Kristen Lamb

Author, Blogger, Social Media Jedi

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Posts Tagged: J.E. Fishman

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She’s baaaaack. Well, sort of. Today I have an extra special treat. This is going to sound super conceited but whatever, it is MY blog 😛 . But first lemme caveat with this.

I feel I DO have a knack for predicting the next big thing. Case in point, in 1993 I was at an air show and there was an unknown all-female band I chatted with because no one was really over there. I loved their unique sound and gushed over how one member employed the banjo (an instrument forgotten at that time).

I told them I was sure they were going to be the next biggest thing in country music, and even bought some of the cheap merchandise they sold to support their music and prove I meant what I said.

That little band was The Dixie Chicks.

I’ve done this time and time again with authors and bloggers and I can tell you that if there is any sense in this world, J.E. Fishman (A.K.A. Dana Wolff) will be the next legendary author of our time. He’s already proven himself as a NYC agent and editor and he is one HELL of an author (multi-published).

Speaking of HELL, his latest release The Prisoner of Hell Gate written under the pen name Dana Wolff is by far one of the most amazing books I have ever read (and I pretty much hate everything…occupational hazard). Not only is the story sheer genius (Filed under “Stuff I Wish I Would Have Thought Of”) the prose is like fine French cooking.

If you like bare Hemingway writing with no description and lean sentences? This is not for you. But, if you are a lover of words and cannot help but GORGE on “perfect description”? Just plan on highlighting almost everything. My paper copy just became a damn coloring book. I gave up and got the audio so I would actually finish the book.

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In fact, I sent J.E. a message telling him I hated him. *flops on bed* I can’t wriiiiiiiite like that. I suuuuuuuck.

Seriously, I will blog more on this book later, but OMG. Get this book and if you want a MIND-BLOWING experience? Buy it in audio. Whoever did the narration? She needs to read every book I ever listen to for like…ever.

I will stop gushing now and let J.E. take over but like many of my other blogs foretelling the future (like the ones that predicted The Big Six would shrink, that self-pub would explode, that Amazon would HAVE to open a brick-and-mortar, that stretchy pants were here to stay)…one day you will come back to this blog and go, “She was RIGHT!”

Ouch! I got a cramp from patting myself on the back!

Okay, shutting up for realz now. Today, you guys get to learn today from a true master…


Two people are sitting on a park bench. What words do they use to talk to one another?

If you answered, How the heck am I supposed to know?, you are well on your way to understanding how to construct good dialog.

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You undoubtedly know, for example, that writing dialog depends upon knowing which characters are speaking, the details of their relationship, and other basic—or not so basic—characteristics they may have. What if one of these characters is mute? What if one of them is a two-year-old child?

And yet, so much dialog we see today feels so generic, so interchangeable. Why? I think that’s because dialog too often ends up working harder in service to the story—What happens next? What information does the author have to get to the reader RIGHT NOW?—than in service to the reader.

I believe that many readers want something more than only to find answers to the ever-crucial question, And then what happened?

Since our characters at times communicate directly with one another, dialog gives us a major tool that we can use to enhance our storytelling in a rounded way, not just to advance events.

Good dialog enriches the reading experience and creates greater empathy with your characters by deepening their individuality.

The main thing to remember when crafting dialog is:

Content and style are NOT two completely different things.

The way your character speaks reflects what your character wants—in that moment and in life.

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Here are some simple dialog techniques to keep in mind while writing. Remember, once you’ve committed to any of these for a particular character, be consistent without overdoing things:

  • Vocabulary. Big words vs small words. Technical jargon vs plain speaking. Foreign words vs straight English. Regional usage vs generic usage. Precocious vs ordinary.
  • Length. Some characters are terse and others are voluble. This distinction alone can speak volumes about personality.
  • Rhythm. This one’s a little harder to put one’s finger on. Listen to the voice of the character in your head. Some people speak fast and others speak slowly. How might you suggest this with phrasing?
  • FormalityHere’s another aspect of speech that can suggest much about your character. Does she use profanity? Does he speak in a stilted manner? Does she use a lot of contractions?
  • Verbal Tics. Maybe your character stutters or speaks with sibilance or has some other verbal tic. This can become an immediate identifier, but be careful not to overuse it.

With these tools at your command, you can begin to think about…

Three Elements of Great Dialog

#1 Your character’s fundamentals:

  • Sex. “Man or woman” might imply a generalization, but perhaps your character goes against type. That would tell us something very powerful every time she opens her mouth.
  • Age. As we all know, a five-year-old boy generally speaks differently from a 30-year-old man, etc.
  • Physical Attributes. Perhaps your character sits in a wheelchair. What verbal techniques might she have mastered to get the attention of people who tower over her?

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#2 Your character’s history:

  • Upbringing in Time. People raised at different times use different vocabularies and constructions. Someone raised in the Seventies, for example, may use a very different vocabulary from a child of the Aughts.
  • Social Status. While the whole concept of social status is a moving target, there is little question that some people play to or against their status (by affecting an upper-class accent or, on the other hand, being more “street” than expected). The way they choose to speak in relation to their standing in society can tell us a lot about their character.
  • Education. Some people are book smart and some people attended the school of hard knocks. A Ph.D. often speaks differently from a high school dropout. Although, of course, you can also have fun playing against type here.
  • Recent History. If your character recently underwent some kind of transformation (before or after the story starts), this may affect the way she speaks.
  • Relationship to Other Characters in the Scene. This element is more contingent than the others, as it depends upon who else is in the scene. A woman speaks to her son differently than she speaks to her male boss. A man speaks to his female boss differently than he speaks to his girlfriend. How your protagonist speaks with subordinates, for instance, might also be very revealing of character.

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#3 Your character’s wants:

  • In Life and/or Story Arc. There is nothing more important in storytelling than what your characters want at any given moment and in the broader narrative arc. Therefore, it helps greatly if the nature of their dialog reflects their desires. If I kind of want a drink of water and you’re withholding it, I might be polite. If I desperately want it, I might be more direct, even rude. On the bigger canvas, if I’m racing against time to save the world from nuclear holocaust, I might choose to dispense with pleasantries. Then again, maybe not, if I have good reason to pursue another tack.
  • Mood in the Scene. None of us has just one way of speaking. How a character chooses to speak at a particular moment in the story might be greatly influenced by her state of mind.

When I’m writing, I try to hear the voices of my characters in my head and remember what makes them distinct from one another. When I self-edit and rewrite, I ask myself questions like: Would that character really use that word?

With all that said, it pays to remember that a novel is entertainment and dialog is part of the entertainment. Therefore (duh) the best dialog is entertaining. Try to be clever without showing how smart you are. Follow the above guidelines AND do so in a fresh and entertaining way. Then you’ll be well on your way to crafting memorable and effective dialog.


Thank you! Please show J.E. some love in the comments with any questions or thoughts. This is a really great opportunity to talk to a fantastically talented and proven Big Five author. If you want more on dialog from J.E. check out The Big Thrill for MORE!

And remember bloggers have big hearts, short attention spans and long memories. We DO remember who shows the love! And any comments for my guest count double in the contest. What contest?

I LOVE hearing from you!

To prove it and show my love, for the month of JULY, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

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J.E. Fishman writes screenplays and is author of 7 critically acclaimed thrillers and several nonfiction books. His latest novel, The Prisoner of Hell Gate, was written under the pen name Dana I. Wolff and published July 2016 by the Picador imprint of Macmillan.

Check out NEW classes below! 

Upcoming Classes

All W.A.N.A. classes are on-line and all you need is an internet connection. Recordings are included in the class price.

We are doing ANOTHER round of Battle of the First Pages!!! August 5th

The first time we did this we had some tech issues doing this new format and we’ve since worked those out, but for now I am still keeping the price low ($25) until we get this streamlined to my tastes.

LIMITED SEATS. This is an open workshop where each person will submit his or her first page of the manuscript for critique. I will read the page aloud and “gong” where I would have stopped reading and explain why. This is an interactive workshop designed to see what works or what doesn’t. Are you ready to test your page in the fire?

Hooking the Reader—Your First Five Pages July 22nd

The first five pages are the most essential part of the novel, your single most powerful selling tool. It’s how you will hook agents, editors and readers. This class will cover the most common blunders and also teach you how to hook hard and hook early. This class is 90 minutes long, 60 minutes of instruction and 30 minutes for Q&A.

Your First Five Pages Gold Level

This includes the webinar and a detailed critique your first five pages.

Your First Five Pages Platinum Level

This includes the webinar and a detailed critique of your first twenty pages.

Bullies & Baddies—Understanding the Antagonist July 29th

All fiction must have a core antagonist. The antagonist is the reason for the story problem, but the term “antagonist” can be highly confusing. Without a proper grasp of how to use antagonists, the plot can become a wandering nightmare for the author and the reader.

This class will help you understand how to create solid story problems (even those writing literary fiction) and then give you the skills to layer conflict internally and externally.

Bullies & Baddies—Understanding the Antagonist Gold

This is a personal workshop to make sure you have a clear story problem. And, if you don’t? I’ll help you create one and tell the story you want to tell. This is done by phone/virtual classroom and by appointment. Expect to block off at least a couple hours.

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook


Image via Flickr Commons, courtesy of JonoMeuller
Image via Flickr Commons, courtesy of JonoMeuller

One of the greatest blessings of being an author and teacher is I meet so many tremendous people. I feel we writers have a unique profession. It isn’t at all uncommon to see a seasoned author take time out of a crushing schedule to offer help, guidance and support to those who need it. I know of many game-changers, mentors who transformed my writing and my character. Les EdgertonCandace Havens, Bob Mayer, James Rollins, James Scott Bell, Allison Brennan are merely a few I can think of off the top of my head.

J.E. Fishman is another, and he offers a very unique perspective because he’s worked multiple sides of the industry. He was a former NYC literary agent, an editor for Doubleday and now he’s a novelist. His newest book A Danger to Himself and Others is masterfully written. I love books that make me pause, underline and dog-ear. As much as I think I know? I can always learn more. I make it a habit to study those who write better than I do.

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Today, J.E. Fishman is here to offer some of the best advice any of us can get when we’re new. If we’ve been around for awhile, we can always use a refresher. Writers do work an emotional, often isolated job, and it’s easy to forget to chew with our mouths closed be professional when so many of us are writing from beneath a pile of laundry and toys.

I hope this guest post blesses you as much as it has me…

Take it away!

J.E. Fishman
J.E. Fishman

We’re all amateurs at most things, but that’s nothing to be ashamed of.

Maybe we shoot hoops after work or set up an easel in retirement. Perhaps we cook on weekends or spend the morning making an iMovie production of our summer vacation. We are neither professional basketball players nor professional painters nor chefs nor directors. We’re just having fun.

But what if we’re trying to achieve something more as writers? How do we get out of the bush leagues and behave more professionally?

Let’s start by acknowledging that amateurs often have conflicting priorities. They may allow foolish dreams to captivate them, for example, but they can’t always invest the hard work necessary to achieve those dreams. They frequently lean on raw talent when the greater challenge requires practicing craft. And with regard to criticism, they often have thin skin.

I’d like to talk about the thin skin part.

In my experience, professionals are not easily satisfied by their own work, whereas amateur writers take a degree of pride in their work that’s often not commensurate with the accomplishment. And if the person doing the criticizing is not a fellow writer, fuhgetaboutit!

What do they know, the tyro author tells himself. Or, if he’s rude, he says aloud, “What do you know?”

But this defensiveness is a sign of weakness. More important, it turns self-improvement — which is difficult enough in the best of times — into an insurmountable challenge.

Sure, the professional writer who can communicate the technical deficiencies of our work is worth heeding if we seek to improve. But the casual observer’s opinion is just as valuable. After all, most of our audience are just plain old readers, not writers.

Here’s something worth remembering: If we’re creating art, we owe our audience something, not the other way around.

A professional knows this because a professional lives and dies with it. Her skin may be thick or thin by inclination, but she forces herself to respond in certain ways toward criticism because she understands the stakes. To disappoint one audience member is potentially to disappoint all of them.

I was struck last month by a Chuck Wendig blog post in which he called out independent authors, challenging them not to publish amateurishly (“slush pile on display” were his words) — urging them to behave with professionalism, which is to say, to respect their audience. It got me thinking of the people I’ve worked with over the years as an editor and an agent and an author. Over time, you come to know a pro as much by her process as by the work she produces.

Some people think pros just work harder than everyone else. While it’s true that they often do, there are any number of other ways in which a professional distinguishes herself. Acceptance of criticism is among the most powerful. If we want people to take us seriously as a writer, we must take criticism like a pro does:

A pro respects roles. Your editor may or may not be a writer herself. In any case, it isn’t her job to rewrite your novel (unless you hired her specifically to do that, of course). The pro knows where her responsibilities lie.

A pro separates the work from himself — He pushes ego out of it. Even if we’re writing something very personal, we are not our work. The work is a form of communication. It is not what we are, but what we say. The pro doesn’t internalize criticism.

A pro seeks opportunities to learn from criticism. She knows that her art is not static, that a failure to grow with the craft will harm the next work. Every work becomes imperfect the moment it seeks expression. To learn as we go is a means of approaching that ever-elusive perfection.

A pro looks for the source of the problem, not easy fixes. He understands whose job it is to seek solutions. Hint: not the reader’s. Say the reader points to a given scene and asks of the protagonist, “Why’d he do that?” The facile answer might be, “Well, that guy was pointing a gun at him.” The writer here is telling himself that he only needs to clarify about the gun. But in fact, he must ask himself whether he needs to clarify the deeper character of the protagonist that would lead him to choose the action that’s been questioned.

A pro hears what is not said. The amateur too easily dismisses criticism that’s not expressed in the framework of how we think about our own craft. But the pro reads between the lines, asking herself what in the story caused the reader to have that reaction.

A pro accepts challenges. Not every item of criticism calls for a response within the work, but the default should never be a shrug of the shoulders. The pro understands that the path of least resistance, while tempting, rarely leads to great execution.

A pro never argues, never rebuts. The work should be all we ever need to convince anyone of anything. It stands alone. The pro knows that her work will eventually go out into the world defenseless. If a proper understanding of the work requires an off-the-page argument from the author, it’s already failed for that particular reader. There’s no point in discussing it further except perhaps by asking questions to learn.

A pro doesn’t belittle the messenger. Imagine if only architects were allowed to have opinions about the beauty (or utility) of a house. Don’t ever put down critical readers, even in your own mind. Respect your audience, and out of that respect will grow the potential for greatness.

Finally, a pro knows that all the aspects I’ve outlined here are aspirational. None of us is perfect at them — certainly not me. At times I have sniffed at criticisms, failed to read between the lines, not risen to the challenge.

Let’s face it, pro or amateur, criticism of our work always stirs up a measure of disappointment. That’s why we must train ourselves to respond as the pros we claim to be or aspire to be. In the age of specialization, people have high standards for the work of others. We must have those same high standards for ourselves.


*Applause* Thanks, J.E. I know all of this is tough to do. We are all works in progress. I know I am.

What about you guys? Are you struggling with leaving the role of the amateur? Are you actively seeking ways to toughen your skin? Or have you gotten to the point where you welcome the crucible? Were you always that way? I know I stared crying in my car after critique. Now? A beta can chop my work to the ground, burn it and then nuke it and I don’t take it personally. I LOVE that someone would take the time to give my work the “trial by fire” before the reviewers can. But, I was NOT always this way. I still struggle to remain this way.

I LOVE hearing from you!

J.E. Fishman, a former Doubleday editor and literary agent, is author of the wisecracking mystery Cadaver Blues, as well as thrillers The Dark Pool and Primacy. His Bomb Squad NYC series of police thrillers launches this month with A Danger to Himself and Others and Death March.

To prove it and show my love, for the month of March, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novelor your query letter, or your synopsis (5 pages or less)

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As you know, we are ramping up for the very first Worldwide WANACon! Enjoy a conference experience that’s as close to the real thing as possible. Technology now gives us the ability to meet top tier publishing professionals face to face, real-time and from the comfort of home. Finally! A conference you can attend in your PJs. Learn from the best in the industry, pitch agents, and socialize. It’s now all here in one place.

I was fortunate to meet Joel at Thrillerfest this past summer, and I was just blown away by his knowledge, his energy and his personality. That was why he made my premium list of WANACon recruits. Not only does he have experience as an editor, but he’s also worn agent shoes and now is an author as well. Who else better to help us explore what great books really look like?

Today, we are highlighting a small slice of what you can expect from this editor-agent-now-turned-to-The-Dark-Side-author, J.E. Fishman.

Take it away, Joel!


We all know that famous dictum — courtesy of Supreme Court Justice Potter Stewart — about pornography. To paraphrase: we may not be able to define porn with precision, but we sure do know it when we see it.

The same might be said for book quality.

God knows that certain aspects of quality reside only in the eye of the beholder. And, furthermore, when it comes to books — as with so many things — quality is no guarantee of sales. Similarly, commercial success is no definitive indication of quality. And yet, as creators we ignore quality at our peril.

There are tangible qualities, such as the properties of a paperback book binding. And there are intangible qualities, such as delivery of a good story. The important thing to remember is that, when it comes to books, the intangibles can often be as important to readers as the tangibles.

I have in the past compared storytelling to buildings and to trips down a river, but I used those metaphors to benefit writers. The reader, for her part, will never think of a story that way because the reader doesn’t want to work that hard. Unless pressed, a person won’t ask what’s wrong with that building; she’ll only say, “It doesn’t please me.” She won’t necessarily speculate on what makes for a good trip down the river, but she’ll know for sure whether she enjoyed the journey.

So it is with any kind of book. The reader won’t necessarily bother to analyze what’s wrong or right with it; she’ll only know whether it “works” for her.

Since quality is in the eye of the beholder, the first step toward achieving a quality product is understanding what the customer wants. After all, our delight or disappointment in a book is largely a matter of expectations. While as the writer you can manage those expectations, you are making a big mistake if you think you can dictate them.

Expectations come from the reader, not from the author.

Thus, it behooves you as an author — whether you’re writing fiction or nonfiction — to focus on what the reader wants, not what you want.

For example, as a novelist I like having big moral themes in my work. While readers of mysteries and thrillers may willingly consume books that are heavy on themes, they aren’t coming to my books for the themes themselves. I can deliver the theme along with a page-turning story, but if I deliver theme without story then I’m lecturing.

No one wants a thriller to read like a polemic. On the other hand, if we’re looking to read a polemic, we may find a genre story to be a low-quality substitute indeed.

To take an example from the realm of nonfiction, imagine that you are a celebrity chef. Your cooking is to die for, but your personality not so much. What people want from you is recipes. If you set out to write a memoir about your childhood instead, you are quite likely to disappointment those who want you to shut up and cook. I can guarantee that these folks won’t come away with the impression that you wrote a quality memoir.

What of it? you might ask. Can’t I write a quality book that no one will read?

The answer is yes and no. If you write a book that has a natural audience of 100 people, and you know what those 100 people want, and you deliver, then that group will have a perception of quality because their expectations have been met.

On the other hand, if you set out to write a book with a natural audience of a million people but write one that appeals only to 100, those to whom you’ve marketed that book will have a perception of low quality.

No one ever says, “That book disappointed me, but it was A-plus in every other way.”

Expectations are the context in which quality gets judged. That’s why giving the reader the content that she wants is the first step toward quality.


THANK YOU, Joel! We really appreciate you taking time out of your busy schedule to be here.

J.E. Fishman
J.E. Fishman

Former Doubleday editor and literary agent, J.E. Fishman is author of the critically acclaimed animal-rights thriller Primacy, the comic mystery Cadaver Blues (A Phuoc Goldberg Fiasco), and the new financial thriller The Dark Pool. He also sponsors The 1000-Word Cliffhanger Contest. Find out more and follow him through You can also check out his critically acclaimed novels HERE.

REMEMBER: WANACon is only two days away. We begin with a Thursday night social so you can get acclimated to our state-of-the-art digital classrooms. Then, we hop on a wild ride filled with NY Times best-selling authors, a USA Today best-selling authors, top agents, and more.


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