Write Great Fiction - Dialogue

I have found this book to be very disappointing so far. One thing I notice right off is that the author does not stay on subject while she is writing that a writer needs to stay on subject in dialogue. After three chapters I do not want to go on. Please do not let this one though keep one from others of this series as I have found this one to be the first big loser. Not only does the author here not stay on topic, but what is presented on dialogue is weak, things I already knew from observing just from being a reader. There are pointers about various writing categories like using mysterious and dark words in dialogue when writing a spooky novel. Wow! Really!
I am already skipping through sections as much as ten pages. The first three chapters need to be dropped or condensed into a paragraph or two. I do not need to be told what mystery or sci fi genre are and to use a different dialogue for each. I do not need a list of what people fear they will do wrong and then a couple of sentences of suggestions such as rewriting it if that happens. I do not care if she had a student in class that was afraid of dialogue. See, this is all off topic. The subject matter is dialogue not students' fears of it.
For a writer to not be able to stay on topic is rather bad, but for the editors and publisher to not see this- just really bad.
Thank you and hope it was helpful.

No teacher can please everyone. There are published writers who make lousy teachers, and great writing teachers who never publish. One of Hemingway's teachers was among the latter. This author falls among the former. Not surprisingly, I found her teaching style on par with her book which I read cover to cover before participating in one of her on-line classes. Both go on at length about effects of good dialog. Never once did either show HOW to cause such dialog yourself. The book catalogs the various styles of dialog, which is fine if you're writing a reference book but not if you wish to learn the craft. Think of it this way: It's like going to an art appreciation event where they rhapsodize about the effects of an art, yet afterward you still don't know how to paint, dance, sculpt or play that musical instrument. That's the distinction between actual craft and mere theory; cause and effect. Or, try this: If your car needs repair what would probably serve you better, a theoretical workshop on the functionings of the internal combustion engine, or, a visit to the mechanic? And so, if you merely want a discussion concerning the various styles of dialog then get this book and/or a degree in English literature. That way you can discuss good authors but never be one yourself, and perhaps even write one of those deadly-dull dry English essay papers about it and present it to the class. WOO! HOO! What a dreary prospect. LIke I said, no teacher can please everyone, and even this author may help some people who are advanced enough not to get sidetracked by her more artst-farsty quasi mystical digressions like enneagrams, for example. However, for most I suspect that "Immediate Fiction" by Jerry Cleaver would be a vastly better resource.

This is a book which takes you into the nitty gritty of writing dialogue. Not only does the author show you what works, she also gives examples of what doesn't work, allowing the reader to hear how dialogue should sound. Wonderful! And it's not just tips on dialogue you'll pick up. This book is packed full of references to setting and character. Despite a misprint in the first chapter, I found this book excellent.

I was apprehensive about buying this book because dialogue is one of my stronger points in writing. However, after reading several chapters I feel like Gloria Kempton is going to teach me a thing or two more about good character dialogue with in my stories.

I'm happy with the content...

Learned lots of new and interesting stuff..

MJL