How to Write Dramatic Dialogue
We’ve
looked at this subject before, back in 2013, but it’s always worth a revisit.
Dialogue
is one of those things that a lot of writers feel insecure about. This may be
because it’s sometimes hard to ensure dialogue is active, dynamic, interesting
and realistic for readers, instead of being forced or stilted, melodramatic,
hackneyed or just plain terrible. Readers aren’t interested in mundane pleasantries
and chit-chat. They’re interested in the action and nitty-griity, the stuff
that really matters.
The
key to getting dialogue right is down to listening to real life conversations
and observing how people interact when communicating with each other, because
dialogue isn’t just about one character saying something to another. It also
involves a certain amount of physicality – movement, gestures, ticks etc. And
of course, each character is individual and therefore has a unique voice, a
certain way of talking and acting, so this should be apparent when you write
dialogue.
Dramatic
dialogue enhances the atmosphere and mood of the scene by utilising emotions
– anger, sadness, betrayal, frustration etc. Emotions are what lift ordinary
dialogue from the page and brings the reader closer to the story. Dialogue
without emotion is flat and boring, so it’s important to engage the reader in
this way.
When
people engage in a conversation, particularly passionate discussion, you’ll hear
certain tones and pitches within people’s voices, with some people showing
abrupt rhythms in their speech, while others have almost ‘sing-song’
rhythms. All these nuances show the
individual personalities of your characters. They are character revealing,
which dialogue should be.
Let’s
look at the some examples of emotionless dialogue and the affect it has on the
reader:
‘The crash happened
this afternoon. I wasn’t there, but I got a phone call,’ he said.
‘That’s terrible,’
she said. ‘If there is anything we can do, just say.’
‘Thanks, but it’s
done, there's nothing anyone could have done,’ he said.
This
type of flat, uninspiring dialogue is very common among new writers. It’s not a
bad thing, but it means that it just takes time to show the reader the emotion
of the moment with the characters. If the scene is dramatic, the dialogue
should show this, without being over the top, of course. So, rewritten with some warmth and emotion,
it would be like this:
The knot in his
throat tightened. ‘The crash happened this afternoon. I wasn’t there, but I got
a phone call.’
‘Oh, Peter, that’s
terrible,’ she said, and her expression sank. ‘If there is anything we can do, anything
at all, just say.’
He half smiled
through his hurt; a pretence. ‘Thanks, I appreciate it, but I feel so terrible,
I feel I should have been there - there's nothing anyone could have done...’
This
time around, there are hints to what the characters are feeling because it
shows the tightening of the throat – emotion does that, or if you try to stifle
crying. Her expression ‘sank’ and he half smiled to hide his true feelings
of pain. This is more realistic, with reactions that carry more emotion for the
reader.
Anger
is another emotion that can create dramatic dialogue. If you’ve heard people in
real life arguing, it involves shouting, pitched voices, being loud, as well as
being physical, and lots of gestures and sudden movements. Any dramatic dialogue
should capture this to make the reader believe in the emotion, and the realism,
of it all, for example:
‘Why are you saying
this? She was standing there one minute and vanished the next, I swear.’
Halsted sighed.
‘Look, Mr Van Bruen, your wife wasn’t with you when you entered the store.’
‘Yes she was! Why
don’t you believe me?’
Halsted leaned
forward. ‘Please, sir, you need to stay c--’
Van Bruen shot up
from the chair. ‘No! I won’t stay calm. You’re not listening to me. None of you
are listening to me!’ His eyes widened and coloured with irritation. ‘You’re
all the damn same, all of you...’
This
example uses pace and punchy sentences to create tension within the dialogue,
together with sentences being interrupted and the inclusion of sudden movements
from the main character, who reacts badly to the questioning. The shows the
reader the emotions that simmer beneath the surface. Not only that, but it doesn’t
resort to being over-dramatic. The reader could relate to the situation.
Dialogue,
dramatic or otherwise, should always move the story forward and also reveal
your characters. What the reader won’t learn about your characters in
narrative, they will learn from your characters through dialogue.
The
other thing you can do to manipulate the reader’s emotions and create tension
and is to create obstacles to communication between characters. For instance, if character A is trying to get
his point across about something extremely important, perhaps life changing,
then provide resistance from character B or C; something that provides tension
and frustration. For example:
‘You should at least
look at the figures,’ Cole said.
‘I don’t need to look
at figures. This business is just fine without your meddling,’ Davis said, unconcerned.
‘How can it be fine
when it’s losing so much money?’ he shot back. ‘You can’t bury your head in the
sand and hope for the best. You need to look at these figures because people’s
jobs depend on it.’
Davis stood up. ‘I
don’t need a jumped up little would-be accountant trying to tell me how to run
my own damn business, otherwise you can find another job. Got that?’
Cole shrank beneath
Davis’ shadow.
‘Now stop bothering
me and get back to work...’
As
the reader, you want Cole to get through to the stubborn Davis, but he’s
thwarted.This is a common way for writers to create tension and drama in their
dialogue, and again the reader will relate to this.
Dramatic
dialogue needs drama and conflict and emotions to work. Without these
ingredients, the dialogue will be flat and boring.
To
summarise:
- Dramatic scenes require dramatic dialogue.
- Know your character’s motivations and desires – create obstacles in their conversations, get them passionate or frustrated or angry. Get the most from their dialogue.
- Emphasise speech – use tone and pitch and contrasting rhythms.
- Keep the dialogue short and snappy. People don’t chit-chat when in an emergency, neither should your characters.
- Emotions and tensions and conflict all create drama.
- Create immediacy with your reader – make them relate to the characters and their situation.
Next week: The trouble
with your supporting characters
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