Maybe that’s why I was so surprised to meet a word enthusiast in such an unlikely setting – an 83 year-old gristmill, off a quiet country road, on a random Saturday morning.

You see, this man was a guide at the Wayside Inn in Sudbury, MA. The Inn dates back to Colonial Times (built in 1716) and was later (1863) immortalized by Henry Wadsworth Longfellow in his “Tales of a Wayside Inn.”

In 1923, Henry Ford bought the building and surrounding 3,000 acres of land in hopes of turning  the Wayside Inn into a living museum of Americana. During the years that followed, he imported a one-room school house, built a fully functional gristmill (1929) and constructed the Martha-Mary Chapel (1940).

Although there were only five of us inside the mill that day (including a Mom and two smart, earthy children), the miller/educator gave us an in-depth presentation, focusing not on the mechanics of the mill (as others have done in the past), but on the origins of the words related to milling.

Quite the entertainer, he shot questions out to the kids, challenged them to be smarter than “us adults,” and took divergent twists and turns in his thinking.
First, he pointed out the differences in the colors of wheat product …brown whole wheat vs white wheat flour. He dispelled the myth of bleaching, and showed instead by sifting, how removal of the bran would leave the finer flour white.

He posed a trick question and asked what part of the wheat was most nutritious, delighting in the fact that most people got it wrong by saying the bran. Hah! Bran is cellulose and non-digestible, he explained, so while it was “good for you” in terms of providing fiber, there was no nutrition in it at all.

(And so we’re reminded about the power of Marketing)

Much like a teacher (though he claimed he wasn’t), the miller asked if we knew the difference between “flour” and “meal.” We all came up with reasoning relating to the grind. Nope. He explained that “meal” was a Franco-German derivative that simply meant “grain” – as not to be confused by the term “Indian Corn” that was neither Native American or corn, per se. He explained that “corn” used in this context, also drew from Germanic roots, and also meant “grain.”

Here are more wheat-related terms for those interested.

I learned a lot that morning, not only about the by-products of milling, but about how words can convey a passion – and breathe life into something that could have been mundane. This experience offered a bridge to the past. There was a connection and energy in the conversation. Something bigger than the items at hand. Simple household goods like bread and cereal suddenly possessed historic importance. The humble work of milling rose to the stature of science.  Through this man’s story-telling expertise, it became clear that bread sustained life – in more than a few ways.

As I moved out into the light, my mind was heightened with word-awareness. I kept thinking about the importance of precision in writing and about wheat (or the metaphor of it) in much grander terms:

Up from the earth, the wheat sprung. Absorbed sun, rain, and blue skies. Grew sweet, plump and yellow until the heavy heads drooped. Enter mankind… with nimble fingers, blades, and threshers. Usher in industry, silos, and conveyor belts. Add one small grain to another to sustain a society. Granaries.  Groceries. Bakeries. Worn kitchen tables with striped bowls and the smell of yeast rising… wooden cutting boards and checkered cloths. Melted butter, spilling over crispy crust.

Ah, bread, “The Staff of Life.” … and words, the crux of communication.

An otherwise credible trade publication featured an
article about a well-known company – and got much of
the information wrong.
Not only was the writing
careless but there were
breeches of etiquette.

I don’t think their actions were intentional but remarkably naïve. My guess is that the Publisher gave a production person a chance to write an article, and while this author was well-versed on her side of the business, sadly, she didn’t know much about the business of reporting.

So this is a good reminder:  just because we can write admirably in some situations doesn’t mean we’re journalists. Here are Ten behavioral Commandments to keep us on track:

1. Thou shall talk to a high level spokesperson. Talking to the receptionist, custodian, sales rep, or project manager does not constitute “talking with the company.” Instead, go through proper channels to make your goals clear, request mutually convenient interviews, confirm times and call-in numbers, follow with a thank you, recap or further questions. Quote several people for perspective; verify their names/titles and spellings.

2. Thou shall not steal – corporate content without permission and attribution. Just because you are reporting on a company, doesn’t give you carte blanche to use their material. An attribution typically reads: “Reprinted with permission. © Year, Company Name, first published in Source Here with Date.”

3. Thou shall do the legwork. Research the company. Check their website. Read industry articles. Listen to presentations. Access their collateral or annual report. It’s important to know how they describe and position themselves.

4. Thou shall beware loaded words. If you are familiar with the niche you’re covering, you’re probably in good shape, but if you are facing unknown territory, choose your words carefully. Often there’s corporate lingo or fine distinctions that convey vital information to insiders. For example, if you’re talking about publishing, “readers” and “subscribers” are not the same. If you’re talking about technology, “Flash” and “non-Flash” are lightyears apart.

5. Thou shall covet clear writing. Aim to be precise. To say that a customer can “use,” “upload,” or “send out” implies they have direct access to the functionality. If the company governs these activities, designate the “ownership” to the company and say that they provide these services.

6. Thou shall check facts and check them again. If in doubt, ask the company spokesperson to clarify. Most are more than willing to help. Don’t make an assumption– especially if based on a unique situation or small sampling. For example, if you see blue cups on several desks, don’t assume the corporate color is blue. Someone may just have been cleaning house.

7. Thou shall use visuals that provide accurate examples. Just because an image is colorful or appealing, doesn’t mean it accurately describes the company’s product or strategy. It could be old or stylized. It could be phasing out or changing. Verify that this is the best image to use, clear permissions, and secure the highest quality rendering.

8. Thou shall love thy editors – for critical thinking and direction… for headline improvement and copy edits… for probes that help you become a better, more insightful reporter… for the push that forces you to answer the unspoken question.

9. Thou shall be objective unless thou art writing a review. Eliminate words that convey your personal feelings or are intended to sway the reader. For example, using a phrase like, “Their seemingly good solution” suggests that you think otherwise, much like “the alleged offender” implies the person may be innocent.

10. Thou shall own up to thy mistakes. If something was missed or misunderstood, it won’t be the first time. That’s why credible publications run corrections and why book publishers use Errata Sheets. You don’t necessarily have to apologize for your opinions, but if the product is “black” and you say it is “white,” then it’s smart to fess up.  Sometimes blaming an error on a typo is a gentle way to avoid taking the full hit as a writer – but in the end, being responsive and responsible will go a long way toward your success.

Amen.

The same is true about words. Take the word “Great,” for instance. I’m so tired of hearing it, and yet I’m as bad as the next guy in using it:   “Great to see you!” “What a great idea!” “Isn’t that great news?” But what has “great” told us? Absolutely nothing, other than to convey a sense of elation.

“Great” is one of the biggest wastes of space when you’re counting words. Why use up a Tweet character or air time on a mundane word when there are so many others that add substance. “Great” is convenient but lazy.

Think about business writing, when you have to convey a message fast. Say you have the prospect’s attention for 5 seconds and you opt for a headline that reads, “Greatest widget around.” Well, woopdedoo! You’ve offered no concrete information. Put that phrase under a macro lens and look at it closer.

Consider: “New, portable widget” or “Blue widget at half price” or “The last widget you’ll ever need because it’s so durable.” Now you’re saying something.
Examine the widget further.

How does it feel?  Taste? Smell? What emotion does it evoke? Confidence? Delight? Nostalgia?

“Rugged widget for the serious outdoorsman,” “Widget just like Grandma used to make,” “Succulent widget with a hint of saffron.” You see, it doesn’t matter what the widget is, but as a writer, you must make it unique. “Great” just doesn’t cut it.

Now think about carrots. Gorgeous color. Refreshing crunch. Healthy, too.  Much like cabbage, when seen through a macro lens, there’s much more than meets the eye. There’s form and structure, rings of growth, a tuft of green at the top, and a root with incomprehensible persistence.

Now look at your widget as you looked at those carrots. “Widgets grown from the warm earth,” “Laser cut widgets for precision,” “Collectible widgets etched with the maker’s mark.”

Align your widget with a purpose to suggest value. “Widgets for the busy professional,” “Widgets to relax the mind and restore the spirit,” “Widgets that can be worn with red party pumps or beach sandals.”

Now mix it up. See what happens when you combine bright purple cabbage, bold orange carrots, and a few sweet dried cranberries for fun.  This is so much better than “great.” Under the lens it is a “canvas of color,” “a burst of unexpected flavor,” “a landscape of texture and taste.” So back to your widget.  Maybe it offers an “effervescent splash of citrus,” “an aura of mystery,” or “a playful combination of polka dots against crisp white cotton.”

So set aside your old widget and give it a word makeover. Look at it with fresh eyes. Turn it upside down, inside out.  Describe it as if your audience has never seen a widget before. Surprisingly, your widget will no longer be just plain “great.”

While some might label synesthesia as an “affliction,” many creative types consider it a gift. I don’t possess this “gift,” but I had an experience that made me think about it.

My gift was made possible through the generosity of a relative who had an unused timeshare in Aruba. For an entire week I found myself transplanted from the gray environs of New England to this island of happy colors. As I looked at the colors, trying to capture a few by camera, my mind was filled with words. To me, the experience was like “reverse synesthesia” – a profound susceptibility to the infusion of bold hues.

This building, for example, wasn’t “yellow.” It was sunshine, finches, bananas, and optimism. It was brighter than legal pads, less orange than yolks; it was coreopsis in the desert, daffodils in spring. It was baby chicks and lemon meringue pie.

This building wasn’t “green.” It was Ireland and watercress; tempera paint and mint jelly. It was the sweater worn by the redhead in the back row and parade hats in Chicago. It was lime Jello ™ , Crayons ™ and Kermit, too.

Nor was this building “pink.” It was cat paws and possum noses, the inside of roses that climbed on the fence of my childhood home. It was raspberry ice cream and vintage damask, a slight bit dusty and smelling of spice. It was ground phlox, wood hyacinths, and Pepto Bismol ™.

The “salmon” here wasn’t a color. It was sunrise and sunset, flamingos and shrimp. It was apricots and peaches and the warm glow of friendship.

“Aqua” could hardly describe the celebration on this building. This storefront was confetti and sprinkles, cake icing and makeup… Birthdays and Easter rolled into one. It was water and wonder, playtime and parties, merry-go-rounds and Poodle skirts from the ’50’s.

Thank goodness we writers aren’t confined by paper and keyboards because the rainbows that dance in our heads are far more interesting.

The air is charged with energy that puts the brain on sensory overload. Sights, sounds, and smells conjure up old memories and set new ones in motion. For the writer, this means an infusion of inspiration.

A recent trip to New York City landed me smack in the middle of Times Square at night. The place was pulsing with activity. Words called out to me from neon signs that snapped to life, teasing with bold graphics that appeared and disappeared. I stood there transfixed, trying to discern a pattern, attempting to predict a rhythm as if to unlock a code.

Words rushed by me as I made my way through the streets. Some caught in my ears randomly. “Free tickets,” “taxi,” “showtime,” “wait up.”

Illuminated skyscrapers talked to me, placing
plot lines generously in my head: “She worked
the street like a chessboard …” “He had only
been in America three weeks when he learned
a lesson he would remember for life.” “The child
has been right there, holding his mother’s hand,
when out of nowhere came the speeding car,
the gun shot, and then, the deadly silence.”

My eyes turned up toward the towering
billboards. I was clearly in The Valley of Advertising. Mountains of messaging rose around me. Clouds of steam gushed from subway vents but failed to obliterate the sell. Words I hadn’t thought of in a while pinged my brain. “Chestnut vendors,”
“Hot pretzels.” “Girls.” They all came tumbling down, landing like pigeons
on Broadway.

The idea of Broadway drafted a cerebral screenplay.  “Like so many struggling actors, Lance sat on the stoop behind the stage door, hungry for food and for work.” “As she rose to her toes, applause replaced the pain.” “He never liked the guy at the corner — too jovial for a place where it’s better to lower your eyes than start a conversation.”

Cars honked in the distance and brought me to attention. I joined the sea of tourists and climbed the red glass steps to admire the city. Words jumped like a Slinky® from tier to tier. Words with dialects. Words with slang. Words I didn’t understand.

There were unspoken words, too, as a couple nuzzled in front of me, laughing over a personal secret. Another argued over something seemingly unimportant.

I began making mental notes. I took a few phone pictures, too. In this setting, I was an observer — part of the story but also removed from it. A nice place to be. A good perspective.

So what’s a writer to do?

GET ORGANIZED
1. Clarify the topic, purpose, word count, and deadline. Ask if visuals will be needed. If the editor can provide 3 questions or copy points that should be addressed, even better.
2. Review the publication or website for style. If it’s sophisticated, opt for an erudite tone; it it’s grass-roots, be conversational and down-to-earth.
3. Establish a premise around the topic. Decide whether you’re informing about it or arguing with it. Make sure you understand the audience.
4. If you don’t know the subject area, locate experts for quick interviews or quotes. Keep track of your source information, including URLs, for proper attribution. Verify name spelling and titles simultaneously so you don’t have to go back. If you know the subject area, this will be easier.
5. Remember, there’s always more time than you think. Days don’t end at 6 p.m. and chances are, you can get a modest extension. Check the publisher’s time zone; that could buy you a few hours, too.
6. Clear your desk and your head. Step outside for a breath of air or open the window. Pour a beverage that puts you in a writing mood – to soothe or exhilarate. Shut out/turn off distractions. Don’t watch the clock or computer time bar; it will only make you nervous, but check it after a relevant interval: research completion, outline, or rough draft.
7. Create a voice and stick to it. Better to write authoritatively in third person than emotionally in first unless you are asked for a first-hand account.
8. Substantiate generously. Use concrete examples. Cite metrics. Include an infographic. Let existing information make you look smart.
9. Draw on transitional phrases to move smoothly from overview to details. Consider phrases like these: “To this point,” “From this perspective,” “One good example is…”
10. Include phrases that show balance and objectivity. “Despite this fact, one could argue,” “While many agree, some offer a different interpretation.” “Although this once was the case, new technology enables XYZ.”

SAVE TIME
11. Keep Miriam Webster or another online dictionary in your Favorites, and have a style guide close at hand. When in doubt, change the word; don’t waste time agonizing over it.
12. Think of synonyms as you write. Don’t use the same word twice in close proximity.  Avoid: “While fishing, the fishermen catch fish.” Much preferred would be: “While at sea, the fishermen catch stripers.” If you’re writing about a survey, for example, be armed with words like, “study, report, poll, questionnaire, opinion, findings, and respondents.”
13. If something stumps you, note it in caps with a question mark and put it in parentheses as a cue to revisit. This could also signal that the editor should weigh in later, which will save you time now. My favorite is: (CK THIS!)
14. Avoid long, tedious blocks of copy. Keep your paragraphs short and punchy. You can always string them together if the body feels too sparse.
15. If your writing is to be reviewed before submission, give the reviewer a heads up about the urgency. Be very clear that you will need edits or approval by an exact time.
16. Label the document as a “Draft” but don’t rely on the file name or e-mail subject line. Documents are often extracted and passed along, so make sure your contact info is on it. All pages should be numbered and include your initials, time/date, and draft version.
17. Don’t worry about styling your copy. A designer will lay it out,  i.e. don’t bother thinking the about lead caps; just think about the lead.
18. Plan a clincher for the end. If this comes to you early in the process, jot it down. Simply set it aside and it will be ready when you are.
19. Do a quick internet search to make sure you’ve captured key words, but don’t borrow too much. Industry jargon can quickly backfire as clichés.
20. If questions come up while you’re writing, shoot the editor an e-mail. Don’t delay. A good editor can get you quickly back on track.

HELPFUL HINTS:
21. Use a simple font. This is not the time to experiment.
22. Print out a copy to proof. Read it out loud to help check tense and noun/verb agreement.
23. Back up your writing to an external hard drive andor USB stick. E-mail a copy to yourself for remote or mobile retrieval.
24. Don’t forget your by-line or copyright. You’re doing the work, so command the credit.
25. Mostly, cut yourself some slack. You may hit a few roadblocks, but keep the momentum going. Don’t stop. When in doubt, use a placeholder such as “Say something here about the company’s past connecting to the present.” Then move on!

Even if you have not achieved perfection, get your draft to the editor on time. Call out any “gray” areas. Offer to be available to edit. Take your hard copy home to read at your leisure with fresh eyes — and chances are, you’ll feel pretty good about your accomplishment. Next time: 1 hour, 45 minutes!

Metaphors are convenient tools for writers who don’t want to blatantly expound. By substituting a theme, but clearly letting “deeper meaning” slip through, a writer can convey an idea without hitting the reader over the head.

For example:

In my late season garden, morning glories have overtaken the post where I invited them to spiral skyward. Cucumber stakes are leaning rakishly after a hard-hitting storm. Last year’s dahlias not only survived but have thrived, sending pink spidery pom-poms into the air. Tomatoes continue to grow despite their broken branches.

Impatiens bloom in a riot of color below, pressed up against white daisy mums that have been divided and multiplied. A butterfly bush that I thought was a goner sends violet plumes above the fray.

Basil spikes emit a fresh scent in even the slightest breeze. There’s eggplant and pepper hiding somewhere … coreopsis and cone flowers persist beyond their prime.

So what have
I learned?

1. No matter how
I plan it, life will
take its course.
2. There will always be weeds, so if you can’t remove them, climb over them.
3. Aim for the sky
but if it’s out
of reach, spread
confidently across the ground.
4. Even a late summer flower can attract bees.
5. Don’t be afraid to pick the fruit; you’ve earned it.
6. An independent tendril will out-maneuver an inflexible fence.
7. Sometimes it’s good to have something to lean on.
8. If you don’t grow roses, take time to smell the basil.
9. Late bloomers can be worth the wait.
10. A treasure can be hiding in plain sight.
11. All colors are beautiful.
12. Don’t overlook the worker bees.
13. Plant a lot of seeds; some will sprout.
14. You can’t corral a good idea – or a persistent vine.
15. Sometimes we all have to deal with fertilizer.
16. Water generously but don’t drown the seedlings.
17. Invite butterflies into your world.
18. A lot of good small bugs can turn a big bug into lunch.
19. Not everyone is a gardener; don’t let them fool you.
20. Sing to your flowers; some will like it.
21. Gather strong stones to build a border.
22. Forget labels. The flowers will speak for themselves.
23. An imperfect homegrown vegetable tastes better than a perfect store-bought one.
24. Give a neighbor a perennial and he will return the favor forever.
25. Dead-head often; it will promote growth.
26. A root-bound plant will not thrive.
27. Plants don’t color within the lines.
28. Sun is more appreciated after a rain.
29. Study a dragonfly if it lands on your hand.
30. Dare to dream about next year’s garden.

I thought things were bad when “impact” became a verb. I cringed when I first heard “incentive” turn into “incentivize,” or even worse, “incent.” I’m not sure when nouns lost their clout, but here they are, getting verby all over the place.

Add to that the influence of technology, and we have a whole new language. Where were we without “Google?” And how could we have possibly conveyed humor without “LOL?”

This past week I was hit with an onslaught of new linguistic configurations. A colleague told me she was leaving her job to join a company that specialized in “gamification.”  (Looking that up, I see it relates to marketing around a rewards principle; I think we used to call that “promotion.”)

Leafing through the grilling issue of Cook’s Illustrated magazine , I noticed that a person can marinate with brine, thus the term “brinerate.”

In Timothy Leary’s esoteric Design for Dying, he uses “cyborgization” to describe the replacement of body parts. I’m not sure which is scarier — the concept or the word.

Yup, words have gone bad, and we careless, linguistically lax individuals are making the situation worse. We go to business meetings and come back with buzz words that make us feel smart. So we use them a lot. Soon they migrate from boardroom to water cooler. Folks start talking about “forward and backward leaning media,” “long and short tail experiences.”

Actually, the staff at Miriam Webster adds dozens of words to the dictionary each year.  It’s interesting to see what now falls into the common lexicon. Terms that used to be reserved for scientists and mathematicians, for example, are commonplace. If “giga” is too small, we simply invent “ginormous.”

Yup – my Spell Check is lighting up like a Christmas tree! Clichés and coined terms seem to be easily accepted but the newer selections are still unapproved. I can type “WYSIWYG” without getting a red underline because Microsoft Word obviously knows that What You See Is What You Get, but does it recognize “Activia” (i.e. yogurt with a marketing spin)? Nope.

Remember “Farfenuggen?” (OK, I can’t spell that either) That was an ad agency-contrived word designed to convey the “Germanness” of Volkswagen. (See, I can invent words, too) I thought it ironic that a house guest who happened to speak German failed to see the humor.

I know I’m not alone in observing the language shift.  At a recent Media Innovation Day sponsored by the Boston Ad Club, speakers from Droga5 — a highly innovative ad agency — talked about their reality-plus-media-mix partnerhsip campaign for Microsoft’s bing, Random House, and Jay Z.  In alluding to their competitor, Google,  one  posed the same question I ask: “How do you fight against a verb?”

But maybe the verbization of nouns and blatant word creation aren’t so bad after all. I mean, why sit on the couch with your uncreative cookie and dog when you can “couchify” a Snickerdoodle with your Labradoodle. Couch + cookie + dog = boring. Oodles of doodles enjoyed on animated furniture are much more fun.

Good writing is not a haphazard selection of words. Effective copywriting works like a well-oiled machine:  Clean, precise, durable.

Help your clients clarify their goal.  Ask:
Do you want the reader to pick up the phone and call you? Click a link or go online and order something? Visit your store? Do you want the reader to e-mail you for more information or perhaps, provide information to you? Do you want the reader to do nothing more than think good thoughts about you, maybe change their perception of you? Do you want the reader to spread the word about you and join your social community? Give to your cause or volunteer?

Fine-tuning the desired results will shape the way you write. It’s not enough for a client to say, “I want the flyer/webpage/postcard to drive business.”

They need to drill down– so probe:

• Are you trying to attract a new client/member?

• Upsell a current client/member?

• Woo back a lost client/member?

Persist:

• How did you lose this client – to competition, faulty product, or poor customer service?

• Was this a long time client who may just need a graceful way/a good excuse to return?

• Was this a short term client who ran into some snags and didn’t have a chance to see your good side?

• Was this a client with a legitimate gripe?

• Was this client a complainer you could never satisfy?

Adjust your copy points accordingly so your message is loud and clear:

• A client lost to competition needs to know about the value, convenience, or price advantages you offer.

• A client lost to shoddy workmanship should receive an apology, a make-good, and a warranty.

• A client lost to poor service should receive high-level outreach to better understand the situation and then an invitation to participate on an advisory panel or in a survey.

• A long-time client might return with a “We miss you” mailer, coupled with a good offer.

• A short-term client might respond to a timely, “boy, is our face red” letter owning up to the problems – and a request for a second chance.

• Nothing says lovin’ like a refund – so if your client’s complaint is legit, stand behind your brand.

• If this client can’t be satisfied regardless of your efforts, steer them to the competition.

Need some phrases? Try these:

• Dear Customer, Two years have passed since we serviced your furnace, and we miss ensuring premium heating and safety standards for you. Were you aware that last year we started a new environmental program and a “rate holder” option?  We also won a “Best in the Business” award from the local Chamber of Commerce. We’d welcome a chance to tell you about our enhanced service and new fuel purchasing packages. We realize you’re busy, so if you’ll give us a half hour of your time, we’ll give you a $25 gift certificate to (favorite local restaurant) – a happy client who is thoroughly enjoying their A+ Service & Pricing Plan.

• Dear Customer, We understand you had a problem with our  blue widgets, and boy, are we embarrassed! We received a manufacturer’s recall notice after receiving our latest shipment and immediately removed them from our shelves. However, it appears that you purchased a display sample that had been inadvertently tossed into a clearance bin. That’s why you had a problem. Please accept our check for $31.80 to cover the cost of the widget plus tax, along with a coupon for 10% off your next purchase. We hope this will help reestablish your trust in us.

• Dear Customer, Thank you for contacting us regarding the stitching on the pillow you purchased from us. We’re sorry the seams have failed to meet your needs. Our records show that we replaced the pillow at no cost six months after purchase in keeping with our return policy. You mentioned in your e-mail that you discovered the torn seams after your children had a pillow fight. In that we sell this pillow as a decorative item, it is not constructed to withstand the rigorous usage of athletic gear. You might try“Outdoor is Us” for heavy-duty camping pillows.

Could I paint a picture where silence ruled?    

After seeing The Rise of
The Planet of the Apes
last night (OK, I might not have gone had we not
been given a gift card),
I was impressed that a
non-verbal actor (the lead “ape”), played by the
talented Andy Serkis
of Gollum fame (Lord of
the Rings) — could “carry” the movie.

Interestingly, I had just Retweeted something from Tech Crunch about Disney and Carnegie Mellon providing new tools for motion capture – the technique that lets actors like Serkis bring personality to characters like Caesar the chimp. The neat thing here is that instead of cameras filming the actor in a “motion suit,” the actor wears the cameras.

That made me think about non-verbal communication as a writer’s tool. It isn’t new – just often overlooked. We’ve “always” had mimes, jesters, and clowns use exaggerated gestures to convey humor. Silent movie stars and slapstick comedians relied on physicality rather than talk to make their points.

Today we have trainers who coach executives in body language… advising them to use steepling at board meetings, to maintain eye contact when selling, to uncross arms when wanting to appear open to ideas. Similar experts train TV personalities and attorneys in nuances that make them look accessible and trustworthy.

Could Quiet be King?

What if our written characters didn’t talk? Can we, as writers, pull it off? It’s not easy – but it could force us to be creative. Here are some examples; try your own alternatives:

Example #1:
With dialogue: The child in the shopping cart began to scream, “I want candy! I want candy!” as his mortified father bent low and said sternly, “No candy, Buddy. We have candy at home.”
Without dialogue: Passing the candy aisle, the child’s pudgy hands struggled to touch the packages, his face turning into a puckered beet as he screamed for sweets.  His father looked around sheepishly, then tried to comfort the child.

Example #2:
With dialogue: “What d’ya wanna order?” the waitress asked, tucking her chewing gum into her cheek. “What you got that’s good?” the trucker asked, leering — hoping she’d read between the lines.
Without dialogue: The waitress with a ponytail sauntered over, flipping her note pad open and nodding to the table of truckers. The first fellow sized her up sideways, then pointed to Breakfast Special #3 – Two eggs over easy, bacon, and home fries.

Example #3:
With dialogue: “If only I could find a way out of here,” the hiker thought frantically, shining his flashlight around the maze of the cave. “Hey, you there,” he heard a voice call, and saw up through a narrow slant of light, the form of an old miner looking down.
Without dialogue: Trapped in the deep recesses of the cave, Jessie tried to squelch the fear that gripped him. It wasn’t until he looked up and saw a miner and his burrow in a slit of dusty light that he knew he had been saved.

The purpose of this blog is not to say that writing one way is better than the other, but as well- rounded writers, we should know how to do both: use dialogue to give characters a voice and keep them quiet so we can use ours.