Dialogue: Once Mortal Enemy, Now New Best Friend
So, there I was, aspiring novelist,
universally rejected by a broad swathe of people all in agreement about one
thing; my work was unpublishable.
And, there I was, trundling along inside
the Lawrence Street bus one gloomy February morning, with slush abounding and a
palette of gray and brown surrounding.
The only highlight of my journey was an
award-winning poet I had befriended, a then-dreadlocked fellow who taught
English by day and wove mystical imagery by night.
“Read my story,” I implored him, thrusting
pages at him just as I was about to disembark. “Please, I need help, I really
need help. See you tomorrow!”
I waved and rushed off, wondering if I
should take an alternate route to work the following day so as to avoid the
uneasy encounter of him having to tell me my work was unsalvageable.
But no… there I was again, the following
day, with the slush and brown still abounding and me, wondering what the poet
had to say.
“Not bad,” he said. “But you could use some
dialogue. You don’t have any dialogue at all.”
Dialogue? Oh the horror. Anything but
dialogue!
“Oh… Well, thanks anyway.”
And off I went, thinking so much for my ever
becoming a published author.
But later that night I forced myself to try
a bit of dialogue, and I felt much the same dread as I did when facing math
homework; that I was about to set sail in waters of unfathomable blackness,
with all kinds of nasty beasts teeming below, ready to rip me limb from limb.
An hour later, after an awkward and
stumbling start, I had to admit something; I was actually enjoying myself! I
could say anything I liked! I could sport the lingo of my wildest fantasies and
not only that, I realized that dialogue was really helpful; it was an excellent
way of getting the message across to the reader; dialogue painted a wide range
of pictures in a way that internal narrative never could – and it gave actual
voice to all the voices in my head!
I’ve always felt chameleon like in this world;
I’ve adapted in a variety of countries and situations and writing dialogue is
much the same – you simply meld your colors into those of your character, slip
into his shoes, pull on his jacket, open your mouth and talk.
Well, perhaps ‘simply’ is over-stating the
ease of the whole process… and there are certain potholes that I fell into over
and over again – for example, starting a sentence with “So,” or “Well,” or any of
the other grim fillers that have no place existing on a printed page.
And there is a danger of those favourite
words creeping in or worse still, you up a tip that a character is easily
identifiable if they have a key word or phrase they repeat and the next thing
you know, your character is leaning upon some wooden phraseological crutch that
sounds forces and nasty and makes your reader cringe as they set your book
aside.
I wouldn’t say dialogue is an easy road to
travel but it is a fun one, and a necessary one and, while I am mixing
metaphors with horrifying abandon, let me add that dialogue is like salt, you
don’t need a lot, just a sprinkling here and there and it will make all the
difference to the flavour of your dish.
Dialogue also brings readings to life. When
I read at bookclubs or events, I try to choose passages with lots of dialogue
because it really brings the character and story to life. The inflection of the
story changes and the whole thing comes alive whereas reams of text can become
monotonous. Imagine you are listening to a reading and make note of where you’d
like some dialogue – just about where you starting wondering how long the
author is going to read for; that’s where you need dialogue.
Here’s one EXAMPLE where I thought dialogue
worked particularly effectively in my writing.
I feel that the dialogue plays a vital role
in the convincing the reader of the creepy awfulness of what happened.
For more on Lisa, check out her WEBSITE
Check out Lisa's debut novel A Glittering Chaos or her other books on Amazon and follow her on Twitter @lisadenikolits
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