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How to Write Dialogue

There's little worse than characters what don't speak proper - believable dialogue is the first step to a believable world, and is a great way to get to know who your characters really are...

Dialogue can seem deceptively easy. After all, it's just a selection of people speaking to one another, right?

If you look at some of Hemingway's early short fiction you can see how effective a dialogue-based story can be. There is very little actual action, just a great deal of talking. But try and write a similar piece and you may run into difficulties making the speech realistic and relevant.

SPEAK ONLY WHEN SPOKEN TO

The secret of writing effective dialogue in your fiction is not to emulate real speech, but to give the impression of real speech. Think about the last conversation you had. It may have seemed short, but imagine having to transcribe it onto the page. Chances are it would seem ridiculously long-winded, tautological and quite boring to a reader, especially one who doesn't know you. Ironically, this 'real speech' would appear artificial in a work of fiction because the conventions for writing dialogue are different to those that govern everyday conversation. It may seem odd at first, but keep your dialogue short and to the point, and don't hold back when you're editing. The more you prune (even if it seems unusually to the point), the smoother the ride.

Real speech is forever punctuated by hesitations, interruptions, circumlocutions, evasions and the odd sneezing fit. These attributes can come in handy for plot and characterisation ('Well,' he hesitated, looking away, 'I didn't steal them') but don't include them in every piece of dialogue. Readers look for the meaning in every interaction, every spoken word, so only include interruptions when they mean something. Although nobody speaks perfectly all the time, dialogue full of wheezes, pauses and fumblings won't win any admirers.

READ BETWEEN THE LINES

How many times have you said something and meant something else, or mumbled a few words that you hoped would mean so much more? Very often, real speech only hints at the powerful undercurrents of meaning that lie beneath, and when writing it's vital to get these subtexts right if you want to convey psychological depth and realism. A married woman screaming 'I'm sick of this house, I want to move on' could obliquely be asking for a divorce, not just complaining about the décor.

'...AND ANOTHER THING,' HE MUTTERED MOODILY

My partner often says to me 'It's not what you said, it's the way you said it.' While it's easy to change the tone or style of your speech in real life, it's impossible to do so on paper without a few clues. If a woman says to a man 'I love you', it can be difficult to ascertain exactly how she feels. You can often clarify the dialogue by adding an action: '"I love you," she said, tenderly squeezing his hand.' Or you can completely change the meaning: '"I love you," she hissed, glancing warily at the knife.' Physical actions like these can help ground the speech in the scene, making it appear more realistic, and can also be used to help develop your characters.

ONE LAST THING

Speech doesn't always have to be out loud. While direct speech - spoken audibly from one character to another - is highly effective, indirect (or reported) speech can also work: 'She told Jamie she loved him, that she always would.' Alternatively, interior monologues can be used to convey unspoken speech: '"I love you," she thought, "I only wish I could tell you."' Interior speech can be extremely useful, providing a glimpse in to the character's true state of mind, but use with caution, as too much and readers may think you're being lazy.


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