Speaking of Dialogue…

In my previous post I hinted at a time in your writing when all your characters start to sound the same, but I also said there was a solution for it. Let’s discuss that in this post.

What do you do when your characters lack their own voice? First, recognize the truth: they sound like one another because they sound like you, and you are only one person. However, as I said before, they aren’t you, so they should have their own voice.

Give them distinct personalities and habits. How do they emotionally react to a situation? That will weigh on what they say. Too often we make the characters say something because it’s a common response, but if they just remained silent for that moment, it would speak volumes of their personality.

For instance, recently in my medieval fantasy story, I had a moment where two characters (Conrad and Irene) were talking until they’re interrupted by commotion outside the room. Conrad could have gone out there and demanded, “What is the meaning of this?” but I realized that’s almost a cliché response. I wanted to be different. Instead, I opted for his mere, intimidating presence to silence commotion as he marched up to them. He didn’t need to demand an explanation. It was obvious by his disapproving stare. Yes, that’s not exactly dialogue, but it’s an approach to consider. Maybe in a specific moment, your character doesn’t need to say anything, and that’s what makes him or her unique.

One way to give characters distinct personalities is by borrowing ideas from TV shows or films. Like a character? Study their personality and find out why you like him. Then use those specific elements and apply them to your own character, and sometimes you can blend elements from different characters into one for yourself. For instance, Richard Castle in the TV show ‘Castle’. His ability to come up with wild theories on the fly is kinda cool. Then you have Cal Lightman from ‘Lie To Me’, and his flamboyant way of entering any room—also his ability to read people so thoroughly is remarkable. Put all those traits into one character, and you have something unique. Like Nikita’s determination and fighting streak, but like Carrie’s (from the show ‘Unforgettable’) superb memory and habit of speaking with a southern accent when she’s irritated? Blend it together.

Once characters are given traits unique to themselves, they start speaking, and you have listen. If you listen, you’ll be able to hear their voice.

Now, I will briefly touch upon using dialect and cursing in writing because it applies to dialogue. “Write what you hear,” is the most popular piece of advice regarding dialogue, and this is true. You have the right to write dialogue however you’d like and how your character wants to speak, but beware; if your dialogue is full of slang and cursing, you are automatically limiting your audience. Is that wrong? No. It’s entirely up to you.

When you use dialect in conversations, you take the risk of confusing the readers. If I were to write, “Ah ain’t ‘now no’hin’ that y’all’s talkin’ ‘bout!” It might take a second or two before you translate the sentence as “I don’t know anything that you’re talking about.” The first version might be completely in character and fits right in with a wild west story, but readers aren’t naturally drawn to characters they can’t understand. You can counter this by using body language because that is the universal language:

I don’t know anything that you’re talking about!” Susan shoved Joseph away from holding her back and marched up Sheriff Marcus. Though he towered over her, she jabbed a finger at his chest…

The same idea goes with using cuss words in dialogue. Yes, that’s common language and it’s heard every day everywhere you go and whenever you turn on the radio or the TV. However, keep in mind that writing is a means of communication, and cuss words are simply an empty expression. Yes, they are used for emphasis, but when you look at the skeleton of the sentence, they take up space and are unnecessary. “But my characters curse all the time!” There are ways around it such as simply writing ‘he cursed’—don’t need to go into detail because that only wastes time and space; it is something readers might skip over because they don’t have time for such filthy language. Once a reader begins to skip passages in a book, they will continue to skip until it’s the end of the book, and they’ll walk away with one impression, “Well, that book had a lot of cursing in it.” They won’t remember the story or the character or the plot because the dialogue got in the way.

Am I completely forbidding cursing? By now you should know I don’t make things that easy. Whether or not you include cursing in your writing is entirely up to you, but as always, you must know what you’re writing and why you’re writing it. Be aware of each word. If the word is unnecessary, eliminate it.

This much on dialogue then. Next, we will discuss narration—the part of the story where you actually tell rather than show.

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3 comments on “Speaking of Dialogue…

  1. RJ Dale says:

    Well said.
    You touched upon a point that hails directly from screenwriting. Showing not telling. Instead of relying on dialogue, the use of body, facial expression or any number of interactions with the characters environment can say more than any well written dialogue. Another tool I sometimes utilize is the description of speech itself. “The man spoke carefully, each syllable was explored round and elongated in his mouth” allows the reader to then read the writing in the characters voice, but in a way that does not require every coma and hyphen in the world to be in a single sentence.

    This is well written thank you.

  2. Jess says:

    Thank you! I enjoyed this very much. Great points made.

  3. […] 12: Speaking of Dialogue – There are some elements of speaking which do not transfer well in writing, and this limits your […]

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