You dont necessarily have to bow to stereotypes here you might have a teenager who eschews swear words and uses quite formal language, for instance. Also, breaking a pattern can be powerful. If someone who rarely says more than two words delivers an impassioned speech, or someone who never swears turns the air blue, readers will take notice! Watch Out For When youre deciding how your needed characters speak, there are a couple of things to be a little cautious of: Catchphrases for me, these fall into the category of character quirks theyre handy for bit-parts but dont really go deep enough for main. By all means, give your characters the occasional phrase that is associated with them, but dont go over the top here. Phonetic spellings steer clear or use a very light touch. Its really easy for this to become both unreadable and insulting to real people who share the same geographical or racial background as your character.
Instead, use them as possibilities for making your own dialogue stronger which may well involve a few small tweaks rather than wholesale re-writing. Six Tips for making your dialogue stronger 1: make your Characters sound Different from One Another real people dont all talk in the same way. Just think of the people you know. Probably: interests Some of them seem to swear every other word; others never utter anything stronger than gosh. Some use more complex words than others think paraphernalia vs stuff. Some tend to go on a bit; others dont say much. Some will have particular phrases that you associate with them verbal tics. The way people speak can clue you into their age, gender, class, geographical background, and level of education.
(From Chapter 10) I have told you it is unallowed. My uncle loved a woman who got herself all booked and cultured up and surpassed him in both and then someone-elsed. (From Chapter 26) This is obviously a fairly extreme form of giving characters distinctive speech patterns see tip 1, below. But as the narrator, john Shepherd, notes, theres a consistency in the way jane speaks her unusual language is not the babbling of a madwoman. Its well-conveyed in the dialogue, and not overdone. (If you want more in this style, see hardings Florence and Giles, which is a prequel of sorts.) Im sure you have a whole bunch of examples from your own reading of different ways of approaching dialogue all of which work. (Do drop a comment below to tell me some of the novels or short stories you love for their great use of dialogue.) so, please dont take the following list as being a set of rules that must be followed.
Dialogue : 7 Steps for, great, conversation now novel
I saw a film, about men who were anxious about yes, yes, said Angus hurriedly. That may. But you see the results on the women. Those awful tightened faces that end up looking like japanese noh masks. All the character taken out of the face. Just this tight nose.
(From Chapter 19) None of the dialogue is out-of-character (Matthew is a young, recently-married man, but hes upper-class, for instance) but neither would it fit seamlessly into a faster-paced, more conventional novel. The girl sharing Who couldnt read (John Harding) unusual, highly characterful dialogue and narrative get it from m / One of the characters in this book, jane dove, an inmate in an 1890s asylum, has a particularly unusual way of speaking at times. Here are a couple of examples: we sat in silence once more and then I said, What have you been doing with yourself all morning? Are you not bored? It is better than day-rooming it with the others. You prefer being alone? I prefer armchairing to benching.
The Importance of being seven (Alexander McCall Smith) poised and stylised but works Get it from m / If youve read any Alexander McCall Smith, youll know he has a uniquely gentle style. His dialogue is generally a softer, more precise version of what Id normally expect but it works. Of course, he uses plenty of the features you might expect, like interruptions and ellipsis, where appropriate too. Here are a couple of excerpts: do you know anybody who has an Aga? She had asked Matthew after that conversation with his father. Do you really know hundreds of people who have one?
I thought they were pretty common. Theyre very nice things, you know. They make for a lovely warm place. You can put your wet washing on the rail, socks, underpants, the works. They get dry in no time. (From Chapter 2) Angus rolled his eyes. I cant believe im hearing this from you, lou. These women with their cosmetic surgery and men, interjected Big lou. Men go in for it too.
Writing, great, dialogue - screenCraft
He began to laugh. There are things in the country that smell quite as foul as things in the town. Only vegetable foul, not smoky. Ive never smelt anything in the least like this. It isnt very nice. from Chapter 2 now, i couldnt tell you how people really spoke in the 1880s but to me as a reader, this seems essay authentic. It doesnt distract me from the story by sounding stilted. Its easy to connect with.
Here are a couple of brief english excerpts: I said Id show you a mystery. I thought you meant one of the treasures. Theres something shifty about him. Ive been keeping an eye on him. Hes up to something. (From near the start of Chapter 1). My fault, said Dorothy. Dont think so,.
style of the rest of your work. If you have very prosaic, ordinary dialogue but the rest of your novel is much richer and more literary in style, thats going to be a weird disconnect. Three examples of Different But Great dialogue. The Childrens book (A.S. Get it from m im about ten chapters into. The Childrens book at the moment. (No spoilers, please!) From the first few pages, ive been impressed how the dialogue seems unstrained and natural despite feeling appropriate for the period (late 19th century).
What i aim for When Writing dialogue. Dialogue is stylised talk. It business should give a flavour of real speech, without seeking to recreate it on the page. (Record and transcribe a normal conversation: youll be surprised how incoherent it looks written down, even if it sounded just fine spoken.). In my writing, my aim is to tell the story without letting the words get in the way. That applies to the dialogue just as much as it does to everything else. I want my dialogue to be natural and believable, so it could work in a tv or film script.
Stylised Talk: Writing, great, dialogue, with Examples Aliventures
Image from Flickr by procsilas, if youre a fiction writer unless youre writing a very short story or something decidedly experimental youre going to have to write dialogue. For some writers (me included dialogue comes easily. It may even be a little too easy sometimes, the first words you think of arent necessarily the best. Other writers dont like dialogue, but they recognise its an essential part of their story. Great dialogue can immerse the reader in your book, your world, and most especially your characters. Poor dialogue jars the reader, and may even see them put the book down in frustration. If you need a quick refresher on the basics of dialogue before we get going, here are a couple of links. Theyll open in a new tab so you dont lose your place here: Here, i want to dig deep into what makes for great dialogue and what holds writers back.essay