DIALOGUE

DIALOGUEThe Way People DONT Talk

Sins of Writing DialogueWriting how people really talk.Good dialogue moves the story along and reveals character.

Revealing CharacterHeres looking at you kid.Mrs. Robinson, youre trying to seduce me. Arent you?I love the smell of napalm in the morning.Im gonna make him an offer he cant refuse.

Revealing CharacterYouve got to ask yourself one question: Do I feel lucky? Well, do ya punk?Frankly, my dear, I dont give a damn.Fasten your seatbelts. Its going to be a bumpy night.

Sins of Writing DialogueFailing to give characters individual traits in their speech reflecting their social, economic, gender, or educational status, etc.

Social Reveals social status, economic level, regional affiliation, and educational level.

Gender Men and women talk differently in mixed company than when in a group of the same sex. Distinguishing Characters

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Generally:Men change subject more frequently;Women tend to take turns speaking;Men advise but dont reveal much about themselves; women reveal themselves and attempt to share a problem;Men tend to be more aggressive in conversation;Men seek status; women seek connection;Women talk more in private; men more in public conversations;

Distinguishing Characters

Idiocentric characters have personal patterns of speech.

Sometimes smart people say dumb things and vise-versa.

Stress levels should match the character.Distinguishing Characters

Henry attempts to fuel his motorcycle but finds the pump is out of order.

JACK Ain't workin'.

Henry looks up to see JACK, dressed in dirty jeans and a black T-shirt, leaning against the yellow chopper and chewing on a candy bar.

JACK (CONT'D) Dude inside said the power's off.

HENRY Did he say when it might come back on?

JACK Nope. Said it happens sometimes when they're doin' a cut-over up at the mine. Out sometimes fer ten minutes, maybe fer ten hours.

The lights come on in the station.

HENRY Looks like we're in luck.

JACK Can't tell fer how long though. You go ahead. Better get loaded up while the gettin's good, I always say.

JACK It Ain't workin'.

Henry looks up to see JACK, 22, dressed in dirty jeans and a black T-shirt standing beside the yellow Harley chewing on a candy bar.

JACK (CONT'D) The Dude inside said the power's off. Off all over town.

HENRY Did he say if he knew when it might come back on?

JACK Nope. Said it happens sometimes when they're doin' some kind a cut- over up at a the mine. on the mountain. (a beat) Sometimes out fer ten minutes, sometimes maybe fer ten hours. Can't never tell.

The lights come on in the station.

HENRY Looks like we're in luck. The electricity has come back on.

JACK Yup. Can't tell fer how long though. You go ahead and fill 'er up. Better get loaded up while the gettin's good, I always say.

Sins of Writing DialogueSpeechifying.Your characters should not give speeches. Your message should come from your theme across your entire story.

Sins of Writing Dialogue4. Using dialect or accent. mos likly taen up makin em artikylate theselves sumpn liken ta this... yall.If the character speaks with a dialect or accent, mention it in the description. Dont attempt to use phonetic spelling for dialect or accent.

Sins of Writing DialogueUsing bad language.DONT BUY THIS BOOK!Excessive use of bad language is holding up a sign that reads:If you must use bad language, use it judiciously and only for special emphasis.

Sins of Writing DialogueWriting exposition in dialogue.Exposition belongs in the narrative description. Dont have your characters tell the story.

Sins of Writing DialogueWriting dialogue On the Nose.Dont be too direct by putting everything on the surface.Use metaphor, analogy, reference, etc. to provide meaning.

Sins of Writing DialogueFailing to listen to people talk.Listen to not just family and friends. Most likely they talk pretty much like you do.Sit in a coffee shop and listen to the different levels of speech, the rhythms, and the phrases used.Visit a courtroom. Listen to the attorneys and the witnesses.

Sunset Blvd., dir. Billy Wilder, pref. William Holden, Gloria Swanson, 1950.

Fiction Writers Workshop, Josep Novakovich.

Writing for Emotional Impact, Karl Iglesias.

Story Sense, Paul Lucy.

Write What You Dont Know, Julian Hoxter.

Dead Girls Song, Howard Slater, slater200@comcast.net.