Just Shut Up!

A discussion of common pitfalls in writing dialogue and expositional methods.

Talking. It seem like the easiest thing in the world. We do it all the time. Some of us do it way too often. So why should it be so hard to make characters talk? Writing convincing and intelligent dialogue is one of the biggest challenges in fiction. A great deal of the dialogue I have read from my fellow writers (and written myself) feels strained. Not quite believable. It can sometimes be hard to tell why your dialogue isn’t quite working, which can be frustrating, to say the least. This is why I thought it would be a good idea to talk a bit about the problems I most often see in people’s dialogue writing as well as how to avoid them. Dialogue writing is a complicated task and there are many ways a writer can go wrong but there are three main areas where I often see writers struggling. The three cardinal sins of dialogue are what I call: Dumping, Flat, and Open Book dialogue. 

The first of these, Dumping, is the worst and most common of these three. This type of dialogue is when the writer tries to dump too much information into a character’s speech. Trying to force expositional material into conversation is dangerous at best. It’s a sign of impatience on the author’s part, trying to get the reader up to speed as quickly as possible. This style of dialogue almost always leads to overly direct exposition and characters who are not believable. No one, in real-life conversation pauses to not-so-subtly explain the situation. It is very difficult to make this sort of speech sound authentic and true to you character. Background information can be slowly and carefully revealed through subtle hints in dialogue and narration. Think about who your character really is as a fully-formed person. Would they really say what you are writing? Is that like them as a person? 

One of the oldest tricks to dealing with the exposition problem is to create one or more characters (usually the protagonist) who are outsiders, new to the situation. This can be a quick fix for overly expositional dialogue.  It is by far the easiest way to overcome Dumping dialogue. There are however one or two problems with this approach. The first is that this is a rather tired method. It is an old and well-used trick that may be a bit too cliché for you or your readers. The second problem is that it is restricting. Once you decide to make a character an outsider, that will help shape who they are and everything they do. Characters are the center of any story. Their desires and experiences are what propel the story forward. Changing the background or situation of any significant character will necessarily change nearly every aspect of their behavior and by extension, their story. 

The only fool proof way to avoid Dumping dialogue is patience. Approach exposition and characterization in a piece-meal fashion. Take your time. You don’t need to tell the reader everything right away. Letting the backstory come out naturally over time. If some small piece of the story-so-far fits comfortably into a situation, go ahead and include it. But if there is any doubt in your mind as to whether you are being overly direct, then err on the side of caution. Nothing is cluckier sounding or more tedious to read than huge information dumps that dispel all mystery at once. The wondering, the putting it all together is not only part of establishing the situation but an important tool in revealing who your character is. It is also an effective method of creating intrigue in your reader. Curiosity is a powerful motivator and it can keep your readers hooked. 

The second most common cardinal sin of dialogue is Flat Dialogue.  It is born from and perpetuates flat characters. It can be tempting, once you have an interesting idea for a plot to stop and think up realistic and complex characters, but this step cannot be overlooked or rushed. It is the most important part of fiction writing. Fortunately overcoming Flat Dialogue is somewhat easier than overcoming Dumping Dialogue.  It is as simple as intimately knowing who and what your characters are. Before you begin writing anything, sit down and create a dossier for each character. Include everything. Physical appearance, personality quirks, favorite color, detailed backstory, and bio. Keep working until you know your characters at least as well as you know yourself.  

The third and final cardinal sin of dialogue is Open Book Dialogue. This is when your character has a bit of an over-share problem. When they say absolutely everything they are thinking in a certain situation. In real conversation people are often indirect and mysterious. They lie, hide things, or just plain avoid certain things.  This, like Dumping Dialogue, usually comes from impatience. If you do have a character you feel you know and are excited about, you want the reader to know them too. You want to show exactly how they feel and what they think. Be patient. Be subtle. It is far more interesting and convincing to reveal your characters by what they don’t say. 

Notice all of these problems and solutions are closely tied with who your characters are. That is because what we say is closely tied with who we are. Your character cannot have convincing dialogue unless they themselves are convincing and fully-formed. Before you can honestly write for a character you must know who they are. As you read (and a writer should always be reading), pay special attention to who the characters really are. How are they formed? What motivates them? What are the different aspects and dimensions of their identity? Develop your understanding of people, what they do and how they think. A good writer needs to understand human nature. So live, know yourself, know others, be brave, be sincere, and have fun! 

Read Padraic's work on Floodmark here.