#Why were you so upset ab jkr but not this?

[sepiamestus]

Its so weird to see ppl actively posting ab the p/jo show rn especially since theyrea bunch of the people who made a big hubbub ab people reading h/p. Like i dont want to be the morality police it just seems a little. Transparent. idk.

[amorremanet]

@apolloniae Okay, first: skffghfk, omg wow, thank you!! That means a lot, especially since this passage is all still early-ish in the writing process for me (like… it’s not as early as the borderline stream of consciousness first-person POV stuff that I was writing with this project last summer, but it’s still fairly early), and I consider it pretty rough still

THAT SAID. omg, dialogue is actually something I both love and dread writing, because I never feel like I have the best gauge on how much is enough or if I’m shoving in too much exposition with it or what, but! I have a couple things I rely on

Not-so-fun secret first: that particular section might be a pretty early draft, but I’ve still revised it something like four times, from jotting the initial idea down longhand, through the different typed versions of this scene that I’ve written (which have gotten changed around pretty significantly), and revisions help a lot with dialogue, in my experience. They can be anything from small stuff like figuring out a better word order but mostly keeping things the same, to taking a really sketchy outline (e.g., “A says something about B’s shoes, B thinks A is being rude and what is up with that, and C is just happy to be here, why can’t we all get along” or full on snatches of dialogue, but written in a way that doesn’t fit the characters) and building the scene up from there. Either way, revisions are a writer’s friend.

But, okay. Speaking more generally: the best place to start is just getting familiar with dialogue, both in real life and in fiction. You really do need both of these influences to write dialogue, because getting more familiar with how people speak IRL can help your dialogue feel realistic — and in some cases, it can be really important to have that verisimilitude, e.g. when you’re writing a bilingual or multilingual character and don’t want to fall into some of the more tired, unrealistic tropes of how multilingualism can manifest in people’s speech; and when you’re writing a deaf character (disclaimer that I’m not deaf, and this fic isn’t the be-all and end-all of how to do this well, but I really like the portrayals of Steve and Clint in, “Trump Diet” by caloriebomb on AO3, and they’re pretty well-researched and well-written portrayals of deaf characters).

On the other hand, though, only listening to how people talk IRL isn’t enough. You can learn a lot from that, for sure — especially when it comes to things like how people present themselves from situation to situation, and how their speech patterns or word choices can change in different contexts (from full-fledged code-switching, to more simple things like swapping in child-friendly substitutes for swear words when you’re with your godkids/younger sibling/grandma/whoever) — but you also need to look at how different techniques for writing dialogue work or don’t in order to figure out how to best present the dialogue so that it helps tell your story.

Different writers also have different strengths that you can learn from, e.g. JKR is really good at blending summaries of things the audience already knows into new scenes (like Harry witnessing the, “Snape brings Remus his Wolfsbane Potion” scene, then immediately running and telling Ron and Hermione), vs. Neil Gaiman’s ability to make dialogue read as realistic and natural even while his characters are talking about patently non-realistic things like magic and whatnot (which I think especially comes out in American Gods, but I’m biased because I’ve been rereading it in honor of the TV series starting), vs. the way that the late, great Terry Pratchett had of really making the dialects, accents, and so on a part of his characters, rather than something pasted on (JKR can also be good at that, but sometimes she goes a bit overboard). So, reading as much as you can is good, and paying attention to how the different writers use dialogue will help you write your own.

Unfortunately, a lot of dialogue-writing ends up being a, “play it by ear” sort of thing. You can easily overdo it with flowery dialogue tags, or repeating, “said” too much. Having too much action between bits of dialogue can bog down the scene, but not having enough can make it feel like nothing’s happening while these people talk (plus, what characters do or not during a conversation can help characterize them as much as, or arguably more than, what they say and how they say it).

One of the biggest pitfalls for a lot of writers is that we put too much dialogue in, usually focusing on the parts of conversations that don’t do anything to help show who the characters are or tell the story. Like, unless your characters have a particularly unique way of saying, “hello” (and showing that to the audience helps establish the characters for us), or there’s something important about how they answer questions like, “Nice day, isn’t it?” (e.g., the, “Wonderful weather this morning” / “Yes, but I always carry an umbrella” exchange from CATFA, because it’s not actually about the weather, but is the password into the secret SSR laboratory), or, “How’re you doing?” (e.g., your character is someone who doesn’t actually respond to that question with some variation on, “Fine, and you?”), then there’s a lot of dialogue that you can probably skip.

However, it can sometimes be difficult to tell where the too much/not enough line is, once you get past that — which really just goes back to the, “Revisions are your friend and you shouldn’t be afraid of them. They don’t mean you’re a bad writer; they’re a part of making your work stronger and telling your stories in the best ways for them” point.

Finally, though, the best rule of thumb is just knowing your characters. Knowing at least a few baseline things about where your characters come from and how they present themselves are helpful for finding their voices and keeping true to it in different scenarios. A character who excessively tries to mold themself according to what other people want them to be, or who unconsciously mirrors those around them, probably won’t have the same speech patterns as a character who doesn’t give a fuck what other people think of them, or who might give a fuck but is too tired/upset/intoxicated/whatever to censor themself effectively. Characters’ upbringings and backgrounds can also come out in their dialogue, so being (more or less) clear on them can be helpful.

One pretty classic example of these ideas is the trope where someone who’s going about in unfamiliar circles may be able to emulate other people’s behaviors, pick up the common speech patterns, verbal tropes, and lingo pretty well, and so on…… but still has a particular verbal tic or cadence to their speech that they can’t shake.

For instance, my Sebastian, from that passage, grew up in a wealthy family that would be minor nobility if the U.S. acknowledged that we totally have a de facto system of nobility (and his paternal grandparents often make a big deal out of how they’re descended from a legit, “Our ancestors earned their title as knights in the service of the King of France before certain well-to-do members of the Third Estate started buying their way up into our ranks, back before the glorious Ancien Régime was even a Thing” noblesse d’épée bloodline). He’s been around folks from a mix of different backgrounds during his time in school, and more so in his adult life, which has involved a lot of hijinks in places that would make his Grandparents go, “Good Heavens, why are you slumming it with the lower classes” before focusing on the actual issues like,, “Why on Earth were you dating an ecoterrorist” and, “Oh dear, our grandson who wanted to join the priesthood when he was a boy seems to have developed a serious problem with opiates”

Like, real talk? Roland and Cecile love their grandchildren, they really do. But when Sebastian went to rehab, they tried to push for sending him to a ridiculously expensive inpatient clinic in California with a huge, pedigreed list of celebrity clients because they thought of it as Rich People Rehab. The explanation, “No, okay? If I’m doing this, then I’m going to this place in Minnesota that exclusively hosts LGBTQ clients because I really don’t feel like I’ll be helped by potentially being around homophobic fellow patients and/or staff”…… was mostly met with blank stares that were the human equivalent of the, “buffering… buffering…” spinning wheel of doom, and the response, “…But going there will put you in treatment with the common rabble, why on Earth would you want that.”

Thankfully, Abe and Marceline, Seb’s parents, were nowhere near this bad — but that classism and the emphasis on how We Are From A Distinguished, Noble Bloodline, So Act Like It were still part of the atmosphere that Seb and his siblings were raised in. Their experiences in schooling moderated it a bit (though less so for, say, eldest brother Max, who went to Posh Boarding School for all four years of high school, then did his undergrad at Columbia and grad school at Harvard), and Seb got a lot of moderation by learning the hard way that sounding too posh in a decidedly not-posh environment is a dead giveaway that you don’t belong there and might get you mistaken for a Federal agent. But it’s hard to completely shake that posh upbringing, and it comes out sometimes in his phrasing, his word choices, etc.

On the other hand, though, Seb is also a human disaster in ways that affect his speech (…and he’s multilingual, but that doesn’t fall under the heading of, “human disaster things”). The trick with those parts of him — like his anxiety and how it kicks into overdrive in certain situations (like, when he’s talking to Stephen, his sponsor’s curatorial assistant, who Seb is crushing on) — is finding a balance where it’s part of his characterization but also doesn’t get completely impossible to read (like the mistake that some people make when writing characters with stutters, where they overdo it to the point that you can’t tell what the characters are saying, but because the writers didn’t do this on purpose, you’re expected to know what’s being said).

Anyway, I’m sorry this got kind of long, but I hope it helps a bit! Dialogue can be tough to work on, but you can learn a lot from experimenting with different ideas and techniques, and just continuing to work on it, even when you hate what you’re writing. ❤️