Published in
Novel Advice, Institute of Children’s Literature Online, Gotta
Write Network
For
distribution contact: richput@mywebemail.net
Copyright 2002
DIALOGUE: A FINE ART
By
Like real
people, characters communicate, respond, and react to each other in their own
unique voices. Dialogue isn’t difficult, but it is an art.
How does an
author create realistic dialogue? Let’s
find out.
As a
writer, research dialogue with the same passion that you research history,
scenes, and characters. How? Throw yourself into crowds. Make notes in your journal on personalities,
accents, dialects, and gestures, such as hand movements, swaying back and
forth, shifting from right foot to left, roaming eyes, etc.
While we’re
on the subject of journaling, let’s take it a step further. If your notebook is crowded with scenery,
character descriptions, prose, feelings, and dialogue, in no particular order,
it is probably difficult to locate specifics. May I suggest purchasing a 1-1/2”
to 2” notebook and several dividers?
Your dividers can be entitled, “Scenery,” “Character Descriptions,”
“Plots,” “Feelings,” “Dialogue,” etc.
This allows you to flip directly to the section on which you’re
researching.
Now, let’s
develop “Dialogue.”
1. People jabber. They don’t finish sentences, and say things
that mean absolutely nothing. Choose
dialogue carefully, remembering its purpose.
Don’t use useless jabber unless it’s an important character trait, or
serves as background to an intense scene.
Also, use gestures to cut conversation into tasty slices, as shown
below:
At a cozy
corner table, Devin squeezed Shana’s hand, and gazed
deep into her eyes. “I’m leaving
tomorrow,” he said.
“More tea,
sir?” the waiter asked.
“No, thank
you.”
“Why?” Shana asked.
“You
ma’am?”
Shana looked at
the tea pitcher hovering over her glass.
“Yes, please,” she said.
“Very good,
madam.”
“I’m going
to find my real father.”
“Will that
be all, sir?” the waiter asked.
Devin
forced a grin. “Yes, thank you.”
“Ma’am?”
Shana nodded
once to the waiter, and lifted the glass to her lips. “When are you coming back?” she asked.
The
intervention of the waiter and character gestures adds to the scene, making it more
real and intense.
2. Good dialogue is consistent. Tone, regional flavor, social status, and
culture all play an integral part. Your
readers should be able to tell which character is talking by what they say and
how they say it, without dialogue tags.
A lawyer and a farmer will talk differently. A politician’s speech will differ greatly
from a child’s narration at a school program.
Consider these two characters:
“Ma’am,
we’re through with your yard.”
“Did you
trim the back hedges by the pool?”
“Yes’m.”
“And my
roses. You fertilized and
watered them?”
“Yes’m.”
“All the
walks and drives are edged?”
“Edged and
cut, ma’am.”
“And you
turned the mulch in the daylily bed?”
“Yes’m.”
“Very good. How much do I owe you?”
“I guess a
hundred ought to do it. Uh, ma’am, if
you don’t mind, cash’ll do just fine.”
“Oh dear,
that does cause a problem. I didn’t go by the bank today. I’ll have to write a check”
“Ma’am,
meaning no disrespect, but your last check didn’t go through ‘til the third
time around.”
“Well, I
assure you that was certainly due to a bank error and
not my own.”
“Most
likely was, ma’am. Still, I’ll be happy
to perch myself right here on this curb ‘til you get back from the bank. Yes’m, that’ll be
just fine.”
From the
dialect, you can discern which character is talking. Also note that it’s not
necessary to use a lot of misspelled words in portraying uneducated or
backwoods characters as indicated below:
“Shore nuff. I’s
gone git to that rite off.”
Don’t
frustrate readers by forcing them to decipher character dialect.
3. Silence often speaks louder than words, can
reveal character traits, and develop plot.
Peruse the following silent treatment.
“Hi, Julie. Julie?
Anybody home?
Aw, come on, I said I was sorry.
What do you want me to do, get on my knees? Okay, then.
Now, is that better? For the
umpteenth time, I’m begging from the bottom of my heart to forgive me. Hey,
don’t go. Julie!”
We never
hear from Julie, but from the one-sided conversation above, we know she is mad,
that she has been hurt, is unforgiving, and that the unnamed character is
willing to ask for forgiveness many times, and even get down on his knees to
ask some more. The plot has moved forward and characterization has developed.
4. Many novice writers make the mistake of using
monotonous conversation to portray histories, believing it creates active
writing. Actually it does, but there is
a right way and a wrong way.
The wrong
way:
“So, dear,
have you got a big day at the largest hospital in
“Well, hon, you know that because I’m Bay Town Hospital’s chief
heart surgeon, I’ll be performing bypass surgeries, mentoring doctors and
nurses, and diagnosing patients who have traveled hundreds of miles for
diagnosis.”
“Well,
that’s what you get for graduating top of your class and being the best heart
surgeon in the southeast.”
“So what
helpless, downhearted client are you helping today at your small law office on
“Oh,
Darling, so many people down on their luck can’t afford attorneys.”
“I know,
dear. I only wish your hard-hearted
father understood and wasn’t constantly after you to join his prestigious law
firm.”
The right
way:
“What are
you doing?”
“I’m
getting dressed.”
“But the
doctor hasn’t seen you yet.”
“Why didn’t
you tell me the doctor’s a damn spic?”
“Honey, Dr.
Gongales is the best oncologist in the Southeast.”
“He’s a
spic.”
“What does
it matter? He’s…”
“I said I’m
not staying.”
“Don’t. You’re hurting me.”
From the
conversation above you know the doctor is Puerto Rican, and the husband is a
bigot, probably abusive. We can also
draw the conclusion that, since the wife is still with the jerk, something is
keeping her there. Children? Fear? Money? What?
You’ve stirred your reader’s curiosity and they will continue reading to
find out.
In summary, good dialogue must:
And not:
Readers often skim over long, narrative
descriptions to get to dialogue. Make
sure its worth their while. Remember, dialogue is a
fine art. Study it, practice it, and
revise it until it’s ready for the unveiling.
Richelle Putnam is a former writer for All Headline News. She has been published in Common Ties, E2K
Literary Journal, World Wide Writers, Orchard Press Mysteries, Southern Hum,
The Copperfield Review, Cayuse Press, Writer’s Journal, Obadiah Press’s Living
By Faith Anthology, A tribute to Mothers Anthology, A Cup of Comfort for
Mothers and Daughters, and more. Her
children’s literature has been published on the Institute of Children’s
Literature’s website, Writing Korner, and Wee Ones,
Boy’s Quest, Appleseeds, and Hopscotch Magazine for
Girls; Her work is soon to be released in
Flashquake, Fireflies in Fruit Jars Anthology, and GCWA “Mississippi”
Anthology. Her novel, Fallout, was released in 2000; She is the Founder and
President of Mississippi Writers Guild. www.richelleputnam.net