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action or emotion, or it can fall flat, depending how well the writer has structured
such dialogue.
The most common problem with dialogue is that writers tend to write lots of
ineffectual and unnecessary dialogue in order to pad out the narrative, but most of
it is rubbish. It’s just not necessary. Every writer should learn that
dialogue must have meaning for both the characters and the reader.
Dialogue should only contain information necessary to the story arc, otherwise it
becomes unnecessary padding.
The knack to writing great dialogue is all to do with how well writers listen. Listen
to real conversations. It’s not just about what people are saying, it’s the way they
say it that sometimes makes us take notice. The tone, the depth and the strength
of someone’s voice can mean so many things.
To understand this concept, simply close your eyes while listening to people
talking. Rather than seeing them talk (and thus be open to interpretation and
predisposition), you are only hearing them. Your brain will automatically tune into
the different tones, variances, nuances and pitch. You notice much more in their
dialogue.
It’s the ability to listen that helps writers create dramatic – and effective –
dialogue, not the ability to write.
There are, of course, other factors that help writers to create dramatic
conversations that add so much more to the story.
Firstly, dramatic dialogue evolves with the drama you create in your scenes. No
drama = no dramatic dialogue, it’s that simple. Emotional scenes, action scenes,
tense scenes…they all require the kind of dialogue to enhance it and emphasise
it.
What happens when people argue and fight? What happens when lovers get
together? What happens when people are threatened? What happens when
people find themselves in a terrible, life-threatening situation?
Their conversations or exchanges would differ greatly for each situation, but each
one would have drama in one form or another. This is true for your story scenes.
Your characters are the key here. You have to know what your characters want
and why they want it. All characters have objectives and motives - they’re always
trying to influence other characters, perhaps trying to get something from them, or
they’re hiding something from others (in a good way or an evil way). Other
characters, meanwhile, may be resisting the urge to give in to such influences,
and will have their own motives.
In other words, tension and conflict within the story should exist between
characters, and this should be reflected in the dialogue.
He leaned in. Low whispers licked against her skin. ‘Where are they? Tell me,
and I won’t have to hurt you.’
Again, it’s worth listening to people’s conversations to understand how this works.
Dramatic dialogue relies on emphasis to create the right effect for the reader.
Shorter dialogue structure is very effective for creating drama, tension and
conflict, rather than long, boring monologues. Dialogue should carry emotion and
vulnerability and reflect the kind of scenes you’re writing.
‘I can’t open the door, it won’t move.’
He tugged on the handle as the flames licked around the car wheels. No use.
‘Damn it…’
‘You’re not gonna die. Cover yourself, I’m going to smash the window…’
Dialogue shouldn’t be flat or unemotional. It shouldn’t go on too long and become
boring and it shouldn’t become leaden. Of course, if you have created a
thoroughly multidimensional character that leaps from the page, then the dialogue
writes itself.
‘We have to close the plant down, right now, before it’s too late.’
‘You said that six months ago, Mr Jones, and nothing happened,’ Smith said. ‘Do
you know how much that cost this town? I’m not prepared to do it again, all on a
whim.’
‘It’s not a whim, it’s scientific fact. There’s gonna be an explosion if you don’t
close the plant, I’m telling you.’
Smith turned away. ‘I haven’t got time for this rubbish. I’m not prepared to close
down a multi-million dollar operation because of some mad scientist…’
Above all, the key to writing dramatic dialogue isn’t your ability to write, it’s your
ability to listen.