Proper spacing for dialogue.

M. Scott

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I recently received a comment, and rightfully so, that I tend to give dialogue its own individual line too often. However, old habits die hard. Where I have the most trouble is deciding whether or not the events after a line of dialogue warrants a new paragraph, namely when a conversation ends.

For instance, this feels correct, as there are two sentences said verbally:

“We’ll talk about this later. Be sure to get something done today other than watering the carpet with your eyes.” Harriet slammed the door to their apartment harder than Taylor had shut the door to her room. The kid ran out into the hall from her room, removed the picture of her and her mother from the wall and slammed it down on the top knob of a kitchen chair. She closed her eyes because the glass rose close to her face, but that didn’t slow down her rage. It was too bad that her mother had taken her purse with her, at the moment it would be a nice item to loot.

This, on the other hand, doesn't, because there is only one sentence. Would I be wrong to insert a new line after the dialogue? Here:

“I look forward to seeing you.”
“Later then.” Taylor closed her phone. Everyone was calling her a kid. Didn’t they know she was eighteen now? She could smoke, enlist in the army, and Murphy would let her drink at his pub without asking for her ID. As far as the bank went, she would go and do as she said. It’s not like it would be her boldest action of the day. When her mom didn’t come to sign in a day or two, Carla would think of it as a good reason to call and chat with the woman. Polite Harriet wouldn’t want to cause a stir and would either sign the documents or come up with a make-believe reason for changing her mind. That’s how she was wired.
 

jmarkbyrnes

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I think what you're asking is just personal preference. One thing to consider when writing dialogue is the readability of it. Does it flow well? Does it get the point across? Does the dialogue meld well with the prose around it?

My personal preference is that I wouldn't write either the way you did. In both cases, the dialogue ends and then the prose starts but there is nothing the helps the two flow together.

In your first example, I would write it this way...
"We’ll talk about this later. Be sure to get something done today other than watering the carpet with your eyes,” Harriet said as she slammed the door to their apartment harder than Taylor had shut the door to her room. The kid ran...

In your second example, I would write it this way...
"I look forward to seeing you.”
“Later then,” Taylor said, closing her phone. Everyone was...

I personally don't think the issue is with line breaks after dialogue. Sometimes, the prose that you put after dialogue (without starting a new line) adds something to the feeling of the dialogue. In my opinion, and remember, this is just my personal opinion, the dialogue should flow into the prose that follows it.

-J. Mark Byrnes
 
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M. Scott

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Thanks for the response. If it was my first draft, I probably would have done it as you did. Clearly, I cannot just go in and delete the spaces. I'll have to start at page 1 and read it through carefully then. Either way, I have some drafting to do.
 

Maryn

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The 'rule' (which is really a guideline, but one that works) I follow is that any paragraph which includes dialogue spoken by Character A can include her actions, thoughts, background, hopes, and all that--and no one else's.

Character B's reply, reaction, action, thoughts, background, hopes, or anything else cues me to start a new paragraph.

Applying that to your examples:

“We’ll talk about this later. Be sure to get something done today other than watering the carpet with your eyes.” Harriet slammed the door to their apartment harder than Taylor had shut the door to her room. [I would break for a new paragraph here, since the kid (Taylor?) is not Harriet, the person who said the dialogue.]

The kid ran out into the hall from her room, removed the picture of her and her mother from the wall and slammed it down on the top knob of a kitchen chair. She closed her eyes because the glass rose close to her face, but that didn’t slow down her rage. It was too bad that her mother had taken her purse with her[. A], at the moment it would be a nice item to loot.


“I look forward to seeing you.”

“Later[,] then.” Taylor closed her phone. Everyone was calling her a kid. Didn’t they know she was eighteen now? She could smoke, enlist in the army, and Murphy would let her drink at his pub without asking for her ID. As far as the bank went, she would go and do as she said. It’s not like it would be her boldest action of the day. When her mom didn’t come to sign in a day or two, Carla would think of it as a good reason to call and chat with the woman. Polite Harriet wouldn’t want to cause a stir and would either sign the documents or come up with a make-believe reason for changing her mind. That’s how she was wired. [I see no reason to break this, since it's all the thoughts of the character who spoke the dialogue.]

Make sense?

Maryn, who sometimes does
 

M. Scott

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That does make sense. It's funny how easy one can get messed up when trying to change habits. I've gone back to looking at various texts I have read to seeing what rules those authors follow.
 

tko

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this might help

I kind of had the same question, just found this, reinforces what other people say.

http://forums.bleachexile.com/blog.php?b=489

None the less, I still like to isolate some dialog sentences so they stand out, even though they could go in the same paragraph using the rules stated. Dialog is usually critical, I don't feel comfortable with it getting lost. I'm still thinking about this though.
 

M. Scott

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Thanks again. Also, one quick question for Maryn. I noticed how you crossed out "That." I know that for the sake of query letters and the like, one wants to avoid inserting the word, but is it a big deal to leave it there in a novel? I don't want to do foolish things that might steer an agent away.
 

tko

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that is a weak word

I'm not Maryn, but I really improved my writing when I did a search for all instances of "that" and tried to remove it. Probably 80% of the the time it isn't needed, and removing it makes the sentence stronger.

Thanks again. Also, one quick question for Maryn. I noticed how you crossed out "That." I know that for the sake of query letters and the like, one wants to avoid inserting the word, but is it a big deal to leave it there in a novel? I don't want to do foolish things that might steer an agent away.
 

Maryn

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tko more than did it justice. (Thanks and a tip of the hat.) I leave it in if it's dialogue and feels true to character, or if I have a strong narrative voice and it's true to character, but for the most part, that kind of usage of that just eats up my word count needlessly and weakens the writing at the same time. If I delete 25 thats, I can put in 25 good words somewhere else, right?

Maryn, planning to work in vulpine and perhaps truculent
 

M. Scott

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Vulpine...if you have a foxy chick in your MS, toss it towards her!
 

M. Scott

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I'm dragging this out, but here is one more example I am debating. Technically, the actions are restricted to one character, but I feel like the deviation in topic warrants a space. I'm guessing either way is correct. What has the most impact for you guys? Here it is:

Taylor pulled the covers back up over her. Kurt would never return to the bed when he was done, and she was left to cuddle with the sheets. That must be why the thickest one was called the comforter, because it kept lonely women company.
“I don’t,” she said. “But I do care that I get my money for college. She’s been calling nonstop, and I can’t pick up until I know what to say, what to tell her to make her happy.”
 

jmarkbyrnes

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I'm dragging this out, but here is one more example I am debating. Technically, the actions are restricted to one character, but I feel like the deviation in topic warrants a space. I'm guessing either way is correct. What has the most impact for you guys? Here it is:

Taylor pulled the covers back up over her. Kurt would never return to the bed when he was done, and she was left to cuddle with the sheets. That must be why the thickest one was called the comforter, because it kept lonely women company.
“I don’t,” she said. “But I do care that I get my money for college. She’s been calling nonstop, and I can’t pick up until I know what to say, what to tell her to make her happy.”

I think that's fine. Even though the actions are restricted to one character, there is a complete shift in the subject matter. Therefore a new paragraph is warranted.

-J. Mark Byrnes
 

Maryn

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I agree with J. Mark. (See how agreeable I am? Just don't look at the How Hard is that Second Novel thread.)

Maryn, who lost her temper