#anyway sorry for rambling on this piece specifically i'm just thinkin about it

[lytorika]

taking a break from artfight stuff to draw your own problematic blorbos hashtag self care etc

[danisnotofire]

howdy!! i'm a writer too and i'm searching for some sweet fellow-writer-y advice: what tips do you use to make individual characters' dialogue unique? i'm editing a novel draft (barely lol) and i always love finding out what other people do!

HELLO! i betcha didn’t think it’d take YEARS for me to answer this, but better late than never, right? right? 

anyway, here are some things i always think about when doing dialogue:

every single character has a specific way of talking. i don’t mean accent or dialect or lisp or whatever. those things should never be straight-written into dialogue. 

that means NO ‘theriously guyth my lithp ithnt that bad’ when writing with a lisp, no ‘wut the fuck’re yew tawkin’ abert’ when trying to convey an accent. 

you could try something like, “what the fuck are you talking about?” she asked in a slow and heavy texas drawl.  

similarly, stutters aren’t usually “i t-t-thought that we’d b-be able to t-talk?”. they’re easier to read and a lot more effective when written something more like, “i thought that- i thought maybe we could talk?” 

but that doesn’t mean you can’t have a character sound different just based on how they speak. think syntax. think speaking patterns. do they speak in run-on sentences? do they stutter? do they go back on what they say halfway through a sentence? are they an ‘um’ or an ‘uh’ type? what words do two different characters use to say the same thing? 

“Hey, so, I was walking down the street the other day and I caught sight of you but I wasn’t sure if it was you so I didn’t say anything ‘cause that would’ve been so weird if it wasn’t, but did you happen to be walking by that 7/11 last night?” vs “Hey, were you at 7/11 last night? I think I saw you, but I wasn’t sure.” 

you probably got a more bright/excited/rambly energy from the first one right? that’s run-ons. asking questions that they don’t wait to hear an answer for. repeating themselves a little bit. The second one isn’t bad, it’s just a different type of character. probably a little more calm. 

learn your dialogue grammar. here’s a handy post about it. your dialogue sounds INFINITELY better right off the bat if your reading isn’t getting stuck on glaring irregularities. in my creative writing class last semester, my prof literally had us hand-copy a page of dialogue from a short story so we could get them down. dialogue rules are like mis-built stairs– the second that something isn’t exactly to standard, it’s going to be brutally obvious. 

relatedly, you’re allowed to use words that aren’t ‘said’. But use them sparingly. If you do use them, shake it up by throwing in an action. Even in scenes where you need to use synonyms for said, you can often replace them with actions that convey the same emotion. 

“Fuck you.” She slammed the kitchen cabinet, then whirled around to face him. “I want you to leave.” 

“Of course.” He swiped his sleeve across his nose, ignoring the coffin that sat two feet away. “I’m sorry.” 

word choice. the coolest thing about writing dialogue is that it’s not 100% how we speak in real life. you’re a writer, you lie. you want the reader to be fooled into thinking real people talk exactly like this, but you have the added advantage of knowing exactly how the conversation gets to play out. why did that character use that specific word? why did they phrase it like that? were they foreshadowing this huge event in a line they said off-handedly in chapter 2? yes! you get to be in control of that! people’s words in written dialogue can be chosen so much more carefully than they necessarily are in real life, because you as the author know the story. you can have them imply or foreshadow or reference or insinuate anything. have fun with that power, because it’s awesome! 

going off that, what aren’t they saying? think about what your characters are trying to get across. think about what they’re too afraid to say out loud. think about things they want to convey without actually physically saying them. so much can be said by what isn’t said. 

i wrote a short story once that focused on hallucinations and what they were telling the protagonist. the whole point of it was that, at the end, she looked at something that she expected to talk to her, but it didn’t say a word. and that spoke volumes. 

take dialogue inspiration from everything around you! one of my writing profs told me dialogue was one of my strongest points as a writer, and he thought it had something to do with my theatre experience [which makes sense! scripts are 99.999% dialogue!!!!] i went through a phase when i was younger where i would transcribe every conversation i had in my head into words, just to think about how it would look as text. most of all, practice it. dialogue is just another writing skill. it’s only gonna get better if you, y’know, do it. 

the bright side of that is that you do dialogue every day. you see it in movies and musicals and tv shows and in overheard conversations on the train or in the coffee shop. it’s everywhere. it’s how we communicate! talking/communicating is how we get our gossip and our information and our diagnoses and our education! it pushes our lives along! it’s amazing, and getting to control every aspect of those inherently human interactions is one of my favorite parts of writing. 

of course, dialogue is a fluid thing. people have been experimenting with it since writing was invented. because there are an infinite amount of ways to hold a conversation, and an infinite amount of ways to interact with each other, there isn’t one single correct way to do dialogue. 

of course, if you’re writing a standard novel or fic or piece or whatever, then  it’s best to stick to the rules. but if you wanna try something new, go for it! i love experimenting with style and how that contributes to a story. faulkner had some fun with dialogue in the sound and the fury (i’m thinkin chapter 2 with quentin, especially his conversations with his father), where the stylistic blurriness of the conversation said a whole lot about quentin’s state of mind. there’s also some fun dialogue choices in nicole krauss’ the history of love, where she doesn’t always do the standard new-speaker-new-paragraph thing, which adds something to the story as well. 

there’s so much you can do with it to make it come alive and make your characters sound unique. i hope these helped, because they’re kinda what i base everything on myself!!