A person's character is more quickly revealed in dialogue than in any other way. Dialogue is both a method of communication between people, as well as a way people indicate existing or potential relationships. Communication is both an overt and subtle act. It involves more than words which are spoken; it also involves how those words are spoken and the body language that accompanies them.
This lesson shows you how to effectively use dialogue to develop characterization.
A reader can't hear the dialogue spoken between characters in a story, only imagine hearing it. How can a writer show a character's vocal tone or describe body language or reveal an accent? These overt and subtle factors must be written into that dialogue. The words used are obviously important; equally important is the way these words are ordered, how they are punctuated, and the choice of grammar used.
Read the three conclusions to the following brief scenario for a look at how important small factors can be in developing a character through dialogue.
Scenario
A puff of black smoke rose from the only other fishing boat on the bay. As Dave pulled within hailing range, he saw the backside of a man hunched over the outboard motor. "Hi, there," Dave called out.
Conclusion #1
"Why, hi, yourself. What can I do for ya?"
"I saw some smoke. Need any help?"
"Huh? Oh, that. Stuck throttle. Just took a whack to break 'er loose. But, hey, thanks a lot for checkin'."
Conclusion #2
"Yes?"
"I saw some smoke. Need any help?"
"Nice of you really, but no. I believe I have it under control. Pesky throttle seems to stick occasionally. Thank you, though."
Conclusion #3
"Oh, ah… hello."
"I saw some smoke. Need any help?"
"Oh, well, thanks, but I don't think so, mister. I mean, maybe the throttle was stuck or something like that. I suppose I could just wait a while and try it again, you know, see if it's cleared up?"
The three people Dave has approached are very different characters. They have all acknowledged Dave's approach, explained the motor's probable problem, declined his help, and thanked him for checking. The words "say" the same things. Yet the way they are put together, the punctuation, and the grammar all imply and create very different characters.
OVERT DIFFERENCES
Character #1 is obviously an old hand at boats and motors. He knows the problem: "Stuck throttle." The words are a declaration; he doesn't "think" or "seem" in his dealing with boats. He takes no guff from a reluctant motor. He just whacks the thing into submission.
Character #2 seems to know his way around motors. "Seems" to. The slightly less confident word slides into his analysis of the problem which he "believes" he has conquered.
Character #3 has deduced the same problem, yet with little confidence. He, too, has a solution—or does he? His own uncertainty shows as he forms his solution as a question.
SUBTLE DIFFERENCES
Character #1 is the least socially refined ("Why, hi, yourself") or educated ("to break 'er loose") of the three. He also is the most open and sincere ("Hey, thanks a lot for checkin'.") An attitude of acceptance and camaraderie ("What can I do for ya?") is detected in his dialogue.
Character #2 is the most aloof ("Yes?") and refined ("Nice of you really") of the three. He appears to have no desire for any relationship with Dave ("I have it under control") and even his thanks appear to be more a matter of correct etiquette than sincerity ("Thank you, though"). Although Dave might still be inclined to wonder if this man's motor is really fixed, this man obviously is not interested in help.
Character #3 is a bit nervous ("Oh, ah…"), followed with the formal "hello" (instead of a casual "hi" or "hello, there"). This indicates that he may be younger than Dave (also implied by the use of "mister") or that he isn't confident in this situation. He doesn't want to ask for help ("but I don't think so"), yet he leaves Dave open to offer his assistance again by ending on a question. The attitude is clear: this man would accept help.
Not one of these characters has been described through narration. Yet in less than 40 words, each character has demonstrated a personality and an attitude toward Dave.
Dialogue tags (discussed in another lesson) and physical descriptions or actions could have also been used to further enhance these characters. Yet dialogue alone has come a long way in establishing these characters as distinct people.
FIRST THINGS FIRST
Probably the biggest reason writers have problems with dialogue is that they don't define the character before they start the dialogue.
In real life, we are accustomed to hearing someone speak first and then making judgments about that person based on his or her speech. For authors, however, the judgments must come first. The three characters above didn't just "appear" to me as I wrote their words of dialogue. I envisioned them as people first, then I listened to hear their words.
For #1, I imagined a grizzled, broken-toothed, wide-grinning fisherman with a scattering of well-used, oily tools at his feet. In #2 I envisioned a retired CEO wearing this season's Eddie Bauer garb, sporting a pipe and employing a toolbox neatly lined with chromed (and seldom used) tools. And in #3 I saw a teen-aged boy with his first fishing boat; in his hands were one hammer, one screwdriver, and one pair of pliers.
Did the reader see all of these factors from my dialogue? No. Most of these details may not even be necessary for the story. Those that are needed can be added through narrative description and tag lines. Yet these details were necessary for me, the writer, to "hear" the character as a person. Then I could record that character's distinct dialogue and vocal idiosyncrasies for the reader.
Copyright, Sandra E. Haven, Editor at Bristol Editing Services
Courtesy of www.bristolservicesintl.com
