Hello, friends!
Today, I'd like you to join me as we go through one of the most important rules of writing DIALOGUE. It's based on William Sloane’s work, “The Craft of Writing” (1979), who pointed out:
A well-written dialogue should do more than one thing at a time.
But what “things” are we talking about?
Well, dialogue should fulfil a certain role when it appears - not just take up space.
What Sloane is saying is basically that for a well-written dialogue it should fulfil at least two roles at the time.
What roles are out there? Let's go through it together!
All the following examples come from my own story called “My Nepenthe”.
OFFER CLUES
Augusta, who has been silent for the past few days, suddenly spoke up with her arms crossed.
‘WE are Doxaleans,’ she growled out. ‘You should show a little more pride for the country that raised you up!’
→ we learn that Augusta takes pride in her ancestry, it's important for her to remember where she comes from. It's also something that she gets passionate about. Therefore, this piece of dialogue offers the reader a clue about a character’s personality.
PROVIDE INFORMATION
‘I’m just curious,’ I shake his comment off. ‘It seems so far away from Ravkha.’
‘Yeah, it is far away,’ the guy goes back to looking at the map. ‘Capital city is called Yunaforta, and it's truly an interesting place (...)
→ we learn more about a part of the characters’ world, therefore providing the reader with useful insights
ESTABLISH THE SETTING
‘We can't!’ Jackie shouted back before hurriedly turning the whole ship to the side, as another cannonball approached the ship. ‘Carm and Fierce! Add wooden planks to the bulwarks! (...)
→ the characters' surroundings and their situation is described, therefore establishing the setting for the scene
ESTABLISH THE MOOD
‘I’ve never danced before,’ I said as she pulled me in. Before she reacted, the music suddenly changed its rhythm and pace. It too slowed down, as if hearing my raging thoughts.
→ we get to read how the MC feels anxious/excitement about the situation, therefore establishing the mood for the scene
ADVANCE THE ACTION
‘Stop daydreaming, we need your arrows!’ Kirmi said, poking at me with her elbow.
And then, just as I tried to focus again, Kirmi let out another one in the series of her arrows. It happened so quickly, and at the same time, the world around me seemed to slow down. I watched the arrow fly across the sky, I watched it get to the both crews fighting on the deck, I noticed the man in a blue hat, and Arlo, fighting with him (...)
→ the described piece of dialogue happens just as the plot advances forward through the arrows flying towards the characters
FORESHADOW
‘Hey, Conn,’ Tessa's fingers around my arm stopped me from leaving. I looked at her with surprise, but she seemed determined. ‘I want you to know that it's not a game you're the only player in. If you stumble on your way, none will wait for you.’
‘What are you talking about?’ I felt a sense of dread wash over me. Tessa noticed she scared me, so she let go of my arm and looked away.
‘Sorry for the grab. Just… keep those words in mind.’
→ it points out something that's not fully explained, but will probably turn out to be important in the future; it's foreshadowing
REMIND WHAT HAS OCCURED
‘Why did you attempt to kiss me?’
‘My feelings are still a mystery to me,’ I say without hesitation. ‘But I know I'm really curious about you, and I think about you a lot. Back that day I felt attracted to you and wanted to show you how I feel by kissing you. I didn't realize it would scare you like that. I'm sorry about that.’
→ a remainder of something that happened a couple of chapters ago
REVEAL A THEME
‘I just wish those things wouldn't happen,’ I finally let out, together with a few teardrops. ‘I want to move on and function, and my memories don't allow me that.’
→ the MC’s fight with his trauma is an important and recurring theme in the story
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