So these short stories

[Beco]

In a erotic short story, can you fill lots of it with dialog? I'm trying not to, but you know how that is....

Any suggestions?

 

[Weird Harold]

In a erotic short story, can you fill lots of it with dialog? I'm trying not to, but you know how that is....

Any suggestions?

An Erotic Story is first and foremost a Story; anything that makes any other story worth reading will make an erotic story worth reading. If your story needs dialogue, then use dialogue; If your story is about Mimes getting nasty, then don't.

FWIW, I have written an 'erotic humor' story that is nothing but dialogue -- not even dialogue tags. It's not much better than a story without any dialogue, but I wasn't really trying for a good story, I was trying for readable dialogue, and that I accomplished.

Dialogue is an extremely useful tool in any writer's toolbox, but like any other aspect of writing it can be overused or underused and the trick is to use just as much as is needed to make your story better.

 

[bronzeage]

Dialog is the hottest part of any erotic story.

 

[Beco]

Dialog is the hottest part of any erotic story.

I took a writing class once, the dude said, limit dialog.....

 

[bronzeage]

I took a writing class once, the dude said, limit dialog.....

It all depends on the skill of the writer. For some people, that is very good advice.

 

[Weird Harold]

I took a writing class once, the dude said, limit dialog.....

That's contrary to what almost every other creative writing class/tutorial preaches; Dialogue is an important element of the dictum, "Don't Tell, Show."

Was it a business/technical writing course; that's the only kind of "writing course" where that advice makes sense -- unless he was critiquing a single specific story that had too much/extraneous dialogue.

 

[bronzeage]

That's contrary to what almost every other creative writing class/tutorial preaches; Dialogue is an important element of the dictum, "Don't Tell, Show."

Was it a business/technical writing course; that's the only kind of "writing course" where that advice makes sense -- unless he was critiquing a single specific story that had too much/extraneous dialogue.

John rushed into the room and told me the barn was on fire. I told him to go back and put out the fire. He came back and said it was a total loss, but the cows were safe.

 

[Weird Harold]

John rushed into the room and told me the barn was on fire. I told him to go back and put out the fire. He came back and said it was a total loss, but the cows were safe.

A fine example of 'Tell,' Now can you do 'Show?'

 

[Beco]

That's contrary to what almost every other creative writing class/tutorial preaches; Dialogue is an important element of the dictum, "Don't Tell, Show."

Was it a business/technical writing course; that's the only kind of "writing course" where that advice makes sense -- unless he was critiquing a single specific story that had too much/extraneous dialogue.

Okay, thanks for the advice.

 

[Firebrain]

Dialogue is one of your strongest weapons for character development. If you're good at it, use as much of it as feels natural in your story -- but make sure each line has a function. When you stop indulging the reader and you're just indulging yourself, you have too much.

 

[jehoram]

Dialogue is one of your strongest weapons for character development. If you're good at it, use as much of it as feels natural in your story -- but make sure each line has a function. When you stop indulging the reader and you're just indulging yourself, you have too much.

Very well put. The only thing I can add is that an ear for dialogue is essential. If a character is from a certain background, writing his dialog with his vocabulary and accent is a good way to get his personality across, and distinguish him from the other characters. But it's awfully easy to overdo it, and end up with a caricature rather than a character. So go ahead, but be careful.

 

[AlmostAlice]

When you stop indulging the reader and you're just indulging yourself, you have too much.

How can you tell when this happens, though, short of getting an editor/proofreader?

 

[Firebrain]

How can you tell when this happens, though, short of getting an editor/proofreader?

Ask, as you read, what function the dialogue performs. Do we learn anything new from it? (E.g. exposition of plot, or something about a character). Does it do something that you've already done elsewhere and don't need any more of? (E.g. made people laugh, or built tension). Sometimes dialogue reads smoothly but it's just people talking about inane crap, and at the end of it, nothing moves forward.

 

[glynndah]

I have a story that consists entirely of dialogue. I think it's one of my highest rated ones, too.

 

[SamScribble]

How can you tell when this happens, though, short of getting an editor/proofreader?

Just keep asking yourself:

Does this piece of dialogue tell me something that I, as a reader, would want (or need) to know about the character?

Does it help to create, deepen, or resolve a conflict?

Does it help to 'tell the story'?

I find that if you can't answer yes to at least one of these questions, you probably don't need that particular piece of dialogue. And I love using dialogue.

 

[Weird Harold]

How can you tell when this happens, though, short of getting an editor/proofreader?

The same way you get to Carnegy Hall: Practice, Practice, Practice.

Dialogue is both the easiest and hardest part of writing. Easy becaue all you have to do is transcribe what your character is saying, hard because you have to be able to hear your characters.

 

[Jake Marlow]

A teacher telling you not to use dialogue is one of the most bizarre pieces of advice I've ever heard. Assuming you have a decent ear for it, dialogue is a pretty important part of most stories. Bad teacher.

 

[Beco]

A teacher telling you not to use dialogue is one of the most bizarre pieces of advice I've ever heard. Assuming you have a decent ear for it, dialogue is a pretty important part of most stories. Bad teacher.

In all fairness, it was a book writing class, not a short story class.

 

[Quiet_Cool]

A teacher telling you not to use dialogue is one of the most bizarre pieces of advice I've ever heard. Assuming you have a decent ear for it, dialogue is a pretty important part of most stories. Bad teacher.

I have to disagree with this. Two reasons why: 1) The opening post said the teacher instructed to limit dialogue, not to exclude it. 2) Dialogue, like any other part of a story, has its place, but has only so much effectiveness. It should be used based on need, but not beyond that point.

Ask, as you read, what function the dialogue performs. Do we learn anything new from it? (E.g. exposition of plot, or something about a character). Does it do something that you've already done elsewhere and don't need any more of? (E.g. made people laugh, or built tension). Sometimes dialogue reads smoothly but it's just people talking about inane crap, and at the end of it, nothing moves forward.

Exactly.

Q_C

 

[Quiet_Cool]

In all fairness, it was a book writing class, not a short story class.

If nothing else, a novel should be a more lenient situation for overuse of dialogue. Keeping it short isn't an issue in that case.

Q_C

 

[Weird Harold]

2) Dialogue, like any other part of a story, has its place, but has only so much effectiveness. It should be used based on need, but not beyond that point.

I think the point most of us objecting to the teacher's "limit dialogue" instruction is that Dialogue is chronically underused by beginning writers and thus usually an element that teachers have to encourage rather than discourage. The teacher's instruction wasn't necessarily wrong, just very unusual and usually not necessary for student writers.

The fact that is was a course concerned with longer fiction, makes it more unusual because, as you say, novels aren't as cramped for space.

About the only reason I can think of for limiting dialogue is to save paper in print versions; properly punctuated, naturalistic, dialogue has a lot more white space than blocks of narration and description.

 

[Firebrain]

I would object to the teacher's advice purely because when advising a new writer on style, it's unwise to suggest they limit anything. How will they find their voice? I've always used a lot of dialogue. God knows, a fair few fantasy authors could stand to inject a bit more...

(This, of course, does not apply to areas of grammar e.g. "No, go ahead. As many exclamation marks as you like! Go on!!!!!!").

 

[Munachi]

In a erotic short story, can you fill lots of it with dialog?

well i think you can do anything you want with a story. whether it is enjoyable to read for others, is another matter of course. but as others said, that depends on the story, and how the dialogue is done, and lots of other things.

 

[Quiet_Cool]

I think the point most of us objecting to the teacher's "limit dialogue" instruction is that Dialogue is chronically underused by beginning writers and thus usually an element that teachers have to encourage rather than discourage. The teacher's instruction wasn't necessarily wrong, just very unusual and usually not necessary for student writers.

The fact that is was a course concerned with longer fiction, makes it more unusual because, as you say, novels aren't as cramped for space.

About the only reason I can think of for limiting dialogue is to save paper in print versions; properly punctuated, naturalistic, dialogue has a lot more white space than blocks of narration and description.

Honestly, Harold, I think a lot of the problem for beginning writers (and I see 2 extremes; this would be the opposite extreme than the one you mentioned) is that they tend to think more along the lines society presents them with: watch the movie, don't read the book. If they don't read, all their really doing is trying to write a movie in prose form. Simple actions followed with excessive dialogue.

Q_C

 

[Addyson]

Dialogue

This is actually a tricky one for the reasons that some of the others stated. Have you ever had a hyper-active teen tell you story?
"Well I said..., then she said... then, oh my gosh!"
Yeah, it can get a little hectic. Dialog(ue) can be a great tool in writing. I see it as a way of making a story real. Imagine Huck Finn without dialog. The use of dialog can give us deep insight into the characters. At the same time, writing dialog can be challenging. First, every character cannot sound the same. They should have different rhythms and tempos. Second, language is a part of who people are and that can greatly help in character development. Third, and above all, dialog must be real. To know what is real, LISTEN to people everywhere you go. When you're at the store browsing the cereal aisle, listen to what the person buying a box of Cap'n Crunch is saying to the person on the other end of the phone call. Listen to how people interact. Read The Sun Also Rises.
As for how much to use, the story will drive that. If the story is about a couple having marital problems as they drive across the country, there probably won't be much conversation. When they do speak, it is likely to be short and powerful burst, like jabs. On the other hand, I highly recommend reading Vox by Nicholson Baker. The story is mainstream erotic and is comprised ENTIRELY of dialog.