Dialogue Techniques - Issue One

"You don't know what the crap you're talking about!"
"Oh yeah? Well at least I can eat a meal without offending the emperor of a rival kingdom!"

Let's face it, dialogue is awesome. Simple interchanges can bespeak volumes into the story's history and its characters, their tension, progression, and shortcomings. It can develop a likable, memorable character, and transmit emotion perhaps better than any other single strand in the writer's loom.

But, how I you know when the dialogue is good? If it just lacks momentum what can be done to fix it and transform it into a fast-paced, character-building, envy-inspiring weapon of power? Don't get your hopes up. If I knew a surefire answer to that, it wouldn't be on this FREE blog.

However, there are definitely man roots branching off dialogue's tree. And, like a tree, it would be very tiring to try and dig up and examine all the roots at once. Today, let's look a classic pet peeve, tags. (i.e. "he said," "she said.") What are tags good for? They develop a consistent tone, and when done right, can avoid attention. Don't get me wrong, occasionally using a tag to describe a characters facial reaction, voice tone, or more importantly, sub-surface emotions, can be very effective. But, take the following example:

Example:  "I don't think anyone is coming through that door," John said.

Hmmm, you think, I want that to be a bit more humorous. Let's revise.

Humorous: "I don't think anyone is coming through that door," John laughed.

No, you say, I should have stuck with suspense!

Suspenseful: "I don't think anyone is coming through that door," John whispered, whitened knuckles gripping a crow-bar.

No, you say, I wasn't thinking radical enough! Romance!

Romantic: "I don't think anyone is coming through that door," John winked reassuringly.

If you want to go for a different tone in dialogue, try actually changing the DIALOGUE. You'll notice I varied the tag types. The “humorous” example indicates the way he said it, the “suspenseful” example indicates the manner he spoke as well as a follow up action to paint the scene more intricately, and the “romantic” example is a parallel verb—it doesn't have to do with the manner he spoke, but by the wink we are left to infer his tone of voice.

Did the mood change? It did. Did the scene it painted change? I believe it did.  But an entire book filled with unspecific dialogue and exciting, intricate tags can get burdensome. Give me another chance, and I'll try to redeem myself

Comedy: "How far do you think it'll throw him when he steps on the mat?" John asked.

Suspense: "Don't focus on just one point of entry," John said, "They won't use the doors."

Romance: ... (Yeah, I think I'll pass.)

Dialogue, in this manner, will not become as boring or as tedious. You'll notice I used nothing but the simplest tags. After writing dialogue that can stand for itself, feel free to spruce up the tags with taste and purpose.

Just for fun, I'll finish the first example.

“How far do you think it'll throw him when he steps on the mat?” John asked, grunting as he coiled the giant spring on his salesman-repelling device.

I'll just ask it: Who wouldn't like to meet John after that?