Thursday, February 23, 2006

Non-Verbal Thesaurus

Don't need No Stinkin' "SAID!"

I write my dialogue without using "said" tags, unless I am actually describing a change in voice, tone, or volume in the same paragraph. And even then I avoid them. I use the speaker's actions to define who is speaking to whom. I use ACTION TAGS.

What the heck is an Action Tag?
Want to express how your characters really feel -- even when their lying -- without head-hopping? Cue their dialogue with their body-language!

Dialogue is Visual -- not just a bunch of words.
Watch the average conversation between two people. 90% of that conversation isn't in what's Spoken, it's in what they are DOING as they are speaking. It's in their Body Language. Body-language cues the reader as to what is going on in a character’s head – in ADDITION to dialogue and internal narrative.


A Writer's Cheat-Sheet to

Annoyance, Resentment, Rage
a. Jaws tensed to a biting position; “I’m going to bite you!”
b. Chest display, and/or hands-on-hips; “I’m bigger than you.”
c. Cut-off and head-jerk cues; “I don’t want that.”
d. Hand-behind-head. “I may or may not strike you.”
e. Fists, palm-down beating gestures. “I will strike you!”
f. Frowning and tense-mouth expressions; “Don’t make me bite you.”
g. Growling voice tones; “Consider me a threat.”
h. Staring; “I consider you a threat.”
I. Gaze avoidance; the head is turned fully away to one side; “Run while I am not looking and I will not attack you.”

(Cover of Devil x Devil by Sachio Sawauchi)

Revulsion, Loathing, Nausea
a. Curled upper lip, a retracted upper lip, and mouth movements. "I feel like vomiting."
b. Digestive vocalizations of repugnance. Guttural sounds ("ach" or "ugh"); "I AM going to vomit!"
c. Narrowed or partly closed eyes; “Don’t make me look at that!”
d. Lowered brows of the frown face. "Ewww...gross!"
e. Backward head-jerks and side-to-side head-shakes. “Keep it away from my mouth.”
f. Visible protrusions of the tongue. “I can see that it tastes bad.”

(Art by ROYO)

Anxiety, Apprehension, Dread

a. Angling body away; “Don’t touch me.”
b. Release of underarm scent; “Go away -- I stink!”
c. Increase in breathing rate. "I'm going to run away!"
d. Trembling and/or chattering teeth. "I want to run away!"
e. Crouching. “Don’t hurt me!”
f. Crying. “I’m hurt enough!”
g. Displacement gestures; “How did I get here?”
h. Fast eye-blink rate. “I don’t believe this!”
i. Fear grin. “I’m friendly! Honest!”
j. Widely opened flashbulb eyes. “I don’t believe this!”
k. Unconscious escape motions designed to remove a body part, or parts, from danger (e.g., flexing the neck to lower and protect the head). "Don't hit me!"
l. Freeze reactions; “Am I in danger?”
m. Hair-bristling; “I feel danger!”
n. Accelerated heart rate. "I'm getting ready to run away!"
o. Tightened shoulder muscle tension; “Do I need to flee?”
p. Screaming; “Don’t touch me!”
q. Squirm cues; “Let go of me.”
r. Staring eyes with dilated pupils; “How much danger am I in?”
s. Sweaty palms. "Too slippery to grasp."
t. Tense-mouth. “Don’t make me bite you.”
u. Throat-clearing. “I do not approve.”
v. Audibly tense tone-of-voice, either low and close to a growl, "I'm warning you..." or high to present a non-threatening sound. "I'm not a threat!"
w. Yawning. “No fangs, see? I’m not a predator!”

Contentment, Well-being, Joy

a. Laugh or smile
b. Crying; “I am overwhelmed.”

Unlike most other facial signs of emotion, the smile is subject to learning and conscious control. In the U.S., Japan, and many other societies, children are taught to smile on purpose, e.g., in a courteous greeting, whether or not they actually feel happy.

A true (i.e., involuntary) smile, crinkles the skin around the outside corners of our eyes, forming "crow's feet" or smiling eyes.

(Art by ROYO)
Sorrow, Unhappiness, Depression, Gloom

a. Bowing postures; “I’m terribly sorry.”
b. Cry face and lip-pout; “Please don't hurt me anymore.”
c. Gazing-down; “I am not a challenge.”
d. Slumped flexed-forward posture of the shoulders; “I give up.”
e. Audible sigh; “I give up.”
f. Compressed lips; “No, I don’t want that.”

The facial features constrict as if to seal-off contact with the outside world. In acute sadness, muscles of the throat constrict, repeated swallowing occurs, the eyes close tightly, and then tears.

(Art by ROYO)

Indecision, Misgiving, Doubt

a. Involuntary sideward eye movements; “Who is watching me?”
b. Self-touching gestures; “Am I still in one piece?”
c. Frown
d. Hand-behind-head; “I don’t think so…”
e. Side-to-side head-shakes “No.”
f. Sideward head-tilts; “I don’t want that…”
g. Lip-pout, lip-purse, and tense-mouth expressions “That tastes bad.”
h. Palm-up gestures; “I surrender.”
i. Shoulder-shrug; “Don’t touch me.”

Men will rub their chins with their hand, tug at the lobes of their ears, or rub their forehead or cheeks or back of the neck, in reaction to the increased tension. Male college students express uneasiness by changing their sitting posture to a more direct body orientation. “I’m going to to defend myself.”

Women will put a finger on their lower front teeth with the mouth slightly open or pose a finger under the chin. “I have no fangs, I am not a predator.” Female college students show uneasiness by sitting still and arm-crossing. “Dont touch me.”

(Art by ROYO)

Acknowledgment, Compliance, Surrender

a. Turning away “No thank you.”
b. body-bend, body-shift, and bowing “Please don’t…”
c. displacement cues “How did I get myself into this?”
d. facial flushing
e. freeze reactions “Am I in danger?”
f. gaze-down; “I am not a threat.”
g. give-way; “I will not challenge you.”
h. head-tilt-side; “Don’t…”
i. Mimic of superior’s body movements “I will not challenge you.”
j. laughing; “I will not challenge you.”
k. palms-up; “I surrender.”
l. exaggerated personal distance; “Don’t touch me.”
m. pigeon toes; “I can't chase you, I am not a threat.”
n. shoulder-shrugging; “Don’t touch me.”
o. shyness; “Don’t notice me.”
p. difficulty gazing directly at, or cross lines of sight with, a dominant individual. "I don't want to challenge you."
q. higher vocal pitch "I'm weak, and helpless."
r. yawning; “No fangs, see? I am not a threat.”

Note the considerable overlap between expressions of lower status (submission) and fear.

(Art by BROM)

Influence, Power, Control

a. Eyebrow raise; “Are you challenging me?”
b. Hands-on-hips posture; “I’m ready for battle.”
c. Head-tilt-back; “I dare you to bite me.”
d. Palm-down gesture; “Do I need to strike you?”
e. Swagger walk; “I’m stronger than you.”
f. Table-slap; “I will strike you!”
g. Lower tone of voice, close to a growl. "Don't make me bite you."
h. Wedge-shaped chest display; “I’m bigger than you.”
i. Direct stare; “I consider you a threat.”
j. Looming with chin down; “I will bite you.”

Aggressive behaviors include the head brought forward toward another person, chin out and pushed forward, wrinkled skin on the bridge of the nose, and a sharp movement of the head towards the other person, as though in preparation to bite.

The Business Suit
Built-in Aggression
The business suit allows a powerful, influential ‘wedge-like’ silhouette for business and public affairs.

Exaggerated chest display Strength cues are tailored into every Brooks Brothers® suit. The coat's squared shoulders exaggerate the size and strength of the upright torso. Flaring upward and outward, lapels enhance the illusion of primate pectoral strength. Dropped to fingertip level, the jacket's hemline visually enlarges the upper body to gorilla-like proportions. Pads and epaulets cover inadvertent shrugs and slips of the shoulder blades, to mask feelings of submission or uncertainty in the boardroom or on the battlefield.

(Art by ROYO)

LOVEAffection, Devotion, Attachment

a. Physical contact, including hugs and kisses. "You belong to me."
b. Increased breathing rate; “I want to smell you.”
c. Courtship behavior; “I want to make love to you.”
d. Direct gaze with wide pupils; “I find you pleasing to look at.”
e. Facial flushing "You make my heart pound."
f. Head-tilt-side; “Are you looking at me?”
g. Increased heart rate "I am aware of you."
h. Mimic of behavior and/or appearance; “We make a set, we belong together.”
i. Softened tone of voice; “Come closer.”
j. Closing personal distance "I want to touch you."

For The Stages of Courtship:
Go to: Making Romance Happen

Summary of Facial Expressions

1. Nose:
a) nostril flare (arousal)

2. Lips:
a) grin (happiness, friendship, contentment)
b) grimace (fear)
c) lip-compression (anger, emotion, frustration)
d) canine snarl (disgust)
e) lip-pout (sadness, submission, uncertainty)
f) lip-purse (disagree)
g) sneer (contempt)
3. Brows:
a) frown (anger, sadness, concentration)
b) brow-raise (intensity)
4. Tongue:
a) tongue-show (dislike, disagree)

5. Eyelids:
a) flashbulb eyes (surprise)
b) widened (excitement, surprise)
c) narrowed (threat, disagreement)
d) fast-blink (arousal)
e) normal-blink (relaxed)
6. Eyes:
a) big pupils (arousal, fight-or-flight)
b) small pupils (rest-and-digest)
c) direct-gaze (affiliate, threaten)
d) gaze cut-off (dislike, disagree)
e) gaze-down (submission, deception)
f) CLEMS* (thought processing)

*CLEMS -- An acronym for "Conjugate Lateral Eye Movement." When the eyes move sideward (to the right or left) in response to a question. Rightward movement is associated with symbolic thinking, or Memory, (what we KNOW,) while Leftward Movement is associated with visual thinking, or Creativity, (what we INVENT).

Right = TRUTH -- Left = FICTION
Don't just SAY it! ~ SHOW IT!
Skip the dialogue "he said / she said" tags altogether by using Body-language cues and ACTIONS to SHOW what the characters mean when they say: "I love you."
“I love you too.” She rolled her eyes and sighed dramatically. “Oh yes, I truly do love you.”
“I love you too.” She dropped her chin and pouted. “Oh yes, I truly do love you.”
“I love you too.” She glared straight at him. “Oh yes, I truly do love you.”
“I love you too.” She turned away and wiped the tear from her cheek. “Oh yes, I truly do love you.”
"I love you too." She raised her balled fist and smiled with bared teeth. “Oh yes, I truly do love you.” She thrust up her middle finger.

Morgan Hawke
This information gleaned and paraphrased from the research by:
 The Center for Nonverbal Studies (CNS).

Thursday, February 16, 2006

Publishers ~ The More the Merrier?

-----Original Message-----
Dear Morgan,
-- When dealing with novels, as opposed to short stories, is having more than one publisher or imprint, a Good thing? Say you find a publisher that really likes your stuff, should you just send everything to them and not bother with another?

Could being associated (in the market's eyes,) with a particular publisher or imprint – cause problems later?

-- Postulating on Publishers
Publishers -- NOT Created Equal.
But that's a GOOD thing!
I see the e-publishing world as kind of like
-- a big Mall.
You have:
  • Massive department stores, like Sears (Extasy Books,) and Dillard’s (Ellora’s Cave)
  • Sophisticated boutiques like Victoria’s Secret (Loose Id,) Abercrombie & Fitch (Amber Quill,) and Diamond Jewelers' (Liquid Silver books)
  • Specialty shops like Hot Topic (Changeling Press,) and Godiva Chocolates (Vintage Romance)
  • Novelty shops like Fredericks of Hollywood (Venus Press,) and The Disney Store (Mundania Press)
  • Trinket kiosks in the aisles, (all the brand new publishers that are still gathering authors and working on establishing their reader-base)
  • A Food Court where people gather to talk and compare, (the many book review sites)
  • And you have people wandering around taking surveys, (all those book/author-themed yahoo groups.)
Just like in any other mall.
The big NY publishers are their own individual malls, each with their own set of little specialty boutiques, known as imprints.
An author with a brand new manuscript is very like a salesman representing a cool new product.
Obviously, the type of product (content,) and its quality (whether or not the author can actually write,) governs what type of buyer it will interest, therefore those same qualities come into account when the salesman (our author,) offers it to a particular shop’s manager (a publishing house’s editor.)
A fast-talking salesman CAN talk a manager into buying something that does not suit their boutique, however, that doesn’t mean the BUYERS will ever purchase it.
A fast-talking farmer that has apples in his baskets may actually get a table at Dilliards, but his sales are going to suck. Should our farmer take his apples to Harris Teeter (or any other grocery store,) his negotiations will not only go smoother, he’ll probably make a killing.
Logically speaking, if your product is in the Right shop, the right buyers will find it, love it, and come back looking for more.
Put it in the Wrong shop and all it will do is gather dust, at least until the sales hit and you are discovered by someone who stepped in on a whim.
The key point here is The BUYER.
  • Some buyers only shop at one place in particular.
  • Some buyers visit every shop and buy a little from each.
  • Some buyers visit certain shops only on particular occasions.
  • Some buyers only visit shops where they know the folks that work there.
  • Some buyers only buy one particular product in one particular shop.
  • Some buyers only buy what's On Sale.
  • Some buyers only buy a specific type of product-- but don't care what shop they find it in.
  • Some buyers blow their entire paycheck every weekend buying here, there, and everywhere.
  • Some buyers only window shop, but tell all their friends about what they saw available, so their friends will buy it, and they borrow it from them later.
There’s just no way to get them ALL.
But there IS a way to get the bulk of the buyers specifically looking for what you have to offer – it’s called: put it in the Shop your buyer is most likely to visit.
Ahem… The RIGHT Publishing house.
Why should someone have more than one publishing house?
-- Because most authors write more than one type of book. Something experimental, or sufficiently different from what has been selling like hot-cakes, may not suit the buyers that normally visit that publishing house.
Just like any other product, books won’t sell if the readers looking for those particular stories don’t go there.
HOWEVER! ~ If you are a popular enough Author you can go ANYWHERE and your readers will come find you – especially if you have a website pointing them in the right direction.
The only disadvantage of one publisher over another is:
Publisher Reputation
If you are a New author Reputation MATTERS. A publishing house with a rep for poor editing can drive away potential buyers.
If you are an Established author you can boost that publisher’s reputation, just by being there. And the publishers know this. If you’re a good seller, you’ll get invitations from every publishing house out there.
Things to take into account when shopping for a Publisher:
  • What kind of stuff does this publisher offer?
    (Will my stuff appeal to their buyers, so that AFTER they buy all the name brands, they’ll buy me too?)
  • Do they specialize in one thing over another?
    (Does my stuff cater to that specialty?)
  • Who are the top selling authors for this publishing house?
    (Can my writing skill compete with theirs?)
  • How much buying traffic does this publisher get?
    (Are they popular enough to have loads of buyers to ensure frequent sales?)
  • Is the contract Reasonable?
    (When do I get my copyrights back, in case this Isn’t the right fit?)
The fastest way to answer all your questions about a particular publisher?
-- BUY that publisher’s top-selling books and READ.
If that's pretty much what you write, then you've found a Perfect Fit!
Morgan Hawke