By Kasie Whitener
My drafts are
usually 85% dialogue. I get characters in a room, get them talking, and see
what happens. During revision, I add the narrative stuff: action, setting,
costumes, facial expressions. But initially, it’s just the
conversation.
Dialogue is
valuable for breaking up narration, adding texture and dynamics to the story.
It’s also a great way to establish characters by letting the
reader hear their voices. Here are three deliberate uses for dialogue that can
be employed whenever you see a large hunk of narrative that is dragging the
story down.
Deliver
Exposition
My favorite
teen TV show, The Vampire Diaries, is excellent at this one. The characters
frequently recount what happened in previous episodes as if reminiscing.
“Like
the time you killed your doppleganger by feeding her the cure for vampirism?”
When dialogue
delivers exposition, it not only tells the reader what’s happened before
the story began, it shows which of the characters are familiar with the
exposition, too.
A writer can
say, “Here’s what there is to know and who knows
it,” by delivering exposition through dialogue.
Build Tension
This is one
of those “show, don’t tell” skills.
It’s easy enough for a writer to say of a main character: "He
trembled with rage."
Using
dialogue to build tension, the writer might say:
“Come closer.”
“Don’t hurt me.”
“It’s too late to avoid that.”
“But, you promised.”
"His voice
so low she barely heard it, he repeated, 'Come closer.'”
After a scene
builds with dialogue and two characters have reached a resolution, the scene
needs narrative to give the reader a break. You know you’ve written too much
tension into the dialogue when you read it aloud and run out of breath.
Change
Direction
I call this
pivot-point dialogue. It’s where the scene is building to a
certain position, a particular outcome, until someone delivers a pivot via
dialogue.
Narrative
delivers pivot points by having the character do something unexpected.
Maybe the villain falls to his knees and begs mercy, maybe he jumps off a cliff
and soars into the ocean below. But dialogue pivot points are when a character
says something unexpected.
My favorite
happens in The Princess Bride when Westley and Prince Humperdinck are squaring
off and the Prince says, “Surrender!” and
Wesley says, “Death first!” and Buttercup shouts, “Will
you promise not to hurt him?”
Both men look
at her, stunned, comically responding with, “What was that?”
Readers know
Buttercup has been making bargains to survive. It’s not surprising
that she’d do what she could to protect Westley. But it surprises
both of the men that she sees herself as having the ability to do so.
Characters
cannot just say crazy things to change the direction of the story. Pivot
dialogue points are the result of purposeful character development. The
characters must have something to gain or they must be sacrificing something in
order to prevent a particular outcome.
Let your
characters speak and the story will tell itself.
I too write the dialogue first and then go back and fill in the narrative.
ReplyDeleteI write legal mysteries and have started a novel with writing the trial (even though it doesn't appear until well into the book) Talk about dialogue - attorney asks ? - witness answers, attorney asks ? - witness answers, attorney asks ? - witness answers, every now and then the other attorney objects. Dialogue after dialogue after dialogue.
Thanks for reading and responding, Michelle. I bet legal dialogue gives you the chance to use jargon to build characters. Knowing a witness's vocabulary would also provide insight and the questioning allows exposition to be delivered nicely as well.
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