(Reposting this one from January of three years ago, as it has been one of my most-responded to pieces, and also one of my favorites, because of the reader responses. I will post the original at the end of this repost so that you can go read the originals. They're terrific! Happy New Year! -Brian)
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Happy New Year!
Just this week I ran across this in The New Yorker: "Movie Dialogue That Nobody Has Ever Actually Said in Real Life," by Jason Adam Katzenstein, and it reminded me of any number of conversations I've had both with fellow writers and with fans over the years, marveling at the disconnect between real life and the artistic treatments of real life situations intended to closely resemble them.
It's a quick read, really a series of single panel cartoons handily illustrating the author's point (example: two women running together, with one of them saying to the other: "As your best friend for the last twenty-five years..." and another, one man saying to another-who is facing away from him: "You know what your problem is?").
So, of course, I began thinking about seeing this sort of thing in the fiction I've read. Everyone who has read even ten novels has likely run across this sort of thing. And I'm interested in hearing examples from our readers here at the Sleuthsayers blog. I'll start, but would really like to see some lively responses in the comments.
Here we go!
My example: the use (or overuse) of names
You've seen it. We all have. Dialogue that goes something like this:
"Well?"
"Well, what, Bill?"
"You know what, Carmen."
"No I don't."
"Come on, Carmen. Out with it!"
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So, who talks like this?
Nobody.
There are great authors out there, masters of dialogue (Michael Connelly, Denise Mina, Megan Abbott, Elmore Leonard, Phillip Kerr, Sue Grafton, Walter Mosley, Peter Temple, and a host of others!) whose work is a collective master class in writing dialogue that's so realistic it leaps off the page. And this is the sort of mistake that authors of this caliber never seem to make.
I think every writer goes through a phase, hopefully early in their career, where they commit this sort of blunder. I know I could dust off my first, never-to-be-published "mistake" novel, and find no end of examples of this sort of writing.
But hey, this is all intended be both light-hearted and instructive. So what examples can you bring to the conversation? Looking forward to seeing them in the comments!
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(And here, as promised, is the original post with its terrific reader responses! See you in two weeks! -B.)
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ReplyDeleteOh, the endless amount of bad dialog, in movies, books, etc... But how else are we going to get a good laugh?
ReplyDeleteDefinitely a target rich environment, eh, Eve?
DeleteI learned early on to treat phone conversations with minimalism: no unnecessary hellos, how are yous, good-byes, etc.
ReplyDeleteI've noticed many modern audio fiction and story podcasts have failed to learn how-who-says-what. Many are littered with speech tags in the same voice as the character. In other words, current writers write in speech tags for podcasts. Hearing them is disconcerting.
I've noticed that on political talk shows, the guests invariably and repeatedly use the host's name when answering questions. It's mildly annoying, but worse, suggests sincerity, not spin, when it's all spin.
ReplyDelete