Creating real dialogue for real characters
Update on The Trouble With Demons: I'm soooo close to finishing Chapter 18. I will finish it today.
The writing I've been doing over the past few days ties right in with today's blog topic. I'm calling it "Creating real dialogue for real characters" -- but a better title for me would be "Shut up and listen!"
Unrealistic (or more often, uncharacteristic) dialogue is one of the top reasons why I get stuck while writing a book. It means I don't feel comfortable with the scene that I'm writing, and if I'm not comfortable, my characters aren't comfortable. All this discomfort boils down to one thing -- I'm writing the wrong scene for the wrong time, or the scene doesn't belong in the book. Period. And the only thing force-feeding words into my characters' mouths is going to get me is more bogged down.
But what if you know it's the right scene at the right time, and the words still aren't flowing? When I'm in "the zone" it's like I'm eavesdropping on my characters and typing what they're saying as fast as I can. It's like the "runner's high" for writers. It's those brief flashes of magic that get us through the boggy swamp parts (and believe me, there's plenty of those). To get into the zone, I have to do two things -- shut up and listen. I'm a bit of a control freak and that control seeps onto the page/screen. It sounds like such a simple thing, but it ain't easy to do. Writers on a deadline want to control the direction the book takes, the pace at which it is written, and the schedule we want it to stick to. I'm on my third book (actually my fifth if you count the ones that aren't published -- and never will be) and it's just now starting to sink through my thick skull that I really don't have much control over these things, and I never will. A book is a creative work, and creativity refuses to punch a time clock.
The solution for me to getting the words flowing is to sit quietly (and not to freak out because I'm wasting precious writing minutes), and put your character(s) into the scene. I've been with my characters a long time and I know them well. I ask myself, "Okay, this is the situation Raine is in -- she knows how she feels about it and ain't shy about telling everyone precisely what she thinks. Listen and write it down (knowing that I can edit out any excessive four-letter words later). ; )
And you will find that in getting to know and truly listening to your characters is that none of them express themselves in the same way, be it physical mannerisms or speech. For example, Raine is straightforward and doesn't mince words; she uses short sentences to get her message across to others. Sarad Nukpana is formal, uses longer words, longer sentences, and more elegant turns of phrase.
The key to writing real dialogue is to get to know your characters just as well as you know "real" people. You know what your wife/husband/significant other/best friend would say or do in any given situation -- because you know them that well. Apply the same principles to your characters and the magic will happen.
For tomorrow's blog, I'll share with you some projects that I'm thinking about doing in the future. I'd love to have your feedback.
Lisa
The writing I've been doing over the past few days ties right in with today's blog topic. I'm calling it "Creating real dialogue for real characters" -- but a better title for me would be "Shut up and listen!"
Unrealistic (or more often, uncharacteristic) dialogue is one of the top reasons why I get stuck while writing a book. It means I don't feel comfortable with the scene that I'm writing, and if I'm not comfortable, my characters aren't comfortable. All this discomfort boils down to one thing -- I'm writing the wrong scene for the wrong time, or the scene doesn't belong in the book. Period. And the only thing force-feeding words into my characters' mouths is going to get me is more bogged down.
But what if you know it's the right scene at the right time, and the words still aren't flowing? When I'm in "the zone" it's like I'm eavesdropping on my characters and typing what they're saying as fast as I can. It's like the "runner's high" for writers. It's those brief flashes of magic that get us through the boggy swamp parts (and believe me, there's plenty of those). To get into the zone, I have to do two things -- shut up and listen. I'm a bit of a control freak and that control seeps onto the page/screen. It sounds like such a simple thing, but it ain't easy to do. Writers on a deadline want to control the direction the book takes, the pace at which it is written, and the schedule we want it to stick to. I'm on my third book (actually my fifth if you count the ones that aren't published -- and never will be) and it's just now starting to sink through my thick skull that I really don't have much control over these things, and I never will. A book is a creative work, and creativity refuses to punch a time clock.
The solution for me to getting the words flowing is to sit quietly (and not to freak out because I'm wasting precious writing minutes), and put your character(s) into the scene. I've been with my characters a long time and I know them well. I ask myself, "Okay, this is the situation Raine is in -- she knows how she feels about it and ain't shy about telling everyone precisely what she thinks. Listen and write it down (knowing that I can edit out any excessive four-letter words later). ; )
And you will find that in getting to know and truly listening to your characters is that none of them express themselves in the same way, be it physical mannerisms or speech. For example, Raine is straightforward and doesn't mince words; she uses short sentences to get her message across to others. Sarad Nukpana is formal, uses longer words, longer sentences, and more elegant turns of phrase.
The key to writing real dialogue is to get to know your characters just as well as you know "real" people. You know what your wife/husband/significant other/best friend would say or do in any given situation -- because you know them that well. Apply the same principles to your characters and the magic will happen.
For tomorrow's blog, I'll share with you some projects that I'm thinking about doing in the future. I'd love to have your feedback.
Lisa
posted by Lisa Shearin at
7:46 AM
2 Comments:
That was great! Dialog seems to be something that is so hard to get right. As a reviewer, I've seen writers who do dialog so well that I feel like I'm there, and other writers seem to have trouble and even "tell" the dialog rather than write it out.
In Stephen King's On Writing, he pointed out that H. P. Lovecraft was so famously bad at dialog that he actually avoided it.
Thank you, Tia! Stephen King's On Writing is one of my all-time fav writing books.
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