: Re: How to convey that the POV character does not understand what's said in dialogue? The general advice is often to focus on the content of what's said in dialogue and just write it in the

Another technique used by CJ Cherryh to indicate that her viewpoint character only understands the odd word is to indicate the incomprehensible parts by the hash character. For example,

"# # ship," the translator rendered the transmission from the newcomer. "# # ship # # you."

Cherryh uses this format specifically to mean the output of an automatic translating machine which is only partly programmed for the foreign (i.e. human) language but it could be used in other contexts.

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: Consequences. A strikes B. Even if B provoked A, A still gets arrested, processed, tried, convicted, and serves time. A gets grief from family and friends. A feels mixed anger, resentment,

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: In narration, stay in one tense. "She had green eyes" is fine, because your entire story is in the past tense — the "present-past," if that makes sense. If she had green eyes as a

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: Is breaking the fourth wall to the point of nonexistence appropriate for a comedy book? After considering the style and setting for my first book, I've decided on writing a comedy treasure hunt

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: Methods for creating slang I am interested in creating slang or a vernacular for a particular group in my story. I want it to be distinctive and a definite marker for in-group/out-group, but

: Re: How to convey that the POV character does not understand what's said in dialogue? The general advice is often to focus on the content of what's said in dialogue and just write it in the

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: Consequences. A strikes B. Even if B provoked A, A still gets arrested, processed, tried, convicted, and serves time. A gets grief from family and friends. A feels mixed anger, resentment,

: In narration, stay in one tense. "She had green eyes" is fine, because your entire story is in the past tense — the "present-past," if that makes sense. If she had green eyes as a

: Is breaking the fourth wall to the point of nonexistence appropriate for a comedy book? After considering the style and setting for my first book, I've decided on writing a comedy treasure hunt

: Methods for creating slang I am interested in creating slang or a vernacular for a particular group in my story. I want it to be distinctive and a definite marker for in-group/out-group, but

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: Re: How to convey that the POV character *does not understand* what's said in dialogue? The general advice is often to focus on the content of what's said in dialogue and just write it in the

More posts by @Debbie451

: Consequences. A strikes B. Even if B provoked A, A still gets arrested, processed, tried, convicted, and serves time. A gets grief from family and friends. A feels mixed anger, resentment,

: In narration, stay in one tense. "She had green eyes" is fine, because your entire story is in the past tense — the "present-past," if that makes sense. If she had green eyes as a

: Is breaking the fourth wall to the point of nonexistence appropriate for a comedy book? After considering the style and setting for my first book, I've decided on writing a comedy treasure hunt

: Methods for creating slang I am interested in creating slang or a vernacular for a particular group in my story. I want it to be distinctive and a definite marker for in-group/out-group, but

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: Re: How to convey that the POV character does not understand what's said in dialogue? The general advice is often to focus on the content of what's said in dialogue and just write it in the