I love dialog. It brings one close to the characters, lets the reader know how the character’s mind thinks, reacts, persuades and complains. Dialog is one of the most powerful tools in a writer’s toolbox. I am of the opinion, that when it is overused, it tends to lose all its power.
I’ve recently worked with two other authors, giving them suggestions on how to punch up their stories. In both cases, I felt they were doing too much with dialog.
The first author started his murder mystery at the crime scene, but within a few pages, his team of detectives gathered in a room at the police station where they proceeded to do nothing but talk to each other for twelve pages. All the backstory was told through dialog during those pages. I can’t explain how excruciatingly BORING those pages were to read. My advice to this writer was, if he must use dialog to bring out these facts, then do it at the crime scene while the detectives are looking for clues. That way, they are doing something. There is action going on while they are talking.
The second author did something similar, trying to tell the story mostly through dialog. I’m sorry, I told him, this simply doesn’t work. You’re not writing a play, you’re writing a novel. You need action to move the story forward.
Dialog should not be used to tell the story. It should be used to punctuate the action in a story. Think of dialog as TNT. You want small controlled detonations in your prose in order to highlight certain ideas or actions or character traits.
In short, try to tell the story in the narrator’s voice. Don’t make your characters tell the story.
The other thing I’d like to point out about dialog is the way most people speak. If you pay attention while people talk, you’ll find that most people use very short bursts of dialog, fewer than ten words, before someone else responds and takes up the conversation. So having your characters constantly making long-winded soliloquies may not be the best option. Again, in my humble opinion, short burst are more entertaining and more in tune with human nature, thus it’s more believable.
Little Vin at Dreamland by Edward Patterson
1 month ago