Dialog, Shmialog

Dialog.

It is a key element of many novels and stories. The interaction between characters that brings out emotions and feelings. Provides information and details. Divulges intricate plot points.

The ability to create these integral pieces of a book is the real test of being a writer. If your conversations between people in your work is drab and falls flat, then the story that is meant to entice and keep your reader engaged and sitting on the edge of their seat never materializes and they are left wanting more.

Do not be that writer!

So let’s take a step back, because if you read many of the “classics” written by some of the most world renowned writers who have come before, you might see a common vein. What is it you ask? Well, read it below.

John said, “I thought you would be different. I guess I was wrong.”

It is the use of the word “said” to denote dialog. John said something to another, but what did he convey? The plot details might cover it, and many fabulous works do in the information and details of the work. So what is my point? What if the dialog was written in a different fashion?

John’s face said it all. The frown, pursed lips, his tone. “I thought you would be different. I guess I was wrong.”

You can feel the emotion in the latter dialog. Picture John’s face. See the disappointment. That’s one example. Another is direct and evokes similar feelings.

John shrugged. “I thought you would be different. I guess I was wrong.”

There are so many different ways to write it! None are right or wrong. Everything depends on what the writer wants to show the reader. Bringing the use of “said” forward is to show that writing has evolved and what once was a practical and common practice in literature, has grown and expanded.

Now, if the preceding paragraph before the dialog describes the scene, then the use of “said” is appropriate to be direct. Why exacerbate your words by adding way too much to the situation? Too much fluff on the brush to paint the picture? You do not need to show John’s emotions and then do it again, just for the sake of the dialog.

That’s overkill.

If you have not put the foundation of emotion and feeling in play, and what comes before is really separate from the words about to be spoken, then emotive conversation becomes a powerful voice. A single word can do it. I used “shrugged” and you can imagine what John felt. It also leaves much to interpretation. John could have felt nothing by his gesture. He could have been full of grief. Anger even. Throw in sad too. Unless you define it later, his words are left to interpretation and you fill in the blanks.

That’s fine. You allow your reader to draw their own conclusions.

However, this approach can leave confusion in the mind of your audience. They need to be able to follow along and live within your story. If you present too many roads to travel by leaving words off the table, it can be a choppy reading experience that has more questions than answers at the end. It’s not about hand holding the entire way either. Guiding your reader every step of the way.

No.

It is creating compelling words and characters having back and forth that paints an image with enough color and lines. You do not have to present the entire canvas. In fact, it could be pointillism, dots grouped together but as you step back the scene unfolds in magnificent glory. Dialog is symbiotic with the plot and story. They should work together and not against one another.

As writers we feel with our words. Imagine them in a painting that has brush strokes of color vibrant and the hues such grand examples of pigment. Dialog should be just as vivid. Why use a rainbow for the story and black and white for the conversations among characters? What do you think about this dialog between two characters?

“The book is on the table,” Pete said.

Roger said, “Thanks. I’ll bring it back when I’m done with it.”

Flat. Boring. Uninterested.

What can you surmise from it? Not much. The preceding paragraph would need to detail information to point you in some direction. Though even then, it would not necessarily frame the conversation in the right light. A paragraph that followed would not exactly add to the clarification either.

So, what do you do? Use your words! Dig deep in the box for the right pigment and hue to brush on. You’ve read the boring, now try the tantalizing example.

“The book is on the table,” Pete pointed as he rolled his eyes.

Roger flicked his finger and snarled, “Thanks. I’ll bring it back when I’m done with it.”

That dialog speaks! You feel the emotion and tension between the characters. You have no idea what is going on, but if you continue reading the book, you probably will find out and possibly even take a side! The difference is night and day. The addition of a few words directs the reader to feeling the scene, watching it play out. Here’s the same, with another touch.

“The book is on the table.” Pete’s eyes said it all.

Roger’s voice stunk of contempt. “Thanks. I’ll bring it back when I’m done with it.”

What?

Words are so powerful! When used to set the scene for a short interaction of dialog between two people, they can blow you away. The same is true for the actual words utilized in the dialog and conversation. Powerful use of the interaction can make the difference. In this instance, using “said” begins to make a whole lot of sense. Why complicate matters with a bunch of extraneous descriptions and wordiness? It bogs the dialog down and does little for the reader. What do I mean? Check it out.

“I cannot believe that you spent all of our money! What were you thinking? Money grows on trees or that we could just rob a bank and get more? Unbelievable and selfish!” Meg said.

Read that again. You feel the anger in the words. Can put yourself in Meg’s place. See her face even. All taken at face value simply by the words she spoke. The writer did not need to tell you anything else, describe the look she made, body posture, nothing. The statement she spoke “said” it all.

Kate said, “I don’t have much time. My body is fading. I can feel the cancer eating me away from the inside. I’m tired and hurt, and just want it to end. Is that wrong?”

Emotive and such power. Kate says so much and you can imagine standing next to her, holding her hand, and seeing the expression on her face as she shares such intimate and scary thoughts. Her own voice echoing in your ears. The writer offered a guiding hand, but Kate dictated the scene.

Confused? You shouldn’t be, as there is no requirement for how to write. Same for being a reader where you can draw your own inferences and conclusions. As writers our job is to write in such a way that you feel a part of our story. Our words resonate and characters feel like someone you know. Relatable to us. Dialog and conversations are the same. When you read them there is some connection, not necessarily to the interaction as it could be a horrible fictionalized account of something gruesome, but in emotion and feelings. You could be standing in the room, a third wheel, even an accomplice. You would say something if you could and probably for some really awesome dialog between characters you even find yourself talking out loud offering commentary or pleading for someone to do the right thing!

As a writer, it is up to us to create and present character dialog and their important conversations in the best way possible. Analyze, scrutinize, rewrite a million times if we must. Read out loud to see if it all clicks. Use the right words to convey meaning. And even use “said” if it fits.

The choice is yours. Just make sure that it is not there all the time. Expand your horizons. See what you can do with your words and scenes, and let the characters speak. They want to talk.

It’s their job after all.