudder-worthy. Sure, okay, writers don’t have to be cartographers as well – but just a little bit of thought and effort will make sure that people who know about this kind of thing don’t feel tempted to throw your book against the wall.
The example I’ll never forget is good old Robert Jordan. Regardless of what you think of his writing, his control over his plotting, and his development of female characters, you can’t escape the fact that his work is popular as anything. And in the front of all the books, all prettily drawn up, is the map of the world, which makes me want to beat my head against the wall every time I see it. Why?
Have a look at it. Note especially the coastline, and where all the rivers exit to the sea. Can you see anything wrong? Every. Single. River. exits to the sea at the very end of the land point. Every single time!
I see heads shaking in confusion. What’s wrong with that? you ask.
It’s wrong because it’s not the way things work. Water always takes the path of least resistance; a spur heading out to sea will be higher than the surrounding ground; water also causes erosion of the surrounding ground; ERGO a river will, nine times out of ten, exit to the sea in a BAY, not off the tip of a point. And if it didn’t exit into a bay initially, give it a few years to erode and it will.
Yes, if you’re writing fantasy you can in theory get away with anything – but only if you have a good reason for it. Hint: “Because it looked pretty” is not a good reason. Neither is, “Because I felt like it”, “Because that’s how it came out”, or just, “Because”. Aside from the use of magic, the physics of Robert Jordan’s world isn’t demonstrably different from our world. We are given no reason to think that physical substances shouldn’t behave there exactly as they do here; and yet, for some strange and untold reason, rivers do.
Lesson #0 in Map-Building: Always have a reason.
If you don’t have a good reason for changing the way something works, don’t. It’s as simple as that.

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Let’s Celebrate! Have You Entered My EPIC FGU Giveaway Yet?

If you’re one of the ones playing along on social media, you’ve probably heard of my epic giveaway: to celebrate the impending release of From The Ground Up: How To Build A World That Really Works, aka my non-fiction handbook for writers that looks at the ways geography influences culture. It comes out in about two months (YAY!!), so I’m running a pre-release giveaway, because why not? 🙂

Click through on the graphic to enter for your share in nearly $200 worth of super awesome prizes – and don’t forget that to look for the link at the bottom for ways to earn extra entries 😉

**OPEN INTERNATIONALLY!!! Entries close midnight August 20 Australian EST 🙂 **

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This Is Your Official Permission To NOT Write Every Day

I know, I know. A lot of conventional wisdom about writing recommends a daily writing habit—for exactly that reason: if you write every day, it becomes a habit. Habits, in this case, are good. But.

Conventional wisdom is just that: conventional. It’s often the average of all the options, something that most people can aspire to. But it doesn’t take into account your own personality, or your routine, or anything else unique to your individual circumstances.

Since I read Rachel Aaron’s 2k to 10k back in April, I’ve started tracking my metrics again. I did this for a few years when I first started writing, but then writing became just another way to measure my failure and so, to help dig myself out of the mire of postnatal depression, I quit writing. When I took it up again (initially in 2013 with the proposal for From The Ground Up—non-fiction was an easier ‘in’ for me than fiction with my mental state at the time), I decided not to track my word count or anything like that, because I didn’t want it to become like before: I didn’t want to have statistics I could use to beat myself up.

I neglected two things, though. First of all was that I’ve matured a lot as a human being since 2011: I’ve had two kids, I’ve suffered through and, with the help of a lot of family support and a great psychologist, beaten it, I moved away from my home town for the first time ever (and moved back again 18 months later, ha)—but most of all, I’ve learned to cut myself some slack.

The second thing I learned (or relearned) from Rachel Aaron’s excellent (if short) book: you can’t improve what you’re not tracking. Following the advice in her book, I spent a week tracking my daily circadian rhythm—which it turns out, by the way, is almost exactly wrong for modern day living. My peak awake times are at the 10s and 4s of the clock—fantastic given the baby pretty much only wakes just after 4 during the night if she’s going to, less fantastic when I’m supposed to be going to bed at 10pm. My peak asleep times? The 1s—not too drastic, although I’d like an afternoon nap more often than I get it—and the 7s. Guess what time I have to get up for work? You guessed it: 7, or just before. URGH.

But anyway, writing. The other thing I noticed after tracking my stats again for several weeks was that I actually write better when I don’t write every day. I’m a deadline kinda gal: you know, the one leaves the essay to the day (night) before (of, haha*). So even though my spreadsheet is set up to tell me how many words I need to write each day in order to meet my deadline, it actually works better for me if I let it lapse a little. There’s nothing like two days of zeros to motivate me to spend a good hour writing, even if it’s late and I’m tired, because I’ll do anything to get the numbers back on track. The key, though, I’ve found, is to be ahead to start with: if I let myself fall behind, then missing a day registers in my subconscious as ‘FAILURE, FAILURE, DO NOT RETURN TO THIS PROJECT’ and it’s really hard to find motivation again. If I start off the spreadsheet ahead, though**, then missing a day or two just means I’m less far ahead than I was, so I’m not failing yet—but it’s enough motivation to kick in a really write so I can maintain that lead.

Yeah. I know. Psychological games played with oneself are totally weird. But they work, so don’t knock it till you’ve tried it.

So writing daily for me actually doesn’t work so well: it becomes a daily chore, and something to beat myself up over if I don’t make it. If I give myself permission to NOT write every day, though, and combine that with spreadsheet tracking of my word counts and deadline goals, something magical happens: I don’t write every day, but when I do, I pull much better word counts much more easily. That, ladies and gentlemen, is what we call a win/win situation.

So this is your official permission: you don’t HAVE to write every day. Try tracking your metrics, and use that information to tailor your routine to you.

 

* I gave up fighting this in uni, because although I’d try to be diligent and get the essay done early, I’d invariably end up scrapping it the night before and starting over. It got so bad that I was often starting my 2,000-word essay two hours before it was due. I still got distinctions, but I don’t recommend this as a path to stress-free education. Ha.

 

** My current spreadsheet is tracking the word count for On Roads Between, the sequel to Where Shadows Rise (the Sanctuary series). By ‘starting ahead’, I just mean that I waited until I had a few thousand words under my belt before creating the spreadsheet, which meant that even though I only had to be at 565 words on day 1, I already had 8,507 to dump in, putting me about three weeks ahead from the outset. (Of course, I’m only ten days ahead now, but I’m still ahead, so my subconscious registers this as WHEE SUCCESS LET’S DO MORE OF THIS.)