'lo
wenever i try to get them to talk it sounds as if some one is telling them what to say. what thewy say is natural for the characters becuse they are based on those i know mainly holly lol (shed kill me for that! :p) i have the same problems with my characters for the trillogy as for the short storys i write
anyone got anyideas as to how to nmake it more realistic?

Here's a tip: People say they want realistic dialogue. But no one wants real realistic dialogue, because it's just not exciting. For example, realistic dialogue would be:

Man 1 "Hey! Hey! Um, hey! Over here!"
Man 2 "Uh- sorry, I didn't hear-"
Man 1 "Oh, no problem- uh, you dropped your wallet, so I thought-"
Man 2 "Oh! Oh, thanks, thank you! Oh, yeah, thanks. I lose this stuff all the time, you know? *laughs*"
Man 1 "Yeah, yeah, I know, huh?"

Not very exciting, or coherent, but it's just how people talk. I made the mistake of writing realistic dialogue when I was working on a novel a few months back and everyone thought the main character was just whiny.

So: Don't write realistic dialogue, write exciting dialogue that's not pretentious.

read more... absorb how the best writers make their characters talk... after you read enough, maybe you'll be able to do it [but don't stop reading!]... the 'maybe' depends on whether you've the talent it takes, as well as the commitment to learn...

I've always found that one person can use all the verbal crutches they need, (um, er, heya, uh, doh!) but as long as one person is in control of the scene, knows what needs to be said, knows what needs to happen next or is leading the way to the next scene, it can work out pretty well. And then next time you can switch the roles and work it the other way.

The question and answer aspect of it opens more doors to reveal the details of what the characters think about and who and what they care about.

What I try to do for dialogue is to actually visualise the scene, and then think of what the characters would say.

The way we really speak it rather odd when written. So if I need them to interupt each other, I show it, if I need them to finish each others sentences, I show it.

It's a case of trying to write a passive form of action, where expression, stance, even tone is important.

I've never been particularly good at this point, and when I include dialogue in my stories it never seems to flow or sound natural...

Perhaps you just need to find the method that works, I've been told I'm good at action sequences, so that how I try to write my dialogue, I try to make things happen.

I think, and this is what works for me, is to think of it as verbal action.

What I think I am trying to say is play it to your strengths, i'm better at active/action scenes, so I use that type of perspective to write the dialogue.

Playing to your strengths has its merits, but rising to the challenge of your Achilles' Heel sounds like it would be better in the long term

I guess so, but dialogue shouldn't just be the spoken words of the characters, it their stances, positions, tone, and to a small degree, movements and actions, are they slouching, or leaning against the wall?

How are they sitting, is it a on a table or chair?

Yes, in a verbal communication, only a small percentage of the message is carried by the words. I've seen different exact percentages, but these numbers I picked uo from http://www.incoming.com/WebModules/QueueTips/Question.aspx?ID=182 are typical:

Body Language: 55%
Tonality: 38%
Actual words: 7%

Which I why I play to my strength at writing action, it helps me write the dialogue without it seeming forced, while not natural, it seems natural, the pair of them in the intro to Balance seem to behave just as they should, at least verbally.

I think this is hard for a lot of writers. I have edited dialogue that had me rolling my eyes. I personally feel the most important way to get your characters to have believable discussions requires two main things. First, say the dialogue outloud. If it sounds hokey as you say it, then rewrite it. Second, you must visualize the scene and both characters in the setting you've placed them. You must be able to put yourself in your characters' shoes in order to make what they say believable...and all dialogue doesn't have to be exciting. There's nothing wrong with ordinary conversations, as long as there is a point to it.

I have to agree.

A rule I recently found I had was, Think it, Say it, Type it.

If at any point it any point something felt off, I went and asked for some help. Of course, some of time it takes an hour to get a bit right, and other times, it only tankes a few minutes.

Without the setting the dialogue is just a set of words without meaning.

Yes, in a verbal communication, only a small percentage of the message is carried by the words. I've seen different exact percentages, but these numbers I picked uo from http://www.incoming.com/WebModules/QueueTips/Question.aspx?ID=182 are typical:

Body Language: 55%
Tonality: 38%
Actual words: 7%

Is that English? How about other languages... and it may be regional too... for example, people in California tend to talk more to get emotional connections, where in NYS they talk less and more abbreviated. There is also Black English Vernacular as well. That will also vary region to region... and gestures within the US (since that's what I'm most familiar with) will change as well as how much gestures are used between classes, etc.

I know in Korea, Japan and China hand gestures aren't used so much. It's more dependent on context, which the speaker and the listener have to know. In this case what's important is the words that *aren't* there. (particularly Japanese.)

Ahhh... but that's more language geekiness there.

Ahhh... but that's more language geekiness there.

Language geekiness is the backbone of good characterization? I truly believe it.

My thoughts are know your character inside and out. The more you know about the character the easier the words come. I've had two characters for about five years now I know both well enough to know how they respond to diffrent types of things. What would rub them up the wrong way and what would please them. Try numerous character sketches and never be afraid to keep a character if the book they are in doesn't turn out right. They may just come in handy later

Oh, a lot of my characters are the "strong silent types" and not real talkers. They never say what is bugging them outright. They rarely have discussions. I often need to report their feelings through another more talkative character. What gives with that???

LOL bunny the brooding types I've got some of those. It's just personality

Broody and silent, are we talking similar to Angel or something else?

I guess it depends on the character, though I think the less a person says, the more they mean in what they say. For example a person who speaks alot will be better able to express themselves, while waht they say could be rather, superfical, that's not to say they'll never say anything profound, but it's rarer, when a more... silent type of person speaks the few woeds they speak have a greater meaning, or as I like to think, just because you can't see it doesnt mean it's not there.

I like to think brooding types seem somewhat stronger and more likely to be male

I agree w/ Lionofperth. Much of what is actually said aloud is the real sham.

Is that English? How about other languages... and it may be regional too...

I'm aware of the study Cogito mentions. If I remember correctly, it was conducted in the UK.

I think it's important not to be too realistic with fictional dialogue. A literal transcription of a normal conversation would make crap fiction, because in fiction realism has to be sacrificed on the altar of clear, concise, succinct communication. You don't really want a conversation full of "um", "er" and "you know" and people interrupting each other.

I think every line of dialogue has to advance the plot, elaborate on the theme, show character, or otherwise serve a definite purpose. It also has to be clear in context.

Hmmm i used to have this sort of problem with my characters when i first started writing seriously. But as i read more and wrote more i got over it. things have to flow right for me. if i cant read a dialogue without finding glitches then i'll sit there for hours until i fix it.
Stephen King said you can't be a good writer without being a good reader. so reading heeps is a must for learning how to make smooth dialogue and almost all other stuff.
That's my opinon :)

Always, always, ALWAYS make sure there is an undertone of tension and conflict at work in the dialgoue and it will rarely fail, even if it's a positive conversation. There is such a thing as good tension.

Also, make sure everything said either adds to the character or the story. Don't do meaningless banter. It worked in 19th century literature to show the native's colorful tongue, but it just doesn't work these days.

Skip

Here's an advice, just write how they talk, and listen how real people talk.

Sarah tapped her fingers impatiently on the table. Henry was running late for the third time in a row, and every minute spent waiting for him was one fewer minute spent on her own novel. Did the man not realise that she was taking time out of a busy schedule to meet with him?

A waiter passed by, and Sarah pulled her thoughts back to the menu in front of her. She'd ordered water, but this place was damnably efficient; the water had been placed before her almost instantly, and soon they'd be back for her order. That would mean another half hour gone, and she just wasn't in the mood. There was a legal pad in her car; perhaps, if she moved fast enough, she could grab it and finish her MC's death scene before Henry arrived.

Yes, she decided. That would work nicely. Maybe, she thought, maybe she could channel some of her current stress into her writing.

She had just reached down for her purse when she heard Henry's voice from the entryway. Even running late, a whole quarter of an hour late, the man was holding the door for an old granny and her - dog? Huh. Sarah shook her head to herself, unable to repress a sudden urge to roll her eyes; the man was truly infuriating.

And his "Good morning" a minute later was shameless. He was dressed as usual for him, in a horrid gray wool jacket that he must have picked up at the Salvation Army. Blue jeans and sneakers, hair untidy - Sarah was just glad he'd remembered to shave. Henry placed the jacket neatly on his chair and sat down, smiling so cheerfully it was as though he hadn't realised how late he was. Well, she'd fix that.

"Do you have any idea how long I've been waiting?" she began, locking eyes with him. She was crowing inwardly. It had been a long day; she needed a way to blow off steam. "I've been sitting here for -"

"Sorry, one moment," Henry said suddenly, overriding her protest. He turned in his seat, made a short upward gesture directed at something out of sight behind her. An instant later, a waiter appeared at her elbow.

"Are you ready to order?"

"Yes, thank you," Henry said, waving down Sarah's muttered objection. "We'll have coffee. No cream, please, thanks."

When the waiter left with their order, Henry looked at Sarah again. "Well, that was quick of them," he said, looking pleased. "You were saying?"

Sarah opened her mouth, shut it, and shrugged. "It doesn't matter. It's not as though you'd listen anyway."

His eyebrows raised fractionally. "Oh? All right, perhaps I deserved that." He pushed his chair back and fumbled awkwardly through one of the pockets of his jacket, which was still hanging neatly off the back of his chair. "I could've sworn you said to meet me at three twenty," he said, pulling out a crumpled paper. He smoothed it against the edge of the table, then read it silently. A few seconds later, he sighed and seemed to deflate a little.

"Well, call it an error on my part, then," he said, putting the paper aside. "You sounded like you're in a hurry, so perhaps we can discuss my tardiness later. What do you need help with?"

The coffee arrived then, with a small basket of sweeteners in tow. Henry deftly took both mugs and added sweetener as Sarah started to explain her predicament.

"... need to have a scene that really makes people relate to the characters, y'know, make them root for my protagonists and everything, and so far all that's come out is an infodump," she ended.

"Mmph," Henry said sympathetically, sipping his coffee. "So, just to make sure I have it: you need - Elenor, was it? - to explain to Gregory why she's not the one."

"Yes," she said.

"And you have to write a convincing dialogue scene, one that describes the characters and their personalities. Because this is the very beginning, and the readers don't know about her family yet."

"Exactly," she said.

"And furthermore, Gregory thinks she's the perfect girl, but she's destined to die soon and you need a way to tell him and the readers without infodumping and without making your story sound all angsty. Or worse, making Elenor sound whiny."

"That's about the gist of it," Sarah admitted. "Unfortunately, I've never been good at dialogue. I can do everything else perfectly, just not that."

"Mm," Henry nodded, swallowing. "Well, I do have a suggestion. It seems like you're getting really stressed about this scene, since there's so much riding on it - wait, wait, let me finish," he said when she started to speak. "Okay, so you aren't stressed because of that. But anyway, I think it would do you wonders to try writing a dialogue scene about something else. Anything. Pick the most trivial thing ever - a chance meeting, a story someone overhears, a bar scene -"

She actually laughed at that one. "How am I supposed to write about a bar? That's your thing, not mine."

Henry looked briefly hurt, but continued anyway. "Okay, not a bar. A college party. Just pick something that interests you and write out a conversation. Edit it until you think it sounds right, and put it aside. Then write Elenor's speech. If you can get her and Greg to sound as normal as the people in the conversation you wrote before, then you know you have a pretty decent dialogue scene."

Sarah blew on her coffee and thought about it. Finally she nodded, stood up, and said, "Thanks."

"No problem," Henry said easily, taking a bill from his wallet and laying it under a napkin on the table. "Are you coming to the Thanksgiving dinner tomorrow?"

She shook her head. "Sorry, Bill's come down with the flu so we're having soup at home instead."

"I'll bring over some leftovers later, then," Henry said, donning his jacket. "Well, it was nice to see you again. I really should get going, though."

"Same."

He paid for the coffee and left. Sarah watched him, holding the door open again for a weird-looking high school couple, who thanked him as they passed by. She would wait a moment before leaving; the coffee was good enough that she didn't really want to just leave it there. To entertain herself, she reached for the crumpled paper Henry had fished out earlier.

It was the email she'd sent him.

"Email sent to Henry Pentac, <tinktink@webserver.com>

Hey Henry,

I'm stuck with my NaNo again and would like your help. Need your advice for a dialogue scene. Wanna meet for coffee at the Mayfair Cafe down on Broad Street? I'll be there at three-twenty sharp. Call if you can't come.

Thanks, Sarah

---------
Sarah Pentac Robinson
Project Manager
Sierra Realties, Inc.
<skrobinson@otherwebserver.com>"

The coffee was gone. Sarah put down the mug, picked up her purse, and left.