You talkin’ to me? (pt.2)

Hello. It’s been a while but I am trying to get back to doing what I love so bear with me as I resharpen my pencils.

In my previous post, I talked about talking to myself. Now let’s talk about you. Or at least ‘you’, if you were me, talking to you.

Patterns, rhythms, accents and slang all contribute to your characterisation in the same way that an item of clothing would, and should not be ignored. But going too hard and heavy with any accent or dialect may render your story inpenetrable. Equally, leaving out the quirks and idiosyncrasies of a person’s speech make it harder for the reader to follow who is saying what and when, which can lead the endless cascade of speech tags as he said what she said after they said it.

There is also the question of what type of words your character uses. Germanic languages, such as English, Dutch (and German) sound different from the Romantic languages – Spanish, French, Italian, not only because of the words they use but because of the way in which the words are spoken. Books translated from other languages, or set in non-European locations where the characters are steeped in the local traditions also call for an alternative linguistic lens to ensure they remain authentic.

The nuance and conflict of language, the misinterpretation of it all, contributes to the tension of your story and should be as carefully mapped out as a location, so let’s explore (because who doesn’t like a list) what you should be thinking about when you’re writing your dialogue.

[Usual list disclaimer here; not remotely scientific, academic or complete.]

Let’s start with their voice – Can you hear them, in your head, when they speak?

Is it fast? Does it flow? Do they emphasise certain words or syllables because of who they are or where they come from? Can you visualise them speaking to you in person about the weather, or reciting a shopping list or reading a chapter of your favourite book? I only ask, because if you can’t imagine it, neither can your reader.

What kind of dialect are they using?

Often accents and dialects walk hand in hand through a novel. Did the accent change the dialect or vice versa? Honestly I haven’t got a clue – but without exception, everyone has a dialect. The sentence structure, colloquial phrases, slang, the way in which they pronounce certain words, all contribute to more authentic dialogue.

‘I couldnae conjure up a real fucking spirit if you held a gun tae ma heid,‘ (paraphrased from LuckenBooth, J Fagan, 2021) shows how dialect morphs dialogue into something visceral. It separates the narrative from the speech, shining a light through the character as well as the story.

It is also not something that can be easily changed in the middle of your story (without some form of Keyser Soze-style clever explanation) so take some time to get the dialect of your characters right.

What kind of language do they use?

The length and complexity of some words from the Romantic language bestow an implicit superiority. ‘I’d be very grateful for your help,’ feels very different from ‘I’d be immensely grateful for your assistance,’ despite the fact that they are both saying the same thing.

During a course with the very lovely Zoe Gilbert she talked about the differences between Germanic and Romantic languages – how the first is hard and how the other seems to overflow from one word to another – but ultimately how the chosen style shapes the character’s world and their point of view.

In Romantic languages, each syllable is given the same amount of time, making it hard for the listener to know when one word stops and another begins. With Germanic languages, the syllables are stressed differently but the overall pattern of the syllables through the phrases is more consistent, giving it a steadier rhythm. Regardless of what you choose, be consistent.

How much do they say?

Once again, consistency is key. Introverts will open up but a sudden shift into a ‘heart-on-my-sleeve-tell all’ will cause the reader to question their reliability as a narrator (which might be what you want). Conversely, someone who has spent the entire novel sharing everyone’s secrets is unlikely to suddenly keep one to themselves.

Remember the silence

It is often what they don’t say that matters most.

It has taken me a while to get to grips with this and avoid perpetual dialogue-blandness(which a very real and almost completely made-up thing). I am learning to be less fearful and more definitive, looking at how a person speaks as a critical character trait that I have to be able to pick out in a crowd.

Not everyone has to be different, but if they are important enough in your story, they should not all be the same.