`It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to than I have ever known.'
How inspiring would that passage have been in A Tale of Two Cities
if Charles Dickens had paraphrased his character’s words? Would “As the carriage made its way to the guillotine, he thought that he was
doing a far better thing and going to a far better rest than he had ever known” be as effective as the actual dialogue of the character
while heading to his death?
Dialogue brings a story to life. Dialogue tells the story from the character’s point of view. Dialogue lets us decide for ourselves who
the character is, why she is doing what she is doing and how she will resolve her conflict. And, according to Anne Lamott, author of
Bird by Bird: Some Instruction on Writing and Life,
good dialogue is a change of pace from all that writing.
In journalism, dialogue is the break we get from a reporter’s description of an event. Not only does dialogue break up what we call the
“gray space” of endless type but also adds credibility to an article. Two reporters may cover an issue in two different ways, bringing
to their work their own educational backgrounds, personal histories and influences. Dialogue, however, is a constant, a quote that
allows readers to hear what was actually being said despite what the reporters are telling us. It puts us at the scene of the incident,
allows us to make up our mind about what has happened.
In fiction, the same is true. As writers, we give our readers the story we see in our heads, based on our own educational backgrounds,
personal histories and influences. We are telling our readers what we want them to know, but when we add dialogue, we give credibility
to our characters, allowing our readers to witness these people in action and to judge for themselves.
When people speak in fiction, readers listen in as if they are sitting in the same room. They are now not only being told the story,
they are eavesdropping. They become a part of the story.
So how do you write effective dialogue that draws your reader into the picture much like quotes draw a reader into a journalist’s story?
Here are a few tips gleaned from years on the journalistic front lines that will aid in writing effective dialogue in fiction.
1. Interview your characters to know them better. This isn’t as crazy as it seems. If you can conjure up a host of characters in your
mind, you can sit them at a table for an interview. Visualize them before you, haul out your reporter’s notebook and ask questions,
anything from their feelings growing up to their relationships with their parents, siblings and partners. You’ll be amazed at how
effective this technique can be, particularly when characters are vague and one-dimensional in your mind. Try to flush out their inner
thoughts. Watch for hand and body gestures. Write it all down until you know exactly who these people are.
2. Only publish the good stuff. Many times a TV reporter will record hours of conversation only to use a few minute’s worth on air. Why?
Because viewers don’t want to wallow through extensive explanations. They want the plain and simple version, the twenty-second soundbite
that says it all. In other words, just the facts, ma’am. In fiction, small talk, bumbling speeches, long roundabout arguments may be
realistic, but who wants to read that much realism? There is a reason it is called fiction. Give your readers the interesting parts and
leave out the rest.
3. Listen to people around you, especially those you wish to emulate in your book. Heed the cadence of their speech patterns, the
accents, the phrases. Be a living tape recorder, then use these distinctions to express your colorful characters. In the same vein,
give each character his or her own voice. Scartlett O’Hara in Gone With The Wind
may exclaim “fiddle-di-dee-dee,” but Melanie Wilkes would not. The nervous neighbor may ramble on non-stop in your book but your smart
heroine shouldn’t.
4. Avoid stereotypes and dialects. William Faulkner and other literary masters managed to dance this tricky step, but the general rule
of thumb warns against it, particularly if you’re writing mass market fiction where readers demand a quick, entertaining read. Although
dialects add color to your story, the challenging phrases will slow the story down. Use expressions here and there to remind your
readers that your characters have accents and unique speech patterns, but generally stick to the basic English of your average reader.
5. Use dialogue to develop your characters and to further the story, preferably both at the same time. Nothing moves an article further
along than great dialogue. No matter how extensive reporters covered the scene of the World Trade Center attacks and later Ground Zero,
only the dialogue of the people who lived through those horrors could really bring it home, put us in their shoes. The same applies to
fiction. When a council is formed in J.R.R. Tolkien’s The Lord of the Rings
to determine what to do with the ring of power, the characters offer different opinions, which both exhibits their ulterior motives and
shows the reader where the story is heading.
6. Make it meaningful. Nothing stirs the emotions more than great dialogue. Using a gripping quote to enhance a story will move readers
more than a journalist’s or an author’s words:
“Last night I dreamt I went to Manderley again...”
“But, soft! what light through yonder window breaks? It is the east, and Juliet is the sun.”
“I will take the Ring," Frodo said, “though I do not know the way.”
“Louis, I think this is the beginning of a beautiful friendship.”
“As God is my witness, I’ll never be hungry again.”
About The Author:
Cheré Dastugue Coen is a freelance writer and the author of six historical romances under the pen name of Cherie Claire.
*This article is NOT available for your publication.
For reprint rights or comments/questions about this article, please contact the author.
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