HERE’S a link to a good selection of the sort of slang the lads would have used in the late 1800′s
Everybody knows what dialogue is. You read it all the time, in every fiction book you pick up. You hear it on TV and in the movies. It’s obvious … isn’t it?
Not really. Writing dialogue is more involved than most beginning writers think it is. It’s not just a matter of slapping down a few lines of speech. Here are five myths about dialogue — and the truth for each one.
1. Good dialogue uses plenty of synonyms for “he said.” Many writers believe that they need to come up with a unique dialogue tag for each line, such as “he exclaimed” or “she hissed.” The truth is, good dialogue seldom uses more than the occasional “he said” or “she asked” — and that’s only when clarification is absolutely needed. Readers skim over those familiar words, and read only the spoken lines. When they hit one of those oddball synonyms, they’re jarred right out of the story trying to figure out what the character was doing. Especially jolting are terms like “he smiled” or “she grimaced” — actions you don’t normally associate with speech at all. Just stick to the old stand-by and your readers will thank you.
2. You need a dialogue tag for every line of speech. Your readers are pretty clever people. They know that when two people are talking, they’ll typically take turns speaking, so every other line will be another person. The truth is, you almost never have to write “he said” or “she asked” at all. Start the ball rolling with the primary character doing something, then just slip in their dialogue. The reader will pick it up at that point and understand that the next line belongs to the second person. Show the action, and you can skip the tags. At most, you’ll just have to stick in the odd “Bob said” or “Sally replied” once in a while.
3. Just write the way the average person speaks. Nobody would read past the third line of dialogue if you did this! Dialogue is not just a transcription of normal speech. Most people do a lot of hemming and hawing, with plenty of “ums” and “ers” and “uhs” thrown in. People blather a bit as well, asking about your health and the family and talking about the weather. Nobody wants to read all that! Condense your dialogue to the main information and skip all the small talk.
4. Show dialect phonetically. This seems reasonable on the surface. After all, a character from Ireland will speak a different dialect than one from China. However, phonetic spelling is hard to read, and you end up jolting the reader out of the story again as they try to puzzle out what the character is saying. The best way to handle dialect is to show one — two at the most — examples of phonetic spelling to give the readers the idea. From that point, you need only phrase the speech in the proper manner to remind them. Throw in a few recognizable slang terms, for example, or show the stilted speech of a non-English speaker. Otherwise, use standard spelling and let the reader “translate” into dialect in their own head.
5. Give the whole dialogue. Many writers don’t seem to know when to describe and when to use dialogue. They include the small talk, the greetings and farewells, and all the little boring things people normally include in a conversation. The beauty of writing is that you can skip all the boring stuff and get right into the meat of a dialogue. Show the characters coming together — you don’t need the greetings, the remarks about the local sports team, or the catching-up on the family members. Start the dialogue when the meat of the conversation is reached, and stop as soon as the relevant information is conveyed. The readers can fill in the rest (if they even want to).
What are some of the worst examples of dialogue you’ve ever read?
HERE’S a neat link – occupations in the Victorian era. It’s got a lot of strictly British terms, but there’s enough overlap for those of you who write historical fiction set in other countries.
For those of you who write historical fiction, HERE’S a good link to a food timeline – learn all about what foods your characters would have enjoyed and when!
HERE is a great links page with some good writing podcasts!
HERE’S a link to a Victorian household guidebook – Cassell’s Household Guide – everything you wanted to know about the Victorian household!
Writing is a creative process. Most of the time, it’s just you and your brain, clicking away at that story. It’s not always easy to connect with that creativity, though. Here are some techniques to help you get back in touch with your creative side.
- Focus on the process. If you’re a “pantser,” try making an outline. If you normally start at the beginning and work straight through, try working on one scene that’s caught your interest, even if it’s near the end of the story. Shake things up by thinking about how you work instead of just working.
- Brainstorm. One of the best techniques to number your paper 1-100 and start jotting down ideas. You’ll have to start really working once you get somewhere around 50 – that’s where the creativity kicks in. Don’t give up — and don’t edit the ideas for silliness. Sometimes the silliest notions end up being your best ideas.
- Freewrite. This is where you set a time limit – usually 15-20 minutes – and just write. Don’t edit, don’t worry about spelling or grammar, and don’t worry if it makes sense. In freewriting, if you have a thought like “This is silly,” then you write “I’m thinking this is silly,” and keep writing. Freewriting gets your creative juices flowing and gets you into the habit of writing.
- Change your tools. If you must write in Microsoft Word on an iPad, try using a pencil and a notebook. Get your laptop and write in bed instead of using your desktop. Sometimes you get so hung up on using just the right pen or paper that you lose touch with your creativity. Change stimulates creativity.
- Make some crap. Give yourself permission to create lousy work. Perfectionism is one of creativity’s worst enemies.
- Set smaller goals. Instead of finishing that chapter, just work on one scene. Get five lines of dialogue down instead of the whole argument. Sometimes you’re just overwhelming yourself by setting goals that are too large.
- Fake it. Pretend you know exactly what you’re doing and just dive into your project. Remember that old saying: “Fake it until you make it.” Once you give up your fear of failing, your creativity can come up with some remarkable results. Just start writing and see where you end up.
- Constrain yourself. Try some new rules. Write only in ten-word sentences, or use no adjectives at all, or even write in all capital letters. Forcing yourself to come up with new ways to accomplish your task stimulates your creativity.
- Do the opposite. Try going at it ass-backwards instead. If you’re trying to show your character as a sweet, lovable guy, try letting him be a braggart instead. Write that scene as a dialogue instead of a description. Use the opposite of the word you thought you’d use and see what happens.
- Copy someone else. If all else fails, try jump-starting your creativity by copying an author you admire. You can take this literally and copy out the first chapter of your favorite novel, or you can write in the style of that author, or even use your own characters in a favorite scene. It’s only plagiarism if you try to claim it as your own!
What are your favorite creativity-boosting techniques?
HERE’S a link to a great infographic: writing tools of famous writers!
HERE’S a good link from Writer’s Digest – how to build subplots with multiple viewpoints
HERE’S a good reference article if your characters might have eaten out in the 1870′s!