Using Dialogue to Bring Your Characters to Life
They say we all smile in the same language*. Fortunately for us writers, just about everything else we say, we say in our own unique way. It doesn’t matter if everybody in the room speaks the same language (English, for instance); accent, dialect and all the different words and idioms we tend to use have given each one of us a way of speaking which is almost as peculiar to ourselves as our fingerprints. For us story tellers, understanding and harnessing this knowledge can be the difference between writing a good story and creating a masterpiece.
No, I really don’t think I’m overstating it at all. I think they’ll probably put this on my gravestone but I’ll say it again anyway: characters are always the beating heart of a good story. You can plot until you’re blue in the face, but if all your story has in the end is a good plot and shallow characters, your story will feel abstract, flat and difficult to relate to; in a word, boring. And how are you characters manifested in your story? To some extent it is by what they do, but I would argue that to a greater extent it is by what they say, and more importantly, how they say even the most mundane things. For example, in Star Trek: The Next Generation, the character Data frequently irritates other characters by giving time intervals to the nearest second.
BORG QUEEN: How long has it been since you’ve used them?
DATA: Eight years, seven months, sixteen days, one minutes, twenty-two…
BORG QUEEN: Far too long.
(Star Trek: First Contact, source: http://www.chakoteya.net/movies/movie8.html)
This is more than just a recurring joke. This absurdly precise approach to calculating time is a constant reminder to the audience that Data is an android. At a fundamental level, his mind works like a computer and we can see that in the way he speaks. He doesn’t have to say ‘I’m an android!’ in every single episode to remind us that that is what he is. It’s made obvious by the kind of expressions he uses.
The way a character speaks will tell your audience buckets of information about that character without it being explicitly stated at all. The kindly, elderly member of the local parish church in a quaint middle-class village is unlikely to replace all her commas with strong profanities. Again, Agatha Christie’s Hercule Poirot frequently code-switches into French, signifying his Belgian origins. In addition, a character’s accent will also tell you something about their origins and you can communicate this accent to the reader through how you spell and punctuate your character’s dialogue (this little article I found might prove useful if you’re planning on giving it a go). In short, a character’s register and accent tells you something about their social and geographical background without it being explicitly stated.
Of course, I’m sure that’s obvious to you. But if you really want to harness the power of dialogue to build your character, it’s time to start thinking about your character as an individual. Go back to your character profile and consider his needs, wants, fears and goals, as well as his personal history. Bring it out in everything they say. For example:
Character A: Oh dear, I missed my bus! C’est la vie! I’ll catch the next one. If I’m late, I’m late!
Character B: Sake! See these #$@&%*ing buses! I think they just print the #$@&%*!ing timetable to noise us up; some kind of sick #$@&%*!ing joke on the stupid little commuters! They’re never here when they say they will! Now I’m going to be late again!
Character C: Oh no! I think I’ve missed my bus… ohh, what do I do? I’m going to get the sack for sure! Oh no, no, no, no, I can’t be late again! Oh please, why is this happening to me?
In all three situations, our characters have missed a bus and are late for work. In all three, our characters are miffed to be in this situation but they all express their disquiet very differently and this tells us something about their personalities. One of them is a bitter and twisted man who has had a few hard knocks in his life and is convinced the world is out to get him. One of them is a worrier, constantly nervous and assuming the worst. The other is a carefree optimist. It doesn’t take a genius to figure out which is which based on the above dialogue.
There are two reasons these characters personalities come out so clearly in their dialogue. The first is what they said. Character A easily laughs off the inconvenience with a pithy little c’est la vie, while character B’s bitterness is immediately evidenced by the fact he not only blames the bus service for his trouble, but goes as far as to suggest they have deliberately conspired against him.
But if we go a little deeper, we can also glean the personality of each character by how they said what they said. Character B is the only one who uses bad language, for instance (I’m afraid you’ll need to use your imagination as to exactly what he said, I’m determined to keep this website family friendly). He could have just as easily said, ‘These buses are always late! I think the timetables are just there for fun!’ but that would not have communicated the same kind of pent up angst this character obviously has. Indeed, if he had said it that way, it might have even sounded jocular, even though it communicates exactly the same idea. The audience would simply have no way of knowing for sure what this character was like, or even how he really felt. The original version, on the other hand, leaves the audience in no doubt that Character B is one angry man. In the same way, Character C’s repetition of the word ‘no’ brings out the growing sense of dread he feels that his life is going more horribly wrong than he ever dared to imagine. He could have just said ‘Oh no, I can’t be late again!’ but… it just doesn’t communicate his barely suppressed panic in quite the same way.
If you’re a writer of fiction, it would be well worth your while investing some more time in studying this. I can only scratch the surface of this in a 1,000ish word post but if you master this, dear writer, you will have taken an important step forward in becoming a better story teller. Your characters will have been endowed with a personality that really shines through and makes them stand out as unique individuals. It also goes a long way towards mastering the art of subtext in your dialogue but… alas, that is a subject for another time.
*Although it might be more accurate to say, we all speak the Universal Language of Smiling, which arguably has a vocabulary all of its own. After all, we all know that a sneer, a grin, a grimace and a chuckle all mean quite different things, don’t we?
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Unfortunately, I am unable to take on any more author interviews or solicited book reviews at this time.
You can check out our previous interviews here:
- Sharleen Nelson, author of The Time Tourists 
- D. Wallace Peach, author of the Shattered Sea duology 
- Jacob Klop, author of Crooked Souls
- H.L. Walsh, author of From Men and Angels 
- G.M. Nair, author of Duckett and Dyer: Dicks for Hire
- Georgia Springate, author of Beyond
- S.E. Morgan, author of From Waterloo to Water Street
- Megan Pighetti, author of Fairy-Tailed Wish 
- Nancet Marques, author of Chino and the Boy Scouts [VIDEO]