Wotz’ Dialogue?

Copyright © William Stong 2010

Dialog is talkin’.

It could be one person talking to himself; like a politician caught out trying to get his (almost always a “his”) story straight:

“Appalachia…Argentina.  Start with the same letter. Same number of syllables—least the way I pronounce ‘em.  End in same letter.  Yeah… ought to work…”

Usually, though, dialogue involves two or more characters carrying on a conversation of some sort. Which is to be expected, given the origin of the word:

From the Greek: dialogos.        I’m going to guess that:

● di means two

● logos means   talk, and

● a means I know not what—maybe it’s a vocalized pause

Here’s what my trusty American Heritage dic●tion●ar●y has to say:

Dialogue or Dialog n.         1. A conversation between two or more people.  2. Conversation between characters in a drama or narrative.  3. An exchange of ideas or opinions.

Dialogue is used, among other things, to convey:

● Feelings and emotions

● Explanations, or mere hints, as to what has happened, is happening, or will happen

● Something new about a character, location, event

Dialogue is an excellent way to show the reader something instead of simply telling them. Readers are more engaged when they find out things in this kind of way.  If the writer straight out tells them, readers feel like they’re in a lecture hall and they’re supposed to be taking notes. If, on the other hand, two or three characters are hanging around chewing the fat, readers feel like eaves-droppers.  They have the adrenalin rush of doing something they shouldn’t be doing (eavesdropping: mothers warned us about that), the challenge of making sense out of the chit-chat and, best of all, the satisfaction of figuring it out by themselves.

“Showing” draws readers into active participation in the story.

Dialogue can be used whenever people communicate orally:

● A conversation

● A discussion

● A piece of persuasion

● A disagreement

● A knock-down, drag-out verbal fight

● An internal dialogue (when characters “talk” to themselves)

In order to be credible with readers, dialogue needs to seem natural to the time and place. “Seems” is the operative word: a story set in 1300 in England that is exactly true to the spoken word back then would be torturous reading today.

Being “natural to time and place” ensures that the phrasing, cadence, vocabulary, and so forth fit the setting of the written piece. A story set in the 1920’s wouldn’t use words like “dude” and definitely wouldn’t refer to cell-phones or DVD’s. Likewise, a story about high school seniors of today most likely wouldn’t include complaints about somebody “sounding like a broken record” or warnings to not “flood the engine.” * 1 A stay in the Hamptons isn’t going to include much gutter talk, nor how to dodge tumbleweeds.

Perhaps more importantly, dialogue needs to be in tune with each character. Being “in tune with the character” allows the phrasing, cadence, vocabulary, and accent to match each individual character.  Even the advice, examples, metaphors, homilies and analogies used by the character must fit him, or her, and be part of their background, experience, inclination and temperament.

One of the hardest, but most insightful writing exercises I ever did was when Martha Engber, during one of her “virtual” critique courses, asked each writer to submit a sample of dialogue. The fundamental test was whether, without the character attributions (e.g., the captain said; Leslie asked), a reader could tell, from the dialogue alone, which character was speaking. The corollary was whether, without the attributions, all the characters sounded the same.

Thank God for editing: I didn’t totally pass the “blind sound test.” It was an incredibly useful exercise because it highlighted what the goal is and it gave clear direction on what needs to be done.

Another teacher, Camille Minichino, commented that if a story, or novel, has no cats whatsoever, don’t use cat-related metaphors. Even if it’s the perfect metaphor. Instead, use others that are associated with whatever is in the story.

In the end, dialogue is an engaging, natural way to move the story forward. Readers will be happier because they have been “invited onto the stage” and become engaged in figuring a few things out…, instead of sitting in the bleachers being lectured.

Bill

Words: Visible Thoughts TM

Email: william.a.stong@gmail.com

PHW # 65

Copyright © William A. Stong 2010

Footnote:

* 1 Unless, of course, you’re one of my descendants. I still enjoy listening to my record collection and I still drive a car that, occasionally, does get flooded. The belch of black smoke when it does start is embarrassing.

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