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THE BREDE CHRONICLES
BY P.I. BARRINGTON
Half-human Alekzander Brede is a law unto himself…or so he thinks. Elektra Tate, the street orphan who loves him has other ideas. When she betrays him for no apparent reason, he vows to punish her one way or another. Taking the one thing she treasures most—their son—begins a cat and mouse relationship spanning two planets and costing possibly his life. Elektra will stop at nothing to save her son but can she overcome Brede’s twisted idea of vengeance?
“Science fiction bodice-ripper set in dystopian future complete with aliens…best sci-fi novel of 2014!”
~ Ursula K. Raphael, Zombephiles.com
“Welcome, P.I. Barrington to the ranks of writers who are worthy of the description sci-fi writer… The ending leaves you eager to start on Book Two…”
~Nerd Girl Official
“This is a love story with it’s ups and downs in a world like Star Trek or Buck Rogers or Fringe all mixed up into one… “
~Mello and June
Novel Dialog vs Script Dialog: Which is Better?
By P.I. Barrington
Many years ago (nearly a decade now) when I was a fledgling novelist, I was constantly telling people to “Be concise. Choose your words carefully and don’t use five words when you can use one!” Like everything else in life, it came back to bite me (never mind where).
I was stuck in the middle of the second book of The Brede Chronicles when my sister passed away and I had to move across country. I finally finished the book, sent off to the publisher and as a reward I binged-watched a film that I loved, Pitch Black.
When you binge-watch a movie five times in a week, you’re bound to learn something new and I did. I’d been reading articles about screenwriting (yes, I actually wrote one back in the Pleistocene Age) because I found it challenging. Screenwriting is, in it’s entire definition, a film script in 90 to 120 pages. Not word count, but in dialogue and images. Short sentences even a word or two have to convey actions or emotions…yes concisely. See what I mean about biting me?
But when I had my dialog revelation, it was from a line in Pitch Black that seemingly was unimportant. Radha Mitchell’s Carolyn Fry is beginning to gain back her responsibility as the only person left that inherits the title “Captain” though she at one point tried to eject all the passengers to save herself. When the survivors find a workable skiff ship she attempts to take over and mercenary Johns questions her authority.
Example FRY: What is the discussion Johns? Just get the power cells to the ship.
I won’t post anymore but I will explain what I mean. First, I love the first line itself. Well crafted and to the point. “What is the discussion Johns?” uses angry though low sarcasm and frustration and expresses that she is the reluctant “Captain” and is trying to get the ship working before almost inescapable, permanent eclipse envelopes them all in blackness and danger. Without everything I just wrote the sentence says all of that. Again, granted this isn’t the most urgent, important line in the film but it does its job. The rest is visual as well as dialog in film and everyone uses short, to the point sentences that keeps upping the stress and danger levels and the passage of time.
Now, that’s a major change from most novel dialog. You have the advantage (or disadvantage) of writing longer more complicated dialog as well as the description of it and others’ reaction.
Example: “And that, my friends, is the unmistakable scent of the Violin Rose!” He sat back down and smiled at the crowd, imagining them all to be ardent admirers.
“Well, he’s obviously an interesting speaker,” Tina said.
“He’s a boor,” Thomasina said. “Most speakers are, thinking that their overblown speeches are magnificent.”
For novels, you get all that extra space to enhance dialog with description and prose. Something like this:
The sun’s rays broke over the horizon, splintering over and between the minarets like glass shards.
You can add dialog before or after the above sentence if you’re careful and know exactly what you are doing and what effect you want to have on the reader (this is why I say be concise).
Example: The sun’s rays broke over the horizon, splintering over and between the minarets like glass shards. “It’s beautiful,” he whispered over his shoulder, never taking his eyes off it.
Which of these styles of dialog win for creativity? The answer is neither. What they do and should do is what they did to me. They showed me how to be concise with my dialog, to give it urgency or explanation in relation to scene, situation, emotions. They just do it in different formats. Both help the writer and teach him/her how to manipulate dialog to the best effect. Ready for launch?
After an extended trek through the entertainment industry, P.I. Barrington has returned to writing. She is multi-published via several publishers. She and her MaltiChu, CupCake love to hear from readers & can contact her at firstname.lastname@example.org
Links to P.I.’s website, blog, books, etc.
Amazon Author Page: https://www.amazon.com/P.I.-Barrington/e/B0032UWIA0/ref=dp_byline_cont_ebooks_1
Thanks, P.I., for sharing your book with us!
Don’t miss the chance to read this book!