Dialogue is everything?

jusduit

Virgin
Joined
Nov 6, 2002
Posts
28
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I hear a lot about the need for more dialogue, dialogue in politics, relationships, just about everywhere, and certainly stories. I decided to explore the writing technique and tested myself with a short story comprised entirely of dialogue, a story where nothing is written that is not spoken by the characters. I found the task interesting as hell, far more demanding in choosing words and thoughts, and despite it all, perhaps a bit too easy. I would sure appreciate your objective comments. First impressions are terrific, and further considerations even better. I hope you enjoy this.
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Dialogue on the Train

“Excuse me?”

“Of course, this seat is free. Please… Let me move this out of your way.”

“Thanks. There. Sorry to bother your briefcase.”

“Not at all. The train’s crowded lately and I have no right to take up two seats.”

“Yes, it’s crowded, but it never seems too much to keep you form banging away on that laptop.”

“Am I that obvious? I suppose it looks kind of funny, buried in this thing every day. I’ll stop if it bothers you.”

“Not at all. It’s a boring hour's ride and I don't blame you. Between the two of us, you are the smart one. I just sit and let my mind go to waste.”

“Believe me, you could not be a waste of anything.”

“Oh? Well, thanks, I think.”

“Thank you, actually. You uh, brighten up this car. I do enjoy the hour here. Writing is liberating. A chance to let the imagination fly.”

“Oh? Then why did you close your laptop when I just sat beside to you?”

“Oh, you noticed. Hmm… How do I say this?”

“Shhh. Like this - whisper.”

“Nice smile. That’s intoxicating perfume. Sorry. I’ll whisper then. I uh, write erotica, for fun.”

“Erotica!”

“Hey! That’s a whisper?”

“Oh. Shhh. Sorry. Wow. I love erotica.”

“You do?”

“Oh, yes.”

“Very nice.”

“What's very nice?”

“Your chest. Oops. I guess I should save the bold-speak for the laptop.”

“My chest?”

“You looked down at your chest when you said you liked erotica.”

“I did?”

“That’s not a bad thing. I’ve been looking at your chest for weeks. There I go again. You'll have to forgive me.”

“Really!”

“Really.”

“I’m flattered. I guess you know, I’ve been looking at you too.”

“Yes! I could only hope, of course, but now I feel like a fool for not introducing us sooner.”

“Yes, You should have. So what are you writing? Can I see?”

“You did it again.”

“What? Oh. Looked at my boobs?”

“Shhh!Yes. I’m beginning to think you like those glorious orbs as much as I do. Sorry, that just slipped out.”

"It did, huh? Are you going to let me read what you are writing, or aren't you?”

“Are you sure? I don’t hold back when I write this stuff. I don’t want to offend.”

“You see my smile? Glorious orbs, huh? Let me see that story”

“Oh wow! Sorry, your lips drive me nuts too. You asked for it. Here.”

“I can hold it. There. Let’s see. This little nipple thing is the mouse? ‘Jenna looked up at me from the floor, her full ass lodged up against the bed and her back curved down to her shoulders, pressed flat on the floor. Long wavy, reddish-brown hair was arrayed on the throw rug beneath her pretty head. Two glorious orbs of bulbous, firm breast flesh were poised above her chest like rolling hills beckoning me to climb. Their areole peaks were reddish brown like her hair, textured perfectly and crowned with large nipples, hard and protruding directly at me. From her inviting ass, propped up and offered to me with both wanton orifices begging my intrusion, rose a pair of full thighs encapsulated in back-seamed stockings reaching up her long legs from slender feet within a few inches of her suddenly moistening, swollen pussy lips…”

“Why did you stop? Did it offend you?”

“No.”

“What then?”

“You could be describing me.”

“What makes…”

“You are, aren’t you? You wrote this about me, didn’t you? You wrote a pornographic story about a woman you spied on the train.”

“It’s pornographic, only because you are reading just that part. There’s a lot of plot in there, a real story first. Look. You started on page nine. Awe, what can I say? You want me to erase it? I’m sorry. Truly.”

“You would do that?”

“Of course! You are the last person I want to make unhappy.”

“Why?”

“Actually?”

“Yes. Honest Injun.”

“I have always admired you. You’re the sexiest woman on this train, every morning. And in what little I’ve heard of conversations you’ve had, I’ve always heard you tell it like it is, and I scream for candor.”

“Tell me more.”

“Tell you more. Hmmm. It’s all in there, really. But as long as you’re asking, I think your breasts are not just huge, but absolutely lively.”

“Lively!”

“Shhh, whisper, remember? Anyway, your gorgeous breasts. They have personalities of their own. I mean it! Don’t laugh. When you happen to sit someplace facing me, I watch them move with your every twist or turn. You tend to talk with your hands, and that’s perfect for watching you, believe me. And they move so independently, so impetuously, they keep me, well, fascinated the whole trip. I can’t tell you how many mornings I have waited for you to leave this train, before I can fold my laptop and not embarrass myself.”

“Oh, come on... More!”

“Wow. You’re talking to me like this. It's nearly more than I can handle. Just look at you. Your hair, is intoxicating. I dream of inhaling it, or having it…”

“Having it what?”

“You asked for this. I dream of having it gliding over my stomach, caressing my skin, my thighs, my…”

“Your balls?”

“Ohhh yes, my balls. You unbelievably sexy thing you. You are sure making this trip.”

“Good. Now tell me more.”

“My God! Where did you ever come from? I think I better pinch myself.”

“If it comes to that, I’ll see to it. Now talk!”

“You love to wear tight, short skirts. And I absolutely adore a woman’s figure as it emerges from a tight, short skirt. But you, you are so hot that way. You sometimes cross a leg and I watch that movement like an eagle watches its prey, the white skin under your thighs, that birth mark inside your right knee. Not a detail gets by, believe me. The crease behind your knee, for some reason, drives me nuts. And don’t ask why, ‘cause I don’t know. It just does. And oh, when you stand. I have dreams about your hips, your, uh, well, your delicious ass. Hell, I dream about all your beautiful parts. Hey, I’m sorry. Now you must really think I’m some kind of pervert or something.”

“…”

“Damn. You do. I’m sorry. I’m really sorry.”

“Shut up. First of all, as you pointed out, I asked for it. Why do men think they can’t talk to women? You are marvelous! Why do you think I dress the way I do? I can’t believe I’m actually getting to talk about this with a stranger, but you have some kind of aura of truth about you, or something like that. I’m not a writer, not so eloquent as you. I dress in hot skirts and tight bras and wag my tits and ass because I love to be watched! Damnit! What you’ve been doing, and especially what you did on this laptop, whooooeee! You make my day, Mr. Author.”

“Whoa. You have me now. I don’t know how to respond.”

“Honey, whatever your name is, and whatever you WERE going to do today, you aren’t! Do you understand me? When we get off this train, we are going straight across Seventh Avenue to a hotel and I am going give you everything you need to finish that story!”

“…”

“Oh, come on! What’s the matter? I thought you couldn’t wait to…”

“Read the last paragraph of that same chapter. On the laptop.”

“Oh? Let’s see. It says, ‘Honey, whatever your name is, and whatever you WERE going to do today, you aren’t! Do you understand me? When we get off this train, we are going straight across Seventh Avenue to a hotel and I am going to give you everything you need to finish that story!’”

“Ohhhhhhhhhh YES! Baby, I like your ending.”
 
Comments anyone?

Sure would like to hear what people think about dialogue used liberally.
 
REALISTIC dialogue is everything, and I admire anyone who can write it.

Yours isn't too bad, though I started out thinking they were strangers, then they were a couple before the penny finally dropped. I guess nothing but dialogue can be confusing.

The people I know don't talk like that, though I guess you explained it away by this line "And in what little I’ve heard of conversations you’ve had, I’ve always heard you tell it like it is"

One final point. Why don't women like that catch the same trains as me?

J-J
 
Now THAT is feedback.

Thanks, Jon_Jones! I appreciate the candor. It's the only way. Actually, when I jotted that bit down, there was a woman in mind, one I have seen several times on the train. Haven't had the cahones, or the opportunity yet to chat with her, but I sure do look.

Thanks again for the feedback.
 
Dialog

Dialog is a two edged sword. Good dialog improves everything but for me, realistic dialog is difficult to write and even more difficult to make work.

In real life, communication is much more than words. It is inflection and tone and even body language and facial expression.

As we progress backward from face to face we lose more and more of our communication.

On the phone we lose body language and facial expression. On paper (or computer) we lose infleciton and tone.

The further we move from face to face, the more difficult dialog becomes.
 
Hadn't thought of that...

But you are right on, Dreampilot. We are drifting into the net, and out of personal contact. We chat in lower case and acronyms. What's it going to be like to feel someone through an electronic glove, as it seems to be going?

Thanks for the thoughts.
 
Dialogue is definitely everything

It moves the story and makes you care about the people in it! But it has to be GOOD dialogue. I read an amazing amount of stories on this site from good writers who can't write believable dialogue to save their lives. Your dialogue is pretty good, but there are just a few instances, like the phrase "Not at all" that make me think, "Who really talks like this?" Also, most people say "Couldn't" instead of "could not" and minor things like that. Otherwise, very good use of dialogue to move the story.

I come up with all my dialogue in the shower. I just think about the characters and let them speak. The facial expressions, inflection and body language are part of it, although they can get tedious to describe. Dialogue is my favorite part of writing and the parts of my stories that always seem to work best.

Nice job.
 
One of the dangers of pure dialogue is regionalisms. If you can't say X happened to be English, you get stuck with phrases like "not at all" that are perfectly normal around here. And for the record, I say "can not" or "could not" instead of using the contraction when I'm going for emphasis. It's a remnant of having been in the south while young and susceptible, I think.

I applaud the exercise, and I think you did pretty well with it. Having chosen a minimalist style, though, I think you have to let go of control more than you do. Wierdly, if you're doing something like this you DON'T want to put too much detail into the dialogue. About now, when I was first told this I was asking: "why? I mean, don't you have to put it somewhere?" Nope. As everyone else has said, in dialogue...believability is king, queen, and the Jack of Spades. You're gonna leave things out...you're going to be sneaky as hell with the extra bits you sneak in...and you're gonna leave a lot to the audience to chuck in as they wish.

Which is why I think the first few lines don't work all that well.

“Excuse me?”

“Of course, this seat is free. Please… Let me move this out of your way.”

“Thanks. There. Sorry to bother your briefcase.”

“Not at all. The train’s crowded lately and I have no right to take up two seats.”

“Yes, it’s crowded, but it never seems too much to keep you form banging away on that laptop.”

The person asking if the seat's free would be the only one to mention the words seat and free, if at all. The responder would probably just say yes. In my experience (and you're playing to each individual reader's experience). I like the punchy first line, and I'd be tempted to leave people puzzled...but I'm like that. I fail in the other direction.

"Bother your briefcase" reads false, like it was chucked in to let us know what was being moved, just like the mention of the seat.

Also, while people do repeat each other (mirroring behavior), "Yes, it's crowded" doesn't ring right either. It feels like you're just getting your feet under yourself here.

“Oh? Then why did you close your laptop when I just sat beside to you?”

feels like too much information again. "when I just sat beside [snip] you" is too much.

But you got some of the dialogue brilliantly right. I loved:
“Shhh. Like this - whisper.”

And then we get to the part you're not going to like. I really swore when she started reading the story aloud. You totally cheated, man ;). Reading something aloud isn't dialogue. It's a sneaky way to avoid the dialogue. If it HAS to be about a story, I really really was hoping the most I would get would be her comentary about the story. Not the story itself.

One of the reasons I wanted that was because I was hoping you were going to demonstrate how something could be sexy as hell without all the "beautiful orbs" language. As often as I've been chatted up, no-one's EVER used those words out loud. It's something writers throw in to avoid endless repetition. Repetition HAPPENS in conversation. When you started talking about her breasts using those kinds of words, you lost me. When she started reading aloud, I was tempted to stop.

But I love the idea, and I thought you had a great start. So...your challenge, should you choose to accept it, is to do it again, but without the crutch. There is a book called Vox you might want to track down written entirely in dialogue (and sexy as hell as a bonus). Also, take in some plays. Reading them, without the stage set in front of you, is downright educational for how dialogue can flow. Remember, Shakespeare didn't use stage directions...everything we know about his world comes from the mouths of his characters. If you can find them, radio dramas are also good source material. They had to do it without stage directions, lacking the stage.

Hope at least some fraction of this was of interest. Now I have to go figure out why my keyboard just went psycho.

G
 
Feedback doesn't get any better than that!

I am flabbergasted! The quality of feedback here is incredible! I never dreamed I’d hear so much. Between carsonshepherd and GingerV, I could respond with a tome! But I’ll spare the world. One thing I have learned clearly is that one man’s proper dialogue, is another’s unreality. “Regionalism” was used to describe this very aptly, though I believe that is an example of how it occurs. When GingerV admitted she used certain terms rather than their contractions, she opened that Pandora’s Box in spades, Jack, Queen, King or ACE. I guess what I will take from the dialogue question first is that one must try to keep the dialogue true to the character. The reader will like or dislike the character more or less, partly due to their use of the language it seems.

By challenging myself to write only in dialogue, I sure did find it necessary to say a few things in too much detail. I happen to ride that train everyday, and there is a woman on board often who I had in mind as I wrote. I have never spoken with her, yet. I have however, heard just about every line, every method, every move made to get past the person inevitably sitting in the more comfortable aisle seat, to sit next to the window, where almost as inevitably, the aisle sitter has plopped his briefcase. (I usually use mine as a desk in my lap.) Anyway, right at the outset, I found it difficult to give the reader a picture of what was happening, and surely GingerV zeroed in on my inept attempt like a spit viper on an eyeball. That sure tells me I didn’t do that very well. Hmmm. Wonder if that had anything to do with my gut feeling I hadn’t done that very well?

I had to laugh at being caught in the act of greatly embellishing the story with the woman reading from the story! And yet, right behind that, GingerV, you were kind to point out your pleasure with the “Shh, whisper,” bit. Not surprisingly, I felt that same guilt and satisfaction pairing when I wrote that bit. One really do have to trust one’s instincts, don’t one!

As for the “Orbs,” BUSTED! Right on! Perhaps I was being paid back by the writer Gods for using the story bit in dialogue form. Your observation that we sometimes breakup redundancy with variety, as unnatural as it might be, the words came back to bite me. On a truth path, when I see the woman I had in mind for this character, my first reaction is always, “God! What glorious tits!” I might even add, when staring unobserved, “Huge, soft and firm and bobbing... Oh! I wish they were in my hands!” Why the hell is it so hard to write what we feel, and share those heartfelt desires?

Thanks to both of you, carsonshepherd and GingerV! Terrific, welcomed, constructive, and valuable contributions. I might just take up GingerV’s challenge, you both inspired me so.

scott
 
dialoge

Writing is about communication. You communicated your intent quite clearly in your dialogue. That to me is the definition of good writing.

The second part of good writing is believability and how we relate to the written word.

As I said earlier, communication face to face is MUCH different than communication on paper/computer. Not only is real face to face dialogue colored by tone and non auditory cues, it is also colored by regionalism. Normal discussion in Boston is MUCH different than in London. Somehow the Brits even put the fanny on the wrong side of the girl.

The "believability" or "reality" of dialogue is based on our interaction with others. What is perfectly flowing and normal in Boston is all wrong in London.

For instance "I put the sock in the boot." In American, it means you took off your sock and put it inside your boot. In English English it can as easily mean you put it in the trunk of your car.

All of those things make writing dialogue for the masses extremely difficult to both communicate and feel "real".

I guess, you judge the quality of dialogue by the litmus test of "does the reader understand it" and leave it at that. As Mr. Lincoln is supposed to have said..."You can please all of the people some of the time, and some of the people all of the time. But you can't please all of the people all of the time." It is pointless to try.

To some, your dialogue will always seem normal. To others, NEVER. Be happy with the success of communication.
 
The wisdom of reality

Right on Dreampilot! Thanks. You said it a helluva lot better than I did. Thanks again.
 
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