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  • How to punctuate dialogue in fiction

    Polishing your dialogue punctuation is an easy way to make your manuscript look professional and keep who’s speaking clear for your reader.

    Proper dialogue punctuation isn’t just about following the rules. It makes the reading experience seamless and enjoyable for your audience, allowing them to focus on the conversation and immerse in the scene you’ve created.

    There are two big problems with inconsistent or incorrect punctuation. The first is that it pulls your reader out of the story as they trip over confusing sentences or grammar faux pas. The second is that it immediately marks you as an amateur. And that’s the last thing you want to flag to potential readers, agents or publishers.

    So, here’s how to punctuate dialogue in fiction properly, from the basics to some next-level tips (and yes, these apply to non-fiction writers too). 

    Which quote marks to use?

    Choose from either single or double quote marks and stick with it.

    Books published in Australia and the UK tend to use single quote marks with nested doubles for quoting within the quote.

    • For example: ‘Hey, do you like that song “Espresso” by Sabrina Carpenter?’

    US books (and Australian newspapers and magazines, just to keep us on our toes) reverse this, using double quotes with nested singles: 

    • “No, I much prefer Dua Lipa’s new song, ‘Illusion’.”

    You can choose which you prefer; I promise it doesn’t matter. The only rule is to be consistent with your choice.

    While you’re at it, make sure you’re using curly or smart quotes (also known as typographer’s quotes). These should appear automatically in programs like Microsoft Word when you type a quote mark, but in online programs (Google Docs is often a culprit) they can corrupt and appear as straight quote marks, like this: ‘

    This is not a quote mark, but the symbol for feet and inches, as in 62”, and minutes and seconds, as in 2’05”.

    If you’re using Word and the quotes aren’t automatically curly when you type them, you can change the settings to choose smart quotes as a default.

    For Mac users, go to Preferences>AutoCorrect>Automatically As You Type>check the box “Straight Quotes” with “Smart Quotes”.

    For PC, go to File>Options>Proofing>AutoCorrect Options>AutoFormat As You Type>check the box “Straight Quotes” with “Smart Quotes”.

    Do I have to use quote marks?

    Nope! Some good alternatives might be to put speech in italics, or to use dashes before dialogue, with each speaker taking a new line, the way you might see it set out in a transcript or play. (This can be confusing if there are more than two speakers, however!) But honestly, I don’t recommend going without quote marks altogether. Readers are so familiar with quote marks they barely register them. But when they’re missing, they really notice it. It can trip up some readers as they struggle to differentiate between narrative prose and dialogue, and that can pull them out of the story, which is the last thing you want.

    For some authors it’s a stylistic choice – and that’s totally fine. Sarah Winman, Kate Grenville and Deborah Levy are among the modern authors who have chosen this approach. If you love that style (and you’re writing literary fiction), go for it!

    My advice, however, is to leave this controversial move to the literary greats and use quote marks for your dialogue, especially you’re writing commercial genre fiction. Don’t give your readers a reason to put your book down!

    How to punctuate dialogue with a speech tag

    OK, let’s get into the nitty gritty.

    Speech tags are phrases that report how a character is speaking, such as said/says, reply/replied, ask/asked. They’re so common that they’re often as ‘invisible’ to readers as quote marks.

    When a speech tag follows dialogue, use a comma before the closing quote mark. For example:

    • Single quotes: ‘Amber, I love your shoes,’ said Violet.
    • Double quotes: “Amber, I love your shoes,” said Violet.

    Don’t place the comma outside the closing quote mark, like this:

    • Wrong: ‘Amber, I love your shoes’, said Violet.
    • Wrong: “Amber, I love your shoes”, said Violet.

    If the speech ends with a question mark or exclamation mark, a comma before the closing quote mark is NOT needed

    Here are some examples with both single and double quote marks:

    • Wrong: ‘I love your shoes!,’ Violet said.
    • Right: ‘I love your shoes!’ Violet said.
    • Wrong: “Do you really like them?,” Amber replied.
    • Right: “Do you really like them?” Amber replied.

    And even though it goes against what you learned at primary school, don’t be tempted to use a capital letter for the word following a question mark or exclamation mark in dialogue. For example:

    • Wrong: ‘I love your shoes!’ She said.
    • Right: ‘I love your shoes!’ she said.

    The exception: if you’re using a proper noun:

    • ‘I love your shoes!’ Violet said.

    What about if you want to put a speech tag before the speech? Use a comma after the speech tag and before the opening quote mark. Then finish the dialogue with a full stop inside the quote marks.

    • Violet said, ‘Amber, I love your shoes.’
    • Amber replied, ‘Thank you, I got them on sale.’

    How to punctuate dialogue without a speech tag

    You might not always want to use a speech tag. Once your characters are in the rhythm of a conversation, you shouldn’t need to indicate who is speaking every time. In this case, simply finish the dialogue with a full stop (or other terminal punctuation like a question mark or exclamation mark) inside the quote marks. For example:

    • Single quotes: ‘Amber, I love your shoes.’
    • Double quotes: “Amber, I love your shoes.”
    • Single quotes: ‘Thank you, I really like them too!’
    • Double quotes: “Thank you, I really like them too!”

    How to punctuate dialogue with action beats

    Action beats show how a character is moving or reacting during dialogue. They’re similar to speech tags in that they indicate who is speaking, but they add a little extra characterisation that allows the author to ‘show’ rather than ‘tell’, so they’re a great device to use in fiction.

    To punctuate dialogue with an action beat instead of a speech tag, use a full stop before the closing quote mark instead of a comma. The action beat is in bold in the examples below. (Note: I’ll use single quotes for the rest of these examples – the punctuation is exactly the same when using double quote marks.)

    • ‘Amber, I love your shoes.’ Violet crouched down for a closer look.
    • ‘Really? Thank you.’ Amber glowed with pleasure at the compliment.

    If the speech ends with a question mark or exclamation mark, use that as your terminal punctuation instead of a full stop.

    • ‘Thanks, Violet!’ Amber blushed.

    Keep an eye out for action beats masquerading as speech tags. For instance, laugh, smile, frown, sigh, wink and yawn are actions, not speech. So, if you catch something like:

    • ‘Amber, I love your shoes,’ Violet smiled.
    • ‘Thanks,’ Amber winked.

    Change the comma to a full stop, as you would when using an action beat:

    • ‘Amber, I love your shoes.’ Violet smiled.
    • ‘Thanks.’ Amber winked.

    If you want to combine a speech tag with an action beat, use a comma to separate the speech tag from the action beat, like this:

    • ‘Amber, I love your shoes,’ Violet said, crouching down for a closer look.
    • ‘Thanks,’ Amber replied, twisting her ankle to show off the strappy heel.

    How to punctuate dialogue interruptions and trailing off

    To show someone’s voice trailing off, use an ellipsis inside the quote marks. No other terminal punctuation is needed. For bonus points, avoid telling the reader that the speaker’s voice has trailed off. The ellipsis does that work for you.

    • ‘Could I borrow them?’ Violet asked.
    • ‘I guess …’ Amber said.

    (Try to avoid writing: ‘I guess …’ Amber said, trailing off.)

    Here’s another example:

    • Wrong: ‘I wonder if …,’
    • Right: ‘I wonder if …’

    If you want to show speech that has been interrupted, use an em dash at the end of the interrupted sentence. No full stop or comma is needed after the dash, just your closing quote mark:

    • Right: ‘Wow, those shoes are—’ 
    • Wrong: ‘Wow, those shoes are—.’

    How to differentiate speakers

    Remember when I said above that you don’t always need to use a speech tag to tell a reader who is saying what? The conventional way to indicate different speakers in a conversation is to put each speaker’s dialogue on a new line. This is a tried-and-true format that makes dialogue easy to follow without too many overt cues.

    Even if the speaker isn’t speaking but simply reacting to something that the other character has said, put that action on a new line too. Otherwise you risk confusing your reader. For example, if you wrote:

    • ‘Wow, those shoes are amazing,’ Violet said. ‘I know.’ Amber looked smug.

    The reader will likely be confused for a second, because with both speakers’ dialogue and Amber’s reaction on the one line, it’s hard to differentiate between who said what. Instead, place Amber’s response and reaction on a new line to avoid confusing readers even for an instant.

    • ‘Wow, those shoes are amazing,’ Violet said.
    • ‘I know.’ Amber looked smug.

    How to punctuate dialogue that’s broken up with a speech tag or action beat

    Say you want to break up one character’s dialogue with a speech tag. This can be helpful to break up long stretches of dialogue and to enhance characterisation. Here’s how you’d do it if you were placing a speech tag between two complete sentences:

    • ‘I don’t care what you think,’ he said. ‘Your opinion doesn’t matter to anyone.’

    In this case, I don’t care what you think and Your opinion doesn’t matter to anyone are separate sentences, so you simply punctuate the first sentence with a comma as you would any other dialogue. There’s no need to add a speech tag to the second sentence because it’s already clear who’s speaking, so a full stop before the closing quote mark is all that’s needed.

    If you’re inserting an action beat between two complete sentences, there’s no need for a comma at the end of the first sentence because, as discussed above, it isn’t followed by a speech tag. So a full stop before the closing quote mark in both sentences is all that’s required. Take a look at this example:

    • ‘I didn’t want you to come.’ Joan crossed her arms. ‘I just want to be alone.’

    If your speech tag interrupts one sentence rather than two complete sentences, use a comma after the speech tag and a lower case letter in the next clause to indicate the sentence is continuing. Here are a couple of examples:

    • ‘I don’t care what you think,’ he said, ‘because your opinion means nothing to me.’
    • ‘We went to the shops,’ she said quickly, ‘then the pool, then the library.’

    What about if you want to break up the sentence with an action beat rather than a speech tag? This can be a great way to add tension or emotion to a scene. In this case, use dashes outside the quote marks to separate the speech from the action. No commas are needed.  Take a look at these examples:

    • ‘I told you’ – Amy jabbed a finger at his chest – ‘I’m not giving up.’
    • ‘What if he’s not guilty? What if he really is’ – Aaron swallowed roughly – ‘innocent?’

    If you’re using em dashes, it would look like this:

    • ‘I told you’—Amy jabbed a finger at his chest—‘I’m not giving up.’

    Remember, if the action is related to another speaker, it needs to be treated carefully. Ideally you’d put it on a new line, otherwise it can look like the speech is coming from a different character to the one you intended. Consider this line of Amy’s from above, interrupted with an action from Aaron and punctuated as though it were a speech tag:

    • ‘I don’t care what you say,’ Aaron glanced at her, shocked, ‘I’m not giving up.’

    It reads as though Aaron is speaking, right? That’s because the commas before the quote marks signal to your practiced reader eye that a speech tag is coming. Using a speech tag or adding dashes and tweaking the action beat to include Amy would fix it:

    • Speech tag: ‘I don’t care what you say,’ Amy replied, and Aaron glanced at her, shocked. ‘I’m not giving up.’
    • Dashes: ‘I don’t care what you say’ – Amy narrowed her eyes as Aaron threw her a nervous glance – ‘I’m not giving up.’

    If the action interrupting dialogue is related to a different character and is followed by their speech, place the action and speech on a new line. In this example, Aaron follows his glance with dialogue:

    • ‘I don’t care what you say!’ Amy replied.
    • Aaron glanced at her. ‘It’s dangerous, Amy. I think you should reconsider.’
    • ‘I’m not giving up.’

    Common dialogue punctuation mistakes

    Let’s rehash. Dialogue punctuation is super important because getting it right guides your reader and helps them to stay immersed in the story. There are lots of nuances to dialogue punctuation, but I’ve covered the most common ones fiction writers are likely to encounter here.

    The dialogue mistakes I regularly see in fiction and non-fiction manuscripts:

    • – Using quote marks inconsistently
    • – Placing commas or full stops outside the closing punctuation mark
    • – Using a full stop after a question mark or exclamation mark.

    Getting a handle on these will give your manuscript a professional edge and mark you as a serious writer. And even better, when you know how to punctuate dialogue properly, you can focus on making that dialogue shine.

    If you have any more questions about punctuating dialogue in fiction, drop me a line! And if you’d like help wrangling your manuscript’s grammar, get in touch with me to chat about a line and copyedit for your project. I offer a free sample edit so you can see exactly how copyediting will enhance your storytelling and clarify your message.

  • 5 ways to improve your manuscript

    Good news! These tips don’t involve any writing.

    Feeling a bit of writer’s block? Don’t worry, there are lots of ways to improve your manuscript without having to labour over sentences and story arc.

    Here are five ways to give your work-in-progress a lift, without lifting your word count.

    1. Brush up formatting

    Go through your manuscript and make sure each chapter is set on a new page (use a page break instead of hitting that return button), chapters are numbered in order, and you’ve used an easy-to-read font like Times New Roman 12 pt, with double or 1.5 line spacing.

    This will instantly improve your manuscript by giving it a more consistent and professional appearance, and save you time later when you’re getting it ready to submit to publishers or agents.

    2. Check regional spelling

    Did you know there are lots of variations of English? Depending on your target audience, you can choose the one your readers will be most familiar with. If you’re publishing in Australia, use Australian English. This means you’ll be following the Macquarie Dictionary for spelling variations. If you’re aiming for the US market, go with US English – the Merriam-Webster is a great resource (and it’s free!). For British readers, use UK English and the Oxford Dictionary.

    Choosing a regional English language helps you to maintain consistency across your manuscript. It ensures you catch words that are spelled differently in different countries – like curb and kerb, cosy and cozy – and it will guide you on regional terms such as trash can or garbage bin, sidewalk or pavement, lollies or candy, cell phone or mobile phone – the list goes on.

    3. Look at consistency

    I can’t emphasise enough how important consistency is in making a finished manuscript look professional! As the author, you get to make a lot of decisions about the words you want to use and your preferred spelling variations to ensure consistency. Run searches for words that can be spelled differently, such as OK vs okay, and choose one to use throughout. You should also check whether you’ve used punctuation such as quote marks (single or double) and dashes (en or em) consistently throughout.

    Note: in Australia, we tend to use single quote marks with nested doubles, eg: ’Hey, did you hear that song, “Espresso” by Sabrina Carpenter?’ The US tends to reverse this: double quotes with nested singles, eg: “No, I much prefer Dua Lipa‘s new song, ’Illusion’.

    Consistency affects loads of elements: You can also make a note of how you’ll use numbers (as a basic starting point, we often see numbers one to ninety-nine spelled out and 100+ as numerals in books), show time (words or figures), address capitalisation in headings, punctuate abbreviations and more.

    And of course, it affects aspects such as character features and setting details as well. Taking note of whether your main character has blue eyes and always wears rose-scented perfume will ensure you don’t confuse readers by mixing up those foundational details later in the story.

    4. Review character names

    Do any of your characters have similar sounding names? If you have two characters with names that look and sound alike – Dave and Dan or Lisa and Liz, for instance – it’s a good idea to change one of them, to ensure readers don’t get confused about who’s doing what. This applies to minor characters too!

    Even if you don’t think your characters’ names are similar, they can appear that way on the page to a reader who’s skimming over a paragraph. So even sharing the same initial can be enough to warrant changing a character name.

    While you’re there, keep an eye out for characters’ names that have changed during the course of the novel. This happens more often than you might think!

    5. Weed out repetition

    Do you already know which words you have a tendency to use in every second sentence? If so, do a search and see how many instances you can remove to ensure they don’t become repetitive. This applies to elements such as speech tags and action beats, too. You might find you’re often making your characters fiddle with their hair or exclaim loudly!

    If you haven’t yet twigged to your crutch words, start by searching for adverbs: really, very, finally, actually and completely are common, and most of the time you don’t need them. Take a look and see how many you can weed out! It’ll make your writing so much stronger.

    Don’t feel bad that you’ve developed a writing crutch – it’s natural to reach for the same words over and over, especially when working on a full-length novel. Looking out for them so you can change it up is all part of the editing process – and it’s a powerful way to improve your manuscript.

    Want some help maintaining consistency in your work? Reach out about line and copyediting. I’ll look out for all these aspects and more, and will record all decisions in a style sheet so you can keep track of your preferences throughout the publishing process.

  • How to format text messages in fiction

    A woman standing in front of a window looks at her phone screen as though reading a text message.

    An easy guide to depicting dialogue as text messages in a contemporary fiction novel.

    Text messages are a part of everyday life so if you’re writing contemporary fiction there’s a good chance you’ll want to include a few in your story. But how do you format them? Should you use quote marks? Do you need to indicate the sender with a name or dialogue tag? What about emojis?! 🤪

    There are a few options for fiction writers to choose from. Let’s take a look.

    Keep it simple with italics

    You could use quote marks, but because readers are so used to seeing quote marks with speech, it’s clearer to illustrate texts with some other kind of formatting.

    The most straightforward way to show text messages in fiction is with italics, which are usually used to indicate any dialogue that isn’t spoken aloud.

    You can add a dialogue tag or action beat to clarify who’s sending the text, as you would if they were speaking. For example:

    Hey, I just pulled up, Trent texted.

    Be there in a minute! I typed back.

    Choose a different font

    If your characters are spending a lot of time communicating this way, you might want to use a clear visual cue to indicate a text message convo. Select a different font (a sans serif font helps to distinguish it from the rest of the copy while giving a nod to tech formatting) and set it off with indents. For example:

    tile showing text messages formatted with a different font and indents.

    Use formatting to indicate sent and received texts

    Think about how messages are displayed on your phone. The ones you send are aligned right and the ones you receive are aligned left. Some authors are choosing to replicate this format in their works, even placing them inside speech bubbles with dates and times for an authentic look. In this style, you might want to use names to indicate speakers, as you would in a play. For example:

    A tile showing two text messages aligned left and right

    Some authors – particularly young adult authors – might even like to work with a designer or illustrator to create a graphic treatment for texts.

    How to choose?

    Your choice of style to use will depend on a number of factors, including readability and budget.

    Some questions to ask yourself include:

    • Do you have long strings of text exchanges between characters?
    • Will you ever have more than two people in a text chat?
    • If you’re using names to discern who is sending the texts, how do you imagine them being read in an audio version?
    • What age group are you writing for?
    • Are you working with a designer/typesetter who can create a special design treatment for texts?
    • Is space an issue?
    • What’s your personal preference when reading this type of dialogue in fiction?

    If you’re only using the odd text here and there, italics might be all you need. But if text messages are a critical part of your characters’ dialogue, consider using a special treatment, even if it’s just a different font.

    You might like to try out a few different styles and see how they fit, and when you decide on one, ask your beta readers to give feedback on whether your treatment of text messages is clear and enjoyable to read.

    What about emojis?

    I love a smiley/winky/smirky face as much as the next millennial, but there are caveats to using these guys. Like fonts, emojis (that is, the little pictures, not the ones created with letters) are subject to copyright, so if you’re self-publishing, make sure to buy a licence or find a free version for your work. Also bear in mind that they won’t appear in colour in your printed book, which may lessen their visual appeal and impact.

    Another thing to consider is the possibility that they will date your book. Emojis are popular now but they may be considered cringe in a few years’ time, or their meaning could shift. It’s something to keep in mind if you’re concerned about your work’s longevity in the market.

    The verdict

    As long as you’re making text messages and who’s sending them clear to your reader, there’s no real right or wrong here. I lean towards using a different font or italics to indicate text messages in fiction and weaving in some dialogue tags and action beats to keep readers on top of who’s texting at all times. If you’re working with a copy editor, you can ask them if they can set up a special style in Word for text messages when working on your book to ensure you achieve both consistency and clarity. This will ensure they’re typeset differently to the rest of your text too.

    Ultimately, I love seeing creative ways of depicting technology in fiction and I’m excited to see how this evolves on the page. Futuristic novels that use not-yet-created technology? Even more fun!

    Want help formatting your book’s text messages? Get in touch for a sample edit.