  |
|
|
|
To Speak or Not to Speak: Creating Dazzling Dialogue, Part II© Kim Kay
Last week, we discussed the differences between dialogue and real-life speech, the types and functions of dialogue, and how to give each character his or her own unique voice. Part two of the article will include information on dialects, dialogue tags, punctuating dialogue, and some dos and don'ts of good dialogue.
Professionals disagree on the use of dialect. Some believe that it should never be used, others say it is okay if used sparingly. Most agree, however, that too much is distracting to the reader. Dialect, with its uncommon words and unusual spellings, is unfamiliar to most readers and may slow them down and cause them to stumble over the dialogue. You do not want your readers concentrating on how something is said, as opposed to what is said. Personally, I dislike the use of dialect unless it is only a word thrown in here and there, such as "Gawd" for "God" to indicate a Southern drawl. If you so choose to use dialect, remember, a little goes a long way. When using alternative spellings and uncommon contractions, keep it as close to the correct spelling as possible, avoiding things such as tripling vowels to create a drawl. For example, the phrase "G'day, mate" indicates an Australian speaker without using distracting spelling. Once it is shown that the speaker is Australian, the dialogue can proceed normally, with only a few quick words of reminder sprinkled throughout. Your readers will continue the accent in their head, without you having to write every word in dialect. Going overboard with it is not only distracting, but it may also offend some readers if they feel their area or ethnic background is being stereotyped. If you want to avoid dialect altogether, you can still create the illusion of an accent by mentioning their background in the narrative or indicate it with rhythm and word choice, instead of phonetic spellings. For example, if your main character is a Southern male, you could mention his location in your narrative, and when he begins speaking, end the first line of dialogue with, "...he drawled." That is enough information, for any reader who has ever heard a Southerner speak, to "hear" the accent without you writing it. If the reader has never heard a Southerner speak, his or her enjoyment of the novel would probably not be increased by the use of that dialect anyway. Readers have strong imaginations. If you give them enough information to get a clear picture of the character, they will create an appropriate accent in their minds. As long as you keep the vocabulary and rhythm of the speech consistent with the accent you are trying to convey, writing dialect is not necessary.
The copyright of the article To Speak or Not to Speak: Creating Dazzling Dialogue, Part II in Novel Writing is owned by Angie Dixon. Permission to republish To Speak or Not to Speak: Creating Dazzling Dialogue, Part II in print or online must be granted by the author in writing.
|
|
|
|
