Author name: Roger Hyttinen

I’ve lost count of how many times I’ve stopped reading a book, stared at the page, and muttered, “No one talks like this.” You know the feeling. The words are technically fine. The grammar behaves. The punctuation minds its manners. And yet… the characters sound like they’re reading cue cards under fluorescent lights.

Dialogue can do that. It can look alive on the page and still feel dead in your ear.

So today I want to talk shop. Not from a podium. From the chair across the table, coffee cooling, pen tapping. Let’s talk about how to make characters sound like actual people instead of well-behaved instruction manuals.

The First Test: Say It Out Loud (Yes, Really)

I know, I know. Reading your own dialogue aloud feels silly. I still do it. I still glance around the room like someone might catch me mid-sentence.

Do it anyway.

Your mouth knows things your eyes don’t. If a line trips your tongue, that line needs help. If you have to take a breath halfway through a sentence that a character supposedly says in one go, that’s a clue.

Stiff version:

“I do not believe this plan will succeed, and I think we should reconsider our options.”

Human version:

“I don’t think this is going to work. Maybe we should try something else.”

Shorter. Messier. Easier to say without sounding like you’re addressing a committee.

People Dodge. People Stall. People Talk Sideways.

Real conversations wobble. Folks avoid answers. They circle topics like cats around a suspicious box.

A lot of robotic dialogue comes from characters responding too cleanly.

Too neat:

“Did you steal the money?”
“Yes, I did.”

That’s an interrogation transcript, not a conversation.

Looser:

“Did you steal the money?”
He rubbed his thumb along the edge of the table. “Is that what this is about?”

Now we’ve got motion. Avoidance. A tiny emotional leak.

When someone asks a hard question, most people don’t sprint straight into the truth. They poke the floor first.

Let Characters Interrupt Each Other

Perfect turn-taking screams “written.” Real talk bumps elbows.

Polished:

“I was thinking about leaving town,” she said.
“Why would you do that?” he asked.

Closer to life:

“I was thinking about leaving town.”
“Wait—what?”

Interruptions create energy. They show comfort, tension, impatience. Silence has weight too. A character not responding can speak louder than a paragraph of explanation.

Give Each Character a Verbal Habit

Not a gimmick. A rhythm.

One character uses short bursts. Another rambles. Someone else asks questions instead of making statements. A fourth never answers the thing you asked.

Picture a dinner table. Everyone sounds different. Dialogue should reflect that.

Same information, different voices:

“You’re late.”
“Traffic was a nightmare.”

versus

“You’re late.”
“I know, I know—don’t start. The whole city decided to stop breathing at once.”

Same point. Different pulse.

Cut the Explaining They’d Never Say

Characters don’t narrate their own lives to people who already know them. That’s a fast way to flatten a scene.

Clunky:

“As you know, my brother and I have not spoken since our argument five years ago.”

Nobody says that. Ever.

Better:

“You really think I’m calling him after what happened last time?”

Now the history sits between the lines, right where it belongs.

If a sentence starts to sound like it’s leaning toward the reader instead of the other character, trim it.

Use Filler Words—Just Not Too Many

People say “uh,” “well,” “I mean,” and “you know.” Sprinkle them with care. Too many and the page gets sticky. Too few and the voice gets stiff.

Overcooked:

“Well, I mean, I just think, you know, that maybe—well—this isn’t great.”

Balanced:

“I mean… this isn’t great.”

One small stumble sells the moment without turning it into a traffic jam.

Let Emotion Skew the Sentence

When people feel things, their sentences warp. They trail off. They snap. They repeat themselves.

Flat:

“I am angry that you lied to me.”

Alive:

“You lied to me. You looked right at me and did it.”

Short lines can hit hard. Repetition adds heat. Clean grammar can wait outside.

Eavesdrop (In a Non-Creepy Way)

Some of the best dialogue lessons come from listening. Coffee shops. Buses. Grocery store aisles. People talk in fragments. They jump tracks mid-thought. They contradict themselves without noticing.

I keep a little notebook for phrases that feel real. Not whole conversations. Just bits. Half-sentences. Weird turns of phrase. Later, those bits sneak into characters who need them.

Final Gut Check

Before you move on from a scene, ask one question:
Would I believe this if I heard it through a wall?

If the answer hesitates, tweak the lines. Let them breathe. Let them misbehave a little.

Dialogue isn’t about sounding smart. It’s about sounding true.

And yeah—when it works, it feels magic. When it doesn’t, your characters start blinking like malfunctioning appliances. None of us want that.

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Let’s talk about endings. The part of the book where readers are tired, emotionally exposed, and holding a mug of cold coffee they forgot about three chapters ago. This is where things either land softly… or bounce off the wall and leave a dent.

I’ve finished books feeling quietly stunned, staring at the wall like I just lived a whole other life. I’ve also finished books and thought, Wait. That’s it? The kind of ending that makes you flip back a page to see if something’s missing. Or worse, makes you consider a light toss of the book onto the couch with just enough force to feel judgmental.

I’ve written both kinds. So let me save you some grief.

The Ending Is a Promise You’ve Been Making the Whole Time

Here’s the thing I had to learn the hard way: endings don’t start at the last chapter. They start on page one.

If your book opens by asking a question—Who did this? Will they survive? Can love survive this mess?—your ending needs to answer that question. Not every side issue. Not every loose thread tied into a neat bow. Just the core thing you asked the reader to care about.

Readers are incredibly forgiving people. They’ll go along with ghosts, time jumps, unreliable narrators, and questionable life choices. What they don’t forgive is feeling tricked.

If your story promised emotional payoff and you dodge it at the end, they’ll notice. Oh, they’ll notice.

Don’t Confuse “Surprise” With “Random”

I love a twist. I love being surprised. I also love lamps that don’t fall from the ceiling for no reason.

A good ending can surprise the reader while still making sense once they sit with it. The kind where they think, Oh… yeah. That tracks. The clues were there. The emotional groundwork was laid. You didn’t yank the rug out, you gently turned it sideways.

If the ending could be swapped with something completely different and nothing else in the book would change, that’s a warning sign.

Surprise works best when it feels earned, not when it feels like the author panicked at chapter twenty-seven.

Emotional Closure Beats Plot Perfection

This one took me a while to accept.

Readers care more about how the ending feels than whether every detail lines up like a spreadsheet. They want to know where the characters land emotionally. Who changed. Who didn’t. Who paid a price. Who finally told the truth.

I’ve forgiven messy logistics in endings that left me emotionally satisfied. I’ve also side-eyed perfectly tidy endings that felt hollow.

Ask yourself this: when the last page ends, what emotion do I want lingering in the room? Relief. Sadness. Hope. Unease. A mix of things that sit quietly together.

If you can answer that, you’re already ahead.

Let the Ending Breathe

One of the most common mistakes I see—and yes, I’ve done it—is rushing the final moments.

You just dragged the reader through a storm. Give them a moment to stand still afterward.

That doesn’t mean a long epilogue explaining everyone’s future career choices. It means space. A quiet scene. A line that lands clean. A final image that sticks.

Some of my favorite endings are small. A character sitting alone. A door closing. A hand unclenching. A sound fading out.

Big endings don’t always need fireworks. Sometimes they need silence.

Avoid the Sudden Personality Rewrite

If your character has spent 300 pages being cautious, bitter, or guarded, they can change—but they can’t turn into a completely different person overnight.

Growth should feel like growth, not possession.

When an ending asks a character to act out of character, readers feel it immediately. It’s like hearing a familiar voice suddenly sound wrong. The spell breaks.

Change works best when it feels like the next logical step, even if it’s painful or incomplete.

And yes, incomplete is allowed.

Know When to Stop Typing

This is my personal struggle. I love a final sentence. I also love adding one more thought after that final sentence.

Resist.

When you find the line that feels like the door closing, stop touching it. Don’t add an echo. Don’t explain it. Trust the reader to sit with it.

The right ending line has weight. You can feel it in your chest. It doesn’t need backup singers.

A Quick Gut Check Before You Call It Done

Before you declare victory, try this:

• Read only the last chapter by itself. Does it still work?
• Ask what the story was truly about. Does the ending speak to that?
• Picture a reader closing the book. What expression do they have?

If the answer is “confused but not in a fun way,” keep going.

If the answer is “quiet, thoughtful, maybe a little wrecked,” you’re close.

Oh…And One Last Thing (And I Mean This With Love)

Do NOT end your book on a cliffhanger.

I’m not talking about leaving a few threads loose or hinting that life goes on. I mean don’t stop the story in the middle of a scene like the power went out. Don’t freeze-frame the action and slap a “To Be Continued” on it like that somehow counts as an ending.

People are paying for a whole story when they buy a book. Not a portion. Not a teaser. Not a narrative down payment.

If I finish a novel and realize the author just… stopped, my trust is gone. Full stop. I don’t feel curious—I feel played. And once that happens, I’m done. I won’t buy the sequel. I won’t give the author another chance. Life’s too short and my reading pile is already judging me from across the room.

Series can absolutely have ongoing arcs. They can leave room for more trouble, more questions, more mess. That’s fine. Great, even. But this story—the one I just spent hours with—needs to reach some kind of emotional and narrative landing.

Endings should feel like a door closing, not like the book slipped out of your hands.

If you want readers to come back for book two, give them satisfaction first. Let them trust you. Let them feel taken care of.

Cliffhangers don’t build loyalty. They burn it.

So yeah…

Endings are hard. They’re supposed to be. They ask you to commit. To choose meaning. To stop hedging and say, This is what it was all for.

And when it works? When a reader sits there a minute longer than they meant to?

That’s the good stuff.

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Let me confess something right up front: my first drafts are not impressive. They don’t arrive wearing a tailored suit or carrying a briefcase full of clever metaphors. They shuffle in wearing pajamas that should’ve been retired years ago, hair sticking up, breath smelling faintly like yesterday’s coffee.

And honestly? I’ve learned to love them that way.

For a long time, I didn’t. I wanted my drafts to look finished while they were still being born, which is a completely unreasonable expectation and yet one I held with great confidence.

The Fantasy of the Perfect First Draft

Somewhere along the way, I absorbed this idea that “real writers” sit down and produce clean, elegant prose on the first try. Like the words arrive pre-approved, already behaving themselves.

That idea wrecked me for years.

I’d write a paragraph, reread it, cringe, delete it, then stare at the blinking cursor like it was judging my life choices. The room would go quiet except for the hum of my laptop fan. My shoulders would tighten. My mood would sour. Writing felt like walking into a room where I was already disappointing someone.

That someone was me.

Perfectionism Is a Sneaky Little Problem

Perfectionism doesn’t announce itself with a villain laugh. It sounds reasonable. Polite, even.

It says things like:
“Maybe you should fix that sentence before moving on.”
“Wouldn’t it be better if this opening were stronger?”
“You’ll save time later if you get it right now.”

Lies. All of it.

What perfectionism really does is slow everything to a crawl. It turns drafting into editing, which is like trying to paint a room while constantly scrubbing the walls.

Letting the Draft Be Ugly

Here’s the thing I had to learn the hard way: first drafts are not meant to be good. They’re meant to exist.

That’s it. That’s the whole job.

When I finally gave myself permission to write badly, something strange happened. The words started showing up. Not all of them were useful. Some were repetitive. Some scenes wandered off and did their own thing. Some dialogue made me wince.

But the story moved forward.

Forward matters more than pretty.

Pajamas Are Comfortable for a Reason

When I draft now, I try to keep things loose. I don’t worry about rhythm. I don’t worry about polish. I let sentences ramble. I repeat myself. I write notes in brackets like, “[fix this later]” or “[make this less awkward].”

There’s a quiet relief in that approach. The room feels less tense. I sip my coffee while it’s still warm. My fingers keep moving. The draft doesn’t flinch when I mess up.

It just sits there, patient and unbothered.

The Magic Happens Later

Editing is where I put real clothes on the book. That’s when I smooth things out, tighten scenes, and decide what stays and what goes. Editing asks for a different headspace. A calmer one. A more focused one.

Drafting, on the other hand, needs momentum. It needs permission to be messy. Trying to do both at once only guarantees frustration.

I used to think I was saving time by fixing things early. I wasn’t. I was just stalling.

A Small Shift That Changed Everything

One sentence changed my relationship with drafting:
“You can’t revise what you haven’t written.”

I repeat that to myself when I feel the urge to tinker instead of move on. I keep typing. I keep the story breathing. I trust that Future Me, armed with coffee and patience, will clean it up later.

Future Me is very capable. Present Me just needs to get words down.

The Smell of a First Draft

First drafts smell like overheated laptops and cold coffee. They sound like keys clacking too fast. They feel uneven and clumsy and a little embarrassing.

They’re also alive.

And that matters more than elegance.

If You’re Stuck Right Now

If you’re staring at a blank page because you want it to look impressive, I get it. I’ve been there. A lot.

Try this instead: write like no one will see it. Write like it’s a private mess meant only for you. Let your draft wear pajamas. Let it be awkward. Let it ramble.

You can’t fix silence.

You can always fix words.

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