7.02.2019

Prattling On

Whatever character or plot decisions that are made during the course of writing a novel, an author can always count on the fact that the story will be filled with details. These can be personal, which emerge frequently in dialogue-driven stories. They can be descriptive for those who are either clear-sighted or given to metaphors. Yet the very profusion of possibilities raises a question: how do you recognize which details should be included?

In this post I’ll cover dialogue, since that constitutes more than half the text of most commercial novels. When does the natural flow of words—sounding right to the ear—spill over into nattering? Any writer knows that, especially on a day when you’re tired, entire pages can be spun out of a conversation between two characters. Such practice echoes real life. Just think of your average phone call to your mother. Does anyone escape without talking about minutia for at least twenty minutes?

Let’s stop right there for a moment. From such a phone call you already know what was wheat and what was chaff. You called your mother for a specific reason, say to check on Thanksgiving arrangements. You didn’t need to learn about her latest stomach ailment, or what that nasty Nancy Ross at the theater said to her, or the fact that your stepfather will be carving the turkey, the way he does every year. You knew, going in to the call, that you would endure nineteen minutes of an older person needing to talk in order to gain the one minute that will determine your plans in late November.

When you review your dialogue passages, you can use the same filter. Start off by asking: what am I trying to accomplish during this conversation? How will the words spoken advance either the plot or your characterization? You do want a natural flow, because otherwise the dialogue will be stilted. Yet how much, really, is needed to set that base?

One handy tool is employing narrative summary as bridges during dialogue. If the natural flow starts to yammer, you can end the quoted material and condense the filler to a sentence or two. The narrative portion moves the reader from topic A to topic B without expending all the time it takes for a conversation to naturally bend in that direction. An example might be: “They kept on exchanging pleasantries until Gilbert got around to what he really wanted to say.” Then you jump to the next good part.

Exercise: One tactic that works less well is indirect quotes. While this sort of work can compress text material, it also can come to feel like remote-control storytelling. Are they talking or aren’t they? If you feel you should summarize, try for a single sentence in length to do that job. That’s the level of an executive summary, not a secondhand, passive narrative.

“Great people talk about ideas, average people talk about themselves, and small people talk about others.”
― John C. Maxwell

Copyright @ 2019, John Paine








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