The Rules of Dialog (Good and Bad)

  

I love writing--and reading--short stories. Almost everything about writing them is fun for me, though the things I most enjoy are the plotting and the dialog. For that reason, I'm often surprised to hear others (novelists, too) say they find those two things to be the hardest.

Easy or hard, plotting's a subject for another time. Today I'd like to rant awhile about what the characters say to each other, and how we convey it to the reader.

As for the title of this post, I think most advice about writing dialog is accurate and helpful--but not all of it.

Consider the following twelve points:

1. Some writing instructors urge their students to avoid the use of dialog attributes ("tags" like Joe said, Jane asked, etc.) unless absolutely necessary to identify a speaker. I agree to some extent, because ideally we should write dialog such that the dialog itself makes it clear who's speaking. But you can't take that to extremes. I've read a lot of student manuscripts, and several published stories, in which the writers were obviously going out of their way to treat dialog tags as if they were Kryptonite, to the detriment of the story. That total avoidance of tags, to me, was as distracting as using too many.

Even though I agree that dialog tags are mainly to identify the speaker, they can also be used for other purposes. 

- A he said/she said can serve as a way to change the subject in mid-speech. Example: "I'll sure be glad when this week is over," she said. "How's your dad doing?" 

- It can be used to isolate and put extra emphasis on a final sentence. Example: "I'll just tell you one thing," she said. "Don't trust him too much."

- It can create a needed break or pause, just to help the common-sense rhythm of a sentence or paragraph. "I coulda had class," he said. "I coulda been a contender."

2. I've heard writers say they dislike using the word said, to the degree that they usually substitute a synonym. I think that's wrong. I used to tell my writing students to remember that dialog tags such as he said and he asked (and maybe she replied) are so common that they've almost become transparent; the reader's eye goes right over them, while expressions like he exclaimed, she inquired, he interjected, etc., can interrupt the flow and distract the reader for a moment from the story, which is something no writer wants to do. (This is why Elmore Leonard famously advised writers to "never use a synonym for said," although I don't quite agree on "never.") Adding to the problem, tags like she explained, he insisted, she inquired, and he retorted are repetitive--the dialog itself should tell the reader whether someone is explaining or insisting or inquiring or retorting. 

Read, or re-read, Lonesome Dove sometime. Larry McMurtry used said constantly, regardless of whether an identifier was needed. If I weren't a writer, I would never even have noticed it. Not only was it not distracting, the book won the Pulitzer Prize for Fiction.

3. In a nutshell, (1) don't feel you have to use a dialog tag if it's clear who's speaking, (2) don't overuse possibly-distracting synonyms for said, (3) don't worry about repeating said or asked too many times, and (4) do use a dialog attribute or an embedded name if there is any question at all about who is speaking. Readers hate to have to count lines backward to identify who's saying what. (And yes, I know I shouldn't complain about repetition--there was plenty of it in this little summary.)

4. Here's something that's rarely mentioned but can be helpful: It's usually better, especially in informal writing, to place the name or pronoun first (Mary said instead of said Mary) The only times I find myself putting the name last is when I need to add some kind of phrase afterward, in the same sentence. Example: "I'm leaving," said Mary, putting on her hat and coat. 

5. I've seen beginning writers, in their efforts to avoid dialog tags, overuse characters' names in back-and-forth dialog between two people. "Hi, Tom, what's up?" "Not much, Jimmy. Taking a trip tomorrow." "Where to, Tom?" "Well, Jimmy, we're headed for the mountains this time." That's an exaggeration, but not by much--and people obviously don't talk this way. Same thing goes for the use of contractions. Nobody speaks like this: "I think I will go see Bill. I am sure he is fine, but since his wife is away, I will go check." Instead they use contractions like I'll and I'm and he's and wife's. If you read your dialog aloud afterward, you'll be able to spot problems like this right away.

6. To again paraphrase Mr. Leonard, try to avoid the use of "ly" adverbs. If the dialog's written well, it probably won't need adverbs after the tags (he said softly, she asked sadly, he replied angrily) to prop it up. And silly repetition can come into play here as well, if you write something like he whispered softly, she moaned sadly, he growled angrily.

7. Since I've already mentioned formal vs. informal, the use of semicolons in dialog can make the writing appear stiff and formal even if that's not your intention. I use far fewer semicolons than I once did, in all kinds of writing, and I never use them in dialog. Dashes, by the way, can be good substitutes for semicolons.

8. Something I do a lot in dialog is indicate interrupted speech. If it's an abrupt interruption and not a "trailing off," the best way to do this is to end the sentence with a dash (not a set of ellipses). Example: 

"What do you think you're--"

"You know very well what I'm doing."

It's especially effective because interruption happens so often when we speak to each other in real life.

9. Feel free to fragment sentences whenever necessary, in dialog. One trick I think I've mentioned before at this blog is to delete certain words, especially at the beginning of some sentences, to make the dialog sound more like the way we actually speak. Here's an example:

Original sentence: "Do you want to go see a movie?"

Better: "You want to go see a movie?"

Even better: "Want to go see a movie?"

10. Be careful about using dialect. The key, I think, is to ask yourself if it's really necessary. And if you do try to write dialect, remember that many editors hate intentionally misspelled words (sho nuff, etc.)--I've found those sometimes work if you don't do it too often. A better idea is to occasionally use slang or regional or ethnic expressions or change real sentences around a bit: (Where you think you headed? or You got mush in your ears? or Daisy says Jimbo has done shot Charlie or You best get over here, and quick.)

11. An ironclad dialog rule that often gets overlooked: Do not include closing quotation marks at the end of a paragraph in a speech that resumes in the next paragraph if the same person is speaking. A correct example: 

John said, into the microphone, "Thank you so much, Councilman Smith, for that fine presentation. We all appreciate your taking the time to visit us today.

"Our final guest is Dr. Susan Jones from the Carter Foundation. Please join me in welcoming her."

I still see this misused, probably by accident, in many published works, and I always find myself wondering if it was a typo or if the author and/or editor just didn't know better.

12. Try, when you can, to use what Sol Stein called "oblique" dialog. In other words, introduce something unexpected--have people reply in a way that doesn't answer a question or brings up new questions or changes direction in some way. Examples:

"Hey. How you doin'?"

"Wow--I sure didn't expect to see you here."

"What have you been up to?"

"Oh. You haven't heard?"

"Where you going today?"

"Believe me, you don't want to know."

"Looks like it's beginning to rain."

"What do you suggest?"

12. Last but not least, try not to construct paragraphs of dialog that look too much alike. Example:

"We're ready to go," John said. "You coming?'

"Hang on," Judy called. "I'm in the bathroom."

"Well, hurry up," Bob said. "We're already late."

"I'm coming, I'm coming," she said. "Good grief."

That kind of writing looks and sounds amateurish. You need some tags here to ID the speakers, yes, but maybe some of those tags could be deleted or moved to the end of the paragraph instead of being in the middle--or maybe some beats of action could be plugged in. Example:

John picked up his car keys. "We're ready to go. You coming?"

"Hang on, I'm in the bathroom," Judy called.

"Well, hurry up," Bob said. "We're already late."

"I'm coming, I'm coming. Good grief."

So, what are your thoughts on all this? Do you like writing dialog, or do you find it difficult? Do you ever write plays or screenplays, which are almost nothing but dialog? What are your own personal "do's and don'ts"? Do you ever use dialog tags just to help regulate the sound or rhythm of a sentence? Do you ever read your dialog aloud to see if it "sounds" right? What are some of your own hints and tips?

There is of course much more that could be said about dialog and its rules, but I know (or I hope I know) when I've rambled long enough. So pick up your car keys, unless you're in the bathroom, and come on--we're already late. Go do some writing.

"What kind of writing?" she asked.

"Dialog," he said.