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Said the phlebotomist to the writer, “Too much fear stops the flow.”

This weekend, I gave blood. This wasn’t my first time, but let me say that (in my case anyway) it never gets easier.

Photo credit: rvoegtli on www.flicker.com

I know the routine: the check-in, the donor questionnaire, the finger stick. I know exactly what to expect, which is the whole reason I break out into a sweat and forget how to breathe the second the phlebotomist cracks the cover on the needle. And, that cheesy sitcom playing on the television across the room does nothing to distract me from the snaking tube sticking out of my arm for a solid ten minutes — or more, depending on whether or not my vein cooperates.

I am mess from the minute I walk into the Blood Center to the second I hear the beep from the machine that announces my pint-size bag is full up.

It’s the anticipation of discomfort that gets to me, and the worry that I might not make my quota. What if I didn’t drink enough water? What if something goes wrong and she has to re-insert the needle? What if I pass out and never make it to the sugary treats at the end of Donor’s Row?

Oddly enough (or maybe not so much), a recent sit down with my work in progress felt a lot like this blood-letting. The same anxiety crept up on me seconds before I opened the file. I started to sweat as I scrolled down to my page mark. And, the initial string of words I typed out cut across the page and sounded choppy and slow. Then, all of the “what if’s” flooded my mind.

What if this scene doesn’t come together?
What if the story falls apart, right here, right now?
What if…I.Never. Finish.

I can’t avoid that anxiety, really. It’s genetic, and it’s part of my writing process. In many ways, dealing with it helps move me forward. I could give in to those fears, but that would mean I quit, and I’ve come too far to quit.

So, just like I squeezed that little stress ball and survived my stint at the Blood Center (once again), I’ll write through my fears as best I can on a given day. I’ll hold on to what phlebotomist told me this weekend, in between her constant chatter that she hoped would settle my nerves: the more you relax, the better your blood flows, and – before you know it – you’re at the end!

There is nothing to writing. All you do is sit down at a typewriter and bleed. ~Ernest Hemingway

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You Talk Too Much: Balancing Dialogue and Narrative

I pride myself on being a quiet observer: in a church pew, during a staff meeting, behind a muffin and a steaming cup of coffee in a cafe. Most days, it takes me a long time to warm up to any conversation. But, stick me in front of my laptop (and smack-dab in the middle of rewriting a story) and suddenly I’m all talk.

At least, that’s what I’ve noticed lately with my work-in-progress. The early drafts of my novel were heavy in exposition and light in conversation. Now, I have a clearer vision of the plot, and I know my characters better. And, dialogue comes easy for me. The problem is that once the characters start talking, I let them go on and on. In rewriting another section last week, I noticed a whole page of chit chat. All that character banter started to tug at my writer’s gut, which suggested I should to rethink my use of dialogue.

Nathan Bransford posted on the Seven Keys to Writing Good Dialogue, in which he pin points one area of concern. He says, “A good conversation is an escalation…Characters in a novel never just talk. There’s always more to it.” In all writing, each character, scene, and piece of dialogue must move the story forward. I practice that in my short stories and flash fiction. But, in this novel rewrite, much of the dialogue I’ve written just fills up space. Though realistic, it reads flat and doesn’t necessarily propel the story.

Janet Fitch (author of White Oleander) has her own post, entitled “A Few Thoughts About Dialogue,” where she carries this idea of flat conversation even further. She says, “Dialogue is only for conflict…You can’t heap all your expository business on it, the meet and greet, and all that yack…If someone’s just buying a donut, nobody needs to say anything.” Then, she throws in a quick example of unnecessary talk: in response to a character asking, Want a cup of coffee? she writes, “No. I don’t. Ever.”

I’m guilty of that kind of dialogue: in the span of one chapter, my characters have discussed getting  a cup of coffee or tea twice. That’s a lot of “coffee talk.”

Sam McGarver, in his article, “10 Fiction Pitfalls,” (which appears in the May 2010 issue of The Writer) talks about too much weight on the other end of the writing scale: narrative. He says:

Many writers think a story should be largely narrated, in the manner of classic literature. But here’s a good rule: fight the urge to narrate…A story should consist of one scene following another, connected by narration.

I don’t want to nix half of the conversations in my novel just because I want to avoid too much talking. So, how do I find a balance between dialogue and narrative? After reading Bransford, Fitch, and McCarver, I found three different techniques:

  • From McCarver’s article: Find a particularly long narrative section and see how it might be broken up into more of a scene with dialogue.
  • After reading Fitch’s post: Find a section in the story where the characters have a whole conversation, and then cross out the dialogue that is commonplace. Because, as Fitch says, “A line anybody could say is a line nobody should say.”
  • From Bransford’s post: If the dialogue does carry the story forward but still feels “thin,” look for places to add gestures, facial expressions, and/or any details from the scene that enhance that section. Bransford says, “gesture and action [are] not [used] to simply break up the dialogue for pacing purposes, but to actually make it meaningful….”

How do you balance your story with narrative and dialogue? Do you talk too much?

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