About dialogue: She said, he said. p1

SHORT STORY

— We’re stuck here— he said, turning off the car.
— Without signal to call a toll, to top — she said, popping the pink gum bubble. A far thunder pointed out the rain would go on.

UNIMPORTANT INTRODUCTION

In English it isn’t as important to mark the she said, he said; though I wonder how sometimes people can’t get lost in dialogues the way I do.
Were this Spanish I would be making the conjugation joke before telling you this is an entry about dialogue from the 90 days on how to write your novel by Sarah Domet. Peppered with digestive enzymes and in the order I deemed important.

START WITH A DESCRIPTION OF PEOPLE TALKING instead of starting with a dialogue.

Auch. I’ve done exactly so. Sometimes, we visual people, and by visual I mean those who can or have the ability to use the eyes to perceive; we forget about the rest of the senses. We want everything there’s to be seen and we want it now. In spite of the advice for using phrase as: «she could lift the suitcase without a care it was heavy» to mark someone as strong or sturdy; most writers simply go for the description. Particularly those whose audiences depend heavily on covers and TV live adaptations.

Anyways, Sarah Domet says ‘avoid’, which means it is a general advice, not a strong rule. And rules are to be broken… Once you know how things work. Nonetheless, I think we can make use of our other senses as well to feel the jagged and irregular metal of a statue welded all over and exposed to the rain. It is possible to write audio books targeted to blind people. Books that might end being listened to by me too since I like listening to stories while I sew.

TO BE CONTINUED