Showing posts with label dialogue. Show all posts
Showing posts with label dialogue. Show all posts

Monday, February 20, 2023

10 Tips to Write Better Dialogue

Good dialogue can elevate a novel from ho-hum to unforgettable. It's a crucial component of storytelling that helps bring characters to life and move the plot forward. But writing dialogue that's both believable and engaging can be a challenge. 

Here are 10 tips for writing better dialogue in your novel, with examples that employ all of them.

1. Less is more. One of the best pieces of advice I ever got on writing dialogue was:  “Good dialogue is real life conversation’s Greatest Hits.” In real life, conversations can be lengthy and filled with greetings, chitchat, and filler words. But in writing, lengthy conversations can slow down the pace and lose the reader's interest. Aim for concise dialogue that gets to the point and advances the story.  Unless you are purposefully trying to show a that a character is a bore or long-winded, dialogue should be short and bounce back and forth, like a ping-pong ball.

If two characters meet each other for the first time, for example, leave out the “Hi, how ya doin’, nice to meet you,” etc.  Just write, “They introduced themselves to each other.”  Better yet, apply the old Hollywood adage about writing scenes: “Start late, end early.”  For example, if you have a chapter in which the hero meets a helpful stranger, dive right into the middle of the encounter, closer to the key exchange.  Example:

Chapter 5

“Have you been to Spain before?” 

“No,” Bridgette said.  The elderly man, who was also from Ireland, had been standing beside her in endless Passport Control.  They had been casually talking for the past half-hour—he was as frustrated as she was.

2. Avoid dialogue tags. Dialogue tags are the words used to indicate who's speaking (e.g. he said, she asked). While they're necessary for clarity, overusing them can become distracting. Instead, consider using action beats or body language to indicate who's doing the talking.  Better yet, have each character’s use of language be so different that you can tell them apart with no tags. (An example of all this follows after a few more tips)

3. Know your characters: The way a character speaks says a lot about who they are. Before you start writing dialogue, take the time to get to know your characters and understand their backgrounds, motivations, and personalities. This will help you create dialogue that's true to each character's voice and authentic to who they are.

4. Show, don't tell. Dialogue is a powerful tool for revealing character and plot. 

Instead of telling the reader what a character is feeling or thinking, use dialogue to show it. This will not only make your writing more engaging, but it will also help you reveal information in a more organic and interesting way.  

Some authors take the “Show, don’t tell” rule too far—there are plenty of exceptions, such as in reference to Tip #1 above – sometimes summarizing is better than showing, as with introductions.  It depends on the situation, and you, the author, have to decide which is better.  For example, if two married couples meet and there has been a secret love affair between two of them…well, in this case it’s probably better to show the introductions in great detail, because the reader wants to know how they are going to behave in such an awkward and tense situation.  The phrase “Nice to meet you” is suddenly is no longer mundane.

5. Vary your sentence structure: Just as you would vary your sentence structure in your narrative, it's important to do the same in your dialogue. This helps break up monotony and gives each character a unique voice.

Here is an example from my Lust, Money & Murder series which demonstrates these points.  Notice not only the shortness but varying lengths of the sentences, the frustration and anger that are expressed, the difference between the way Elaine and the manager of the modeling agency use language, and the fact that few dialogue tags are needed - it’s very clear who is speaking:

 “What’s your name, dear?” the manager asked, just like she had in their many previous conversations.

She still doesn’t know my NAME?  Elaine couldn’t believe it.  “Brogan,” she snapped.  “Elaine Brogan.”

“Don’t get snippy with me, honey.  We have hundreds of girls at this agency.”

 “I’m sorry...I’m just a little upset.  You told me that when I finished the training classes, I would be able to get modeling jobs.”

 “I told you no such thing.”

 Elaine blinked once.  “You said that to be client-ready, I had to have training.”

 “That’s right.”

 “Well?  I’ve taken every training class you offer.”

“Yes, that’s right.  You’ve done all the group training.  To be client-ready, you also need individual training, one-on-one, with Mr. Eskew.”

Elaine fought the anger that was growing inside her.  “And how much does that cost?  Another two thousand dollars?”

“My, you’re the jaded one, aren’t you, missy?  It so happens that personal training with Mr. Eskew is free.”

6. Avoid exposition: Exposition is when a character tells the reader information that they already know. This can be tempting when you're trying to convey important facts, but it's often clunky and disrupts the flow of the story. Instead, try to find creative ways to reveal information through action and dialogue.

Instead of:

"Hey, Sarah, remember when we were in high school together? We used to be on the track team, and we won the state championship in our senior year."  

The above is known as ‘stilted dialogue.’  Instead, we could write:

Sarah raised an eyebrow as she spotted Jack across the bar. He was slimmer and less muscular than she remembered, but the way he moved still betrayed an athlete's grace. 

"You look like you've kept up your running," she said.

Jack smiled. "I try."

Sarah knew that Jack was being modest. He had always been the fastest runner on their team, and the one who kept them all motivated during practice. But she didn't want to make him uncomfortable by praising him too much.

7. Use subtext: Subtext is what's unsaid in a conversation. It's the underlying emotions, thoughts, and motives that drive the conversation forward. Including subtext in your dialogue can add depth and tension to your writing.

Instead of:

“You’re beginning annoy me,” she said, clenching her fists.

Try:

"I'm not mad," she said, her voice soft and even. She forced a smile and tapped her fingers on the table, trying to curb the anger simmering inside her. She didn't want to lash out, not again, not in front of him.

8. Pay attention to real-life conversations: To write better dialogue, it's important to be familiar with how people really talk. Listen to conversations around you, take note of common expressions, and incorporate them into your writing.

9. Read your dialogue out loud: Reading your dialogue out loud will help you catch any awkward phrasing or unnatural dialogue. It will also give you a better sense of the rhythm and flow of your conversation.

10.  Revise and edit: Finally, don't be afraid to revise and edit your dialogue. Good writing is a process, and it's important to be open to feedback and make changes as needed.

By following these tips, you can create dialogue that's believable, engaging, and helps move your story forward. With practice and patience, you'll find that writing dialogue becomes easier and more natural, and your novel will be all the stronger for it.

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Friday, July 15, 2011

Developing a Thick Skin


One of the things that we writers are supposed to do, in order to deal with rejection, is to develop a “thick skin.” 

I heard this at the very beginning of my writing career, and unfortunately, I took it at face value.  I thought that somehow I could build up immunity to the pain of rejection and criticism using willpower or “mind over matter” approaches, the way it’s possible to psyche yourself into tolerating more pain at the dentist’s office.

It doesn’t work this way.

The only way I know of to develop a thick skin as a writer is simply by going through the process of dealing with criticism, over and over and over again, until each criticism is no longer a surprise.  In other words, you finally arrive at a place where you are 100% aware of how you write, how you compare to other writers, and every little choice you make during the process of crafting a story.

I’m sure some relatively new writers are reading this and that you may find the news disheartening.  But perhaps you’ll take solace in knowing that razor-sharp sting you feel each time someone criticizes your book or gives you a bad review is perfectly normal.  There are no quick fixes here.  What you need to do, after the sting wears off, is consider each and every criticism soberly and honestly, decide whether or not the criticism is valid, and whether or not you would change anything if you had the chance to write the story again.

Over the years, I’ve had thousands of rejections from agents and editors.  Thousands!  At the beginning, when I was still in an intense learning process, many of the criticisms were valid.  My stories did start too slowly.  My dialogue did have stilted spots.  I did delve into too much detail. 

But as I continued to develop my craft, the nature of the rejections began to change.  Many of the criticisms, I began to realize, were about my style. 

Probably the most difficult part of developing the “thick skin” is being able to separate the elements of your writing that are natural to your personal style, that you want to keep, and the elements that are truly part of the craft, that you want to change or improve.  Not everyone will like your style.  And if you develop a truly unique style—which is crucial for success—you will necessarily break some of the rules they teach you in fiction writing classes.

Sorting all this out is not an easy process.  I went through more pain and frustration than I care to remember in dealing with these issues, arguing with agents and editors, screaming and yelling and cursing (in the privacy of my own home), coming to grips with it all.  But I eventually got through it. 

Does criticism still hurt?  Of course it does.  But the sting usually only lasts seconds—namely, as long as it takes me to run through the decision-tree in my head and remember why I did whatever they are criticizing and my logic behind doing it.

A good sign that you have arrived at this place is that you no longer feel the urge to defend yourself or argue with the criticizer.  An impulse to argue is always a sign that you are unsure about the criticism yourself.  If someone walks up to you and says, “The sky is yellow!” do you feel any impulse to argue about it?  No, because you know the sky is blue.  It's a non-issue. You think that the person is either crazy or sees things from such an oddball perspective that you don’t even bother.

When you’re confident about your craft and your personal style, you reach a similar place.  I’m not saying that you ever feel as if you have mastered the art of writing.  The notion is ridiculous—there is always more to learn, at times it seems endless.  But you do reach a point where you are comfortable enough with your writing that you really do have the proverbial “thick skin.”

Saturday, June 25, 2011

Wild Child Chosen for Reading List for Writing Courses at Austrailian Colleges

Wild Child has been added to the reading list of the "Become a Published Author" course at Macarthur and Nepean Community Colleges in Sydney, Australia.  The reading list includes short stories from Hemingway, Somerset Maugham and the work submitted by previous alumni.

"Wild Child is a cracking good read that just flows, and there are numerous teaching points one can glean from it to demonstrate pace to the writers," says Perry Gamsby, leader of the course.  "As well, characters, conflict, dialogues and plot are all in there doing their bit to make it a great story."

The Australian writing course is highly innovative.  Its aim is to not just advise writers as to how to write, but to publish their work in a book they can then use how they wish.  "So far we have had two courses graduate," Gambsy says, "with the first producing 'The Rorschach Collective' and the second 'The Rorschach Continuum.'

Read more about the course and why Wild Child was chosen for its reading list here.

Anyone in Australia interested in taking the course should contact Perry Gambsy at perrygamsby (at) yahoo (dot) com.


Wild Child is currently out of print and has become a collector's item—the current price in the UK for an original copy of Wild Child, unsigned, is £78.87, or about $125.00.

However, you can download the ebook for the much more reasonable price of $4.99 from any of the following stores (click links):