Part of being A Very Serious Writer involves reading. A ton. Reading anything I can get my hands on, voraciously, distractedly, constantly. Writing can’t operate in a vacuum, and words are meant to be read. Consuming the written word makes you a better writer the way eating tons of fast food makes you fat: the language sticks to you and fills you up and gives your brain something to pull from. That’s deep, yo. ARE YOU LISTENING, NEW YORK TIMES?
I recently came across the repeated insistence of other writers to stop using said bookisms. You know, those words you substitute for “said” after a line of dialogue, and I’m going to pretend I knew that’s what they were called all along. They look like this: “Watch out!” Mary screamed. “I love you,” proclaimed Alex. “I’m waiting in the basement to watch you while you sleep,” giggled the man who lives in my basement and watches me while I sleep. Those. Anytime you use a word other than “said,” it momentarily jars the reader’s brain, pulling them ever-so-slightly out of the moment in the story. Stephen King brings it up in his book “On Writing,” that “said” is always the best choice because of its invisibility. If the dialogue is written well enough, you don’t need to tell the reader that a character yelled or was crying or avoiding something. You can add a qualifying descriptor after the word “said,” if you have to. “I love you,” Alex said quietly. “I love you,” Alex said sarcastically. Alex is kind of a dick, what can I say.
And that was your little writing lesson for today. Any examples from something you’re reading right now? I’m almost finished “Gone Girl” (I started it on Tuesday) and while I’m not reading it for its great literary value, it’s definitely engrossing.