Last week I gave a list of tips to
strengthen your writing. Today I expand on one aspect of that list:
dialogue.
Dialogue Attributes
Dialogue attributes are the little tags
that go next to a piece of dialogue to let the reader know who said
what.
In grammar school, teachers typically
instruct students to find a “better” word than said
when writing stories. Therefore, many characters in these stories
will scream, laugh, growl, whisper, or laugh their statements. When
my daughter was in first grade, she told me about a poster on her
classroom door that read “Put said
to bed.” It then went on to give a large list of alternates to this
“boring” word.
That
advice might be good for grammar school, where young writers didn't
have the skill to show the emotion in what was being said through the
words themselves or in the accompanying action. But for those of us
no longer in the elementary grades, we need to find a better way to
convey these emotions.
Consider
the following snippets of dialogue.
Example #1
Charlie hurled the chair across the room and glared at her. “Where
is it, Lisa? Tell me! Where did you hide it this time?”
Example #2
Julie crept into the room. The gunman had fallen asleep in an upright
position on the sofa. Tommy slept on the floor a few feet away.
“Tommy.
Tommy, wake up,” she said.
It's not hard to figure out that
Charlie was yelling in the first example, or that Lisa was whispering
in the second.
You don't always need a dialogue
attribute. I didn't use one in the first example above, and you
probably knew Charlie was the one screaming. But if you do use a
dialogue attribute, use said or asked. People are so
used to seeing those words that they become virtually invisible. If
you use words like hollered, screamed, chided,
or lamented, they tend to take the reader out of the story.
Action
Beats
Another
way to distinguish who is speaking is through the use of action
beats. Beats are actions that the speaking character is doing. They
not only let us know who is speaking, but it helps to move the story
along and can show us what emotions the characters are feeling. Refer
again to example #1 above. Charlie hurling the chair and
glaring at Lisa are action beats. By convention, the person
performing the beat in the paragraph is the same person talking.
In
example #2 above, I could have used an action beat instead of
the dialogue attribute. I've expanded this snippet to include action
beats in example #3 below.
Example #3
Julie crept into the room. The gunman had fallen asleep in an upright
position on the sofa. Tommy slept on the floor a few feet away.
She
inched over to her brother and shook his arm. “Tommy. Tommy, wake
up.”
He
rolled onto his back and opened sleepy eyes. “Julie? How did
you—?”
“Shh!”
She clamped her hand over his mouth.
In
this example, the action beats move the story along, let you know who
said what, and let you know how it was said.
New
Speaker Means New Paragraph
A
crucial way to let the reader know who is speaking is to change
paragraphs when you change speakers (as was done in example #3 above). If the same character's dialogue extends more than one
paragraph, use an action beat or dialogue attribute to make that
clear to your reader.
Also,
in a dialogue exchange between only two individuals, an action beat
or dialogue attribute often isn't needed, and sometimes will only bog
down the pace of the scene. Notice the difference between examples
#4 and #5 below.
Example #4
Suzie slid into her seat without a word. She hated eating in diners.
“How kind of you to finally show up,”
said Carl.
She picked up a menu and feigned
interest in the food choices. She'd rather not have to look at her
ex-husband. “Nice to see you too, Carl.”
He drummed his fingers on the table. “I
already ordered for you.”
“I hate when you do that,” she
said. “You never order anything I like. You probably ordered me a
salad or a grilled chicken wrap.”
“You said you don't like the burgers
here,” he said.
“Oh? You actually listened to
something I said?” She crossed her feet under the table.
He sighed. “Would you put that menu
down. I told you I already ordered for you.”
“Did you order desert, too?” she
asked.
“I don't plan on being here for
desert,” he said.
She hid her smile before lowering the
menu. “Fine, then. You can eat what you ordered for me. I'll just
have a slice of apple pie.”
Example #5
Suzie slid into her seat without a word. She hated eating in diners.
“How kind of you to finally show up.”
She picked up a menu and feigned
interest in the food choices. She'd rather not have to look at her
ex-husband. “Nice to see you too, Carl.”
“I already ordered for you.”
“I hate when you do that. You never
order anything I like. You probably ordered me a salad or a grilled
chicken wrap.”
“You said you don't like the burgers
here.”
“Oh? You actually listened to
something I said?”
“Would you put that menu down. I told
you I already ordered for you.”
“Did you order desert, too?”
“I don't plan on being here for
desert.”
She
hid her smile before lowering the menu. “Fine, then. You can eat
what you ordered for me. I'll just have a slice of apple pie.”
Which
of those two examples flowed better? In both cases you could tell who
was talking. But example #5 moved quicker and gave you a
stronger sense of the tension and animosity between them, rather than
distracting you with all the unnecessary actions and attributes used
in example number four.
The
Way Real People Talk
One
final point. Often the best way to improve the dialogue in your
writing is to listen to the way real people talk. They use
contractions. They don't always speak in complete sentences. They
often interrupt each other. They don't necessarily answer the
questions put to them. And many times their words contradict what
they're really thinking.
Now
it's your turn. Do you have any dialogue tips you'd like to share?