By Linda O'Brien

Tag (tag) n. v. 1. a descriptive word or phrase applied to a person, group, organization, etc. as a label or means of identification; epithet. Webster's New Universal Unabridged Dictionary (1996). 2. a writer's dilemma: to use them or not? If so, how often? Alone or with adverbs? Simple or complex? Linda O'Brien's Unabridged Musings

Tags are a necessary part of a writer's bag of tools, helpful words, with luck, invisible words, sprinkled within lines of dialogue to give readers direction. Tags also have a dark side; they can sabotage a scene's emotional punch, drag a story down to a slow crawl, and, worse yet, cause a reader to lose interest. I understand and respect the power of tags. The trick is to harness it.

If you think of plot as the brains of a story, and romance the heart, then dialogue is its soul, the catalyst that drives the story forward by giving its characters emotion, immediacy and movement. The writer's goal, then, is to create dialogue that allows the reader to witness that movement and feel those emotions in the moment. Here are my own guidelines:

1. Make your reader an observer by using body language. Let the reader witness your characters' feelings by describing their physical actions and reactions as they flirt, discuss, whisper words of love, and argue. Their movements may be dramatic or subtle, but they have to be doing something while conversing, even if they're pretending to do nothing at all. A person feigning disinterest would still give clues to his or her feelings. Tags simply don't have the ability to do what body language does.

Imagine a mother washing dishes at the sink, her teen aged daughter sitting behind her at the table, studying for an exam. The daughter suddenly makes a shattering announcement that will forever change both of their lives.

"I'm dropping out of school," Mary announced.

"Are you sure that's what you want to do?" her mother asked, turning to look at her.

"I'm sure," Mary replied confidently.

"So that's it then," her mother said with a shrug.

The tags are in place, and there's even a bit of body language, yet you, as a reader, have no idea how the mother truly feels about her daughter's decision. You, as an observer, would. Perhaps her back stiffens in anger, her white-knuckled hands clutch a glass until it breaks. Perhaps she is relieved from the release of financial burden, in which case her shoulders might sag, her tense expression relax. Or possibly she is dismayed, heartsick, blinded by sudden tears, all her years of sacrifice wasted. Whatever her feelings are, show them. It's up to the writer to take that scene from flat words to dynamic emotion.

2. Body language shouldn't overpower dialogue. You don't want the reader to feel she is watching a room full of jumping beans. If their movements become a distraction, no one will "hear" what's being said. Use body language judiciously.

3. Vary your sentences of dialogue. This will keep the scene exciting, and goes hand in hand with the previous point.

Case gazed down at Eliza, who had her eyes closed and a rapturous look on her face. At once, she opened her eyes and smiled guilelessly. "Would you do that again, please?"
He groaned. Lord, how he wanted to oblige. Shaking his head firmly, he stepped back. "No. Uh-uh. You wouldn't like where it led."
"It wouldn't lead anywhere. You wouldn't let it."
"I wouldn't let it?" Case laughed harshly as he strode to the fire and knelt down to unroll his blanket. "Don't count on that."
"I count on you," she said simply.
"Maybe one of these days you'll learn not to be so trusting."

4. Use tags to clarify. If two characters are talking, there's no need to identify them in each sentence with a tag. The tags become monotonous and break the flow of conversation. Set the stage for the reader by describing action and emotion instead.

Monotonous:
When are you supposed to deliver the money?" he asked.
"As soon as I can get there," she replied.
"Where is there?" he asked.
"I don't know yet. I'll let you know," she answered.

Better:
He leaned back in his chair, crossed his arms and scowled at her. "When are you supposed to deliver the money?"
"As soon as I can get there." She poured a cup of tea, avoiding his eye.
"Where is there?"
"I don't know yet." She sipped her tea slowly, making him wait. "I'll let you know."

5. If tags are needed, use invisible ones whenever possible. He said/she said are the most well-known invisible tags. They register in the reader's mind, but don't slow down the flow of conversation.

6. Put emphasis where you most want it by strategically inserting a tag. They're great for making a dramatic point. "You, sir," she sneered, "are an idiot."

7. Avoid dueling adverbs. You've seen it; you've probably done it: "Ah ha!" he said archly. "Ah ha, yourself," she replied smugly. "Touche," he answered deftly. "Why?" she queried innocently. My rule: one adverbed tag to a scene of dialogue.

8. Watch those grins, giggles and guffaws. I recently started reading a book where the hero smiled and the heroine giggled their way through the entire first four chapters. I didn't finish the book. I couldn't identify with characters who grinned every time they spoke, even when terrible things were happening.

9. Less is more. Short, snappy conversation needs minimal interference from tags as long as the reader is clear about who is speaking. When the retorts start flying, stand back and listen.

"Does your job ever get dangerous?" Eliza asked.
Case shrugged, as if danger meant nothing to him. "Sometimes."
"Have you ever had to use a weapon?"
"Yep."
"A gun?"
"A gag."
"A gag? What for?"
"Silencing a talkative female."

10. Tags become important when the number of characters increases. Basically, don't confuse the reader. If there's more than one character in the scene, every line will need an identifier of some kind.

11 . Use "real speak." People falter, pause, raise their voices, emphasize certain words, choke up, sneer and use contractions - unless they're royalty, and then who knows how they talk outside of the public ear? I know it's been said many times, but read your dialogue out loud. Do all of your characters talk the same way, with the same rhythm and inflection? Do they speak naturally or do they sound stilted, formal? Try to imagine your neighbors having that conversation. I promise, this method works.

The two most important things to remember are: keep your dialogue flowing with minimal use of tags; and, put your reader in the observer's seat. You needn't fear the tag monster. All he really wants is a little respect.

A native of Northwest Indiana, Purdue University graduate, and former elementary teacher, Linda launched her writing career with a series of children's stories for magazines before turning to her true love, romance. Her sixth historical romance, BELOVED PROTECTOR, (Avon/HarperCollins) is a November, 2001, release.