{"id":22495,"date":"2019-12-16T03:00:13","date_gmt":"2019-12-16T11:00:13","guid":{"rendered":"http:\/\/writersfunzone.com\/blog\/?p=22495"},"modified":"2019-12-11T07:41:34","modified_gmt":"2019-12-11T15:41:34","slug":"rules-for-writing-punchy-dialogue-by-terry-tierney","status":"publish","type":"post","link":"https:\/\/writersfunzone.com\/blog\/2019\/12\/16\/rules-for-writing-punchy-dialogue-by-terry-tierney\/","title":{"rendered":"Rules for Writing Punchy Dialogue by Terry Tierney"},"content":{"rendered":"

\"Rules<\/a>Today we welcome a new guest writer to Writer\u2019s Fun Zone, Terry Tierney who is stopping by to chat with us about \u201cRules for Writing Punchy Dialogue.\u201d \u00a0Enjoy!<\/em><\/p>\n

***<\/p>\n

Dialogue is more than characters talking about the plot of your story. Good dialogue makes your story come alive.<\/p>\n

Don\u2019t forget that literature started with oral tradition
\n<\/b><\/h2>\n

Before we had novels we had poetry, heroic tales, ballads, and eventually plays. Dialogue can be the best part of a story.<\/p>\n

Dialogue sounds like speech but not transcribed conversation
\n<\/b><\/h2>\n

Conversation in a novel should sound more like a play. Think about the conversations you hear at the grocery store. There might be some interesting tidbits but overall the conversations are intrusive and pretty boring. In your written dialogue only keep the good stuff.<\/p>\n

Reveal character
\n<\/b><\/h2>\n

Each character has their own attitude, intent, distinctive point of view, and conflict. Characters think while they talk, and what they say and how they say it reveals character. Consider what each character wants to get out of a conversation. It shouldn\u2019t be hard to tell who\u2019s talking.<\/p>\n

Move the story forward
\n<\/b><\/h2>\n

Reveal plot and backstory, but be careful to avoid exposition (sounding like a history book). Not just trading information. Characters should have a distinct interpretation or attitude about events or other characters. Don\u2019t repeat stuff the reader already knows.<\/p>\n

Avoid stock phrases
\n<\/b><\/h2>\n

No small talk, no fillers. We all hem and haw when we talk but this \u201crealism\u201d tends to bog down a story, and the story should come first. Keep your dialogue short.<\/p>\n

Not all complete sentences
\n<\/b><\/h2>\n

People don\u2019t always speak in complete sentences or complete thoughts. Your reader can fill in the blanks, and so can your characters. Avoid the impulse to explain everything.<\/p>\n

Characters talk within a scene<\/b>
\n<\/b><\/h2>\n

Conversations should include distractions, interruptions, movements, gestures, expressions. Think about what\u2019s happening around your characters.<\/p>\n

Convey unspoken information
\n<\/b><\/h2>\n

Often what a character does not say reveals more than their words.<\/p>\n

Avoid direct responses
\n<\/b><\/h2>\n

Especially yes and no. A character\u2019s response should have some shading, just as a moral dilemma is often neither totally right nor wrong. Use oblique responses. Maybe even avoiding the answer.<\/p>\n

Vary dialogue tags
\n<\/b><\/h2>\n

\u201cHe said\u201d and \u201cshe said\u201d are common dialogue tags and they can become overused. Some options are whispered, bellowed, hollered, sniped, huffed, cooed, responded, etc. Even better, if your characters have distinct points of view, you can often omit dialogue tags, especially when two characters are talking and it\u2019s easy for your reader to follow their interplay.<\/p>\n

Inner dialogue is a conversation with a character\u2019s self
\n<\/b><\/h2>\n

Can be a short reflection within the mind of a character or a longer series of thoughts, such as stream of consciousness. In some cases a narrator or point of view character might analyze a motive or scene. Inner dialogue can be very engaging for the reader, but you should follow the rules for external dialogue and avoid making it too verbose or rambling. Try to think of inner dialogue as a story within a story.<\/p>\n

Dialogue Examples
\n<\/b><\/h2>\n

Here are a few examples to consider.<\/p>\n

    \n
  1. Is the example well written?<\/li>\n
  2. What would you improve?<\/li>\n
  3. Which of the rules does the example break or demonstrate?<\/li>\n
  4. Can you identify the author and work?<\/li>\n<\/ol>\n

    Example 1
    \n<\/b><\/h3>\n

    Lady Bracknell: [\u2026] Are your parents living?<\/p>\n

    Jack: I have lost both my parents.<\/p>\n

    Lady Bracknell:<\/strong> To lose one parent, Mr. Worthing, may be regarded as misfortune; to lose both looks like carelessness.<\/p>\n

    This often quoted example from Oscar Wilde\u2019s play, \u201cThe Importance of Being Ernest<\/a>,\u201d reveals character and plot elements, of course, but I also like how the responses are not what the reader or audience expects. Jack might have said, \u201cNo,\u201d and Lady Bracknell, \u201cSorry,\u201d but the play would be much less witty and engaging.<\/p>\n

    Example 2
    \n<\/b><\/h3>\n

    “A single man of large fortune; four or five thousand a year. What a fine thing for our girls!\u201d<\/p>\n

    \u201cHow so? How can it affect them?\u201d<\/p>\n

    \u201cMy dear Mr. Bennet,\u201d<\/strong> replied his wife, \u201chow can you be so tiresome! You must know that I am thinking of his marrying one of them.\u201d<\/p>\n

    The opening scene from Jane Austen\u2019s novel Pride and Prejudice<\/i><\/a> is often used as a model for setting up plot and theme. Not only is the daughters\u2019 predicament revealed through the dialogue, but we see into the stodgy character of their father and the enthusiastic optimism of their mother.<\/p>\n

    Example 3
    \n<\/b><\/h3>\n

    \u201cYou just want me to go along and hold your hat?\u201d<\/p>\n

    His hand jerked again and some ash fell off on his white cuff. He shook it off and stared down at the place where it had been.<\/p>\n

    \u201cI\u2019m afraid I don\u2019t like your manner,\u201d<\/strong> he said, using the edge of his voice.<\/p>\n

    \u201cI\u2019ve had complaints about it,\u201d I said. \u201cBut nothing seems to do any good\u2026. What are you offering for all this?\u201d<\/p>\n

    \u201cI hadn\u2019t really got around to thinking about it.\u201d His cheekbones were dusky red.<\/p>\n

    \u201cDo you suppose you could get around to thinking about it?\u201d<\/p>\n

    He leaned forward gracefully and smiled between his teeth.<\/strong> \u201cHow would you like a swift punch on the nose?\u201d<\/p>\n

    I grinned and stood up and put my hat on. I started across the carpet towards the front door, but not very fast.<\/p>\n

    In this familiar sequence from Raymond Chandler\u2019s Farewell My Lovely<\/i><\/a>, private detective Philip Marlowe is considering a potential job. Note how the author concisely inscribes the visual details of the scene, particularly the actions and gestures of the client. Marlowe\u2019s exit at the end says more than his words, conveying the impression that he wants the job but only on his terms.<\/p>\n

    Summary: Rules for Writing Punchy Dialogue<\/b><\/h2>\n

    Dialogue allows your characters to reveal themselves and breathe, meaning they seem more like people with their own attitudes, histories, and desires. This lets your reader connect with them more directly, rather than going through the distancing interpretation of your narrator. Sometimes a character might say something that surprises you, breaking out of the careful structure you planned for your story. Now you have something.<\/p>\n

    ***<\/p>\n

    ABOUT TERRY TIERNEY<\/h2>\n

    \"Terry<\/a>Terry has published poetry and short stories in over forty literary journals. His poetry collection, The Poet’s Garage<\/i>, is coming out in May from Unsolicited Press, and they will also be publishing his novel, Lucky Ride<\/i>, in December 2021. He\u2019s a fugitive from academia with a BA in Creative Writing and a PhD in Victorian Literature, though did teach college composition and creative writing before fleeing to Silicon Valley. His website is: https:\/\/terrytierney.com<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

    Dialogue is more than characters talking about the plot of your story. Good dialogue makes your story come alive. Check out these rules for writing punchy dialogue by Terry Tierney, novelist and poet.<\/p>\n","protected":false},"author":12,"featured_media":22497,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[515],"tags":[531,4206,1802,1296],"class_list":["post-22495","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-guest-columnists","tag-dialogue","tag-terry-tierney","tag-writing-dialogue","tag-writing-fiction"],"yoast_head":"\nRules for Writing Punchy Dialogue by Terry Tierney · Writer's Fun Zone<\/title>\n<meta name=\"description\" content=\"Dialogue is more than characters talking about the plot of your story. 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