the presentation of a story in a dialogue is called

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4.9: Narration, Point of View, Dialogue

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• Heather Ringo & Athena Kashyap
• City College of San Francisco via ASCCC Open Educational Resources Initiative

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Image from Pixabay

When doing a close reading, you also need to keep the big picture in mind. You already know how to look for major plot points, identify the setting, and list possible themes, but you should also keep in mind who is telling you the story. The narrator , or the person telling the story, is one of the most important aspects of a text. A narrator can be a character in the story, or he or she might not appear in the story at all. In addition, a text can have multiple narrators, providing the reader with a variety of viewpoints on the text. And finally, a story can be related by an unreliable narrator – a narrator the reader cannot trust to tell the facts of a story correctly or in an unbiased manner.

Note: One thing you should always keep in mind is that the narrator and author are different. The narrator exists within the context of the text and only exists in the story. However, in most non-fiction and some fiction, the author can model the narrator after him or her self; in this case, the author and narrator are different people sharing the same viewpoint.

Unreliable Narrators

In reading a first-person narration we encounter a potential problem that we do not have when we encounter an omniscient third-person narrative such as Austen's Northanger Abbey . Can you think what that might be?

The factor I was hoping you would identify is that of the degree of reliability we can attach to a first-person narrative. As we read and discover more about a narrator we receive more and more indications that determine the extent to which we can trust the voice telling us the story. Kazuo Ishiguro's novel The Remains of the Day (1989) is narrated by its central character, an English butler called Stevens, who recalls various events and incidents from the past in such a way as to constantly cast doubt on the dependability of his narration. At one point we are presented with a prolonged and heated argument between Stevens and the housekeeper Miss Kenton about the butler's ailing father, also a member of the staff of the same country house. The argument is narrated in direct speech, suggesting an authentic recreation of the actual incident, but is followed by a piece of narration by Stevens that immediately undermines our trust in his version of events:

But now that I think further about it, I am not sure Miss Kenton spoke quite so boldly that day. We did, of course, over the years of working closely together come to have some very frank exchanges, but the afternoon I am recalling was still early in our relationship and I cannot see even Miss Kenton having been so forward. I am not sure she could actually have gone so far as to say things like: ‘these errors may be trivial in themselves, but you must yourself realise their larger significance’. In fact, now that I come to think of it, I have a feeling it may have been Lord Darlington himself who made that particular remark to me that time he called me into his study some two months after that exchange with Miss Kenton outside the billiard room. By that time, the situation as regards my father had changed significantly following his fall. (p. 60)

There are numerous such examples of Stevens' "unreliability" throughout the novel. These become more significant when placed against the wider historical and political backdrop of the story. Stevens had been butler to Lord Darlington, devoting his life to the service of someone he saw as a "great man." However, as the narrative unfolds, and in spite of Stevens' selective and constantly revised memory, Darlington is revealed as an unwitting pawn of Nazism. The unreliability of Stevens' narration draws an implicit parallel between memory and history and shows both to be liable to distortion and manipulation, whether consciously or unconsciously.

Fragmented Narration

We can see, then, that even when the identity of the narrator of a prose fiction is made clear to us, there are possibilities for uncertainty and ambiguity. So what are we to make of the next extract?

Exercise 4.9.1

Please read the extract from A Portrait of the Artist as a Young Man by James Joyce now and consider what the narrative is describing, and try to characterize the narrative voice and perspective.

This is not at all an easy narrative voice to characterise. Indeed, it is difficult to define who is narrating at various points in the opening section of this novel. However, I hope you realised at least that, as with the other two extracts, this is an account of childhood experience. It even begins with the time-honoured phrase used for telling stories to children – "Once upon a time." The diction of the remainder of the opening sentence seems very childlike, an excited-sounding unpunctuated flow with repetitions of childish terms such as "moocow" and nonsense words like "nicens." We are a long way from narrative " realism " here. As the novelist Anthony Burgess has implied, a more conventional representation of the child's impressions–"My first memories are of my father, a monocled hirsute man who told me stories"–would have a very different effect on us as readers. Burgess described the beginning of Portrait as "the first big technical breakthrough of twentieth-century prose-writing" (1965, p. 50) and I hope you were able to identify aspects of the extract that might warrant such a description.

The narrative seems to be made up of fragmented, unrelated associations; the father's "hairy face"; the mysterious Betty Byrne and her even more mysterious "lemon platt"; the random and sometimes distorted snatches of song and the sinister nursery-rhyme-like refrain "Pull out his eyes /Apologise"; and the unexpected reference to Michael Davitt and Parnell, which we need some knowledge of Irish politics to understand fully.

But can we detect some sort of order or pattern here? I think we can, though it is by no means obvious. The passage gives me the impression of an attempt to replicate a child's growing awareness of his world, the relationships between those who populate it, and the development of his facility for language. The novel begins with an episode of storytelling as we have seen, though we can't be sure whether the child or the father is the actual speaker at that point. The child's stumbling attempts at language are suggested by the nonsensical line of song–"O, the green wothe botheth"–which seems to be a corruption of the two lines quoted prior to that. A world of sensations, sight, sound, touch, smell, and movement is invoked and gradually the wider world begins to impinge and we can see the child beginning to categorise and impose order on his growing knowledge, recognising different smells and the ages of the adults around him. The family unit is then transcended as mention is made of the Vances and the "different father and mother," again implying a developing awareness on the part of the child-narrator. The sense of fragmentation remains strong, however, with the unexplained incident of the child hiding under the table (we are not told why he is there or why he must apologise). The critic Hugh Kenner has described the opening of Portrait as "contrapuntal," and there are certainly at least two contrasting perspectives revealed in this extract: what Kenner calls "an Aristotelian catalogue of senses, faculties, and mental activities" combined with "the unfolding of the infant conscience" (quoted in Beja, 1973, p. 126).

Narrative Organization

The way a story unfolds is as important as who tells it. Even though prose is just “regular writing,” there are many different kinds of prose. Some prose is written as short stories, while other prose is written as novels and novellas. Each type of prose has its own organizational scheme as well. For instance, some stories are organized into large sections, while others are organized into chapters. Some prose is even organized into sections of journal entries or letters between characters.

It is important to note how an author divides a story. Ask yourself why a chapter ends where it does. Does the chapter ending add suspense to the story, or does it just provide a place to transition to another character's point of view? Does each section of a story have its own theme, or is there only one overarching theme? If you are reading an epistolary novel, why do you think one character chose to reveal certain information to another? Paying attention to how a text is organized, divided, and sub-divided will provide you insight into the plot and theme.

Points of View

All prose is written in one of three points of view: first-person narration, third-person limited narration, and third-person omniscient narration.

First Person

First-person narration is written in the first person mode, meaning that that story is told from the viewpoint of one person who often uses language like “I,” “you,” or “we.” A first-person narrator can even be a character in the story she is narrating. Furthermore, the narrator will have a limited perspective; he cannot tell what the other characters are thinking or doing, and his telling of the story is influenced by his feelings about the other characters, the setting of the story, and the plot. When you read prose related by a first-person narrator, pay attention to the narrator's biases – they can tell you a great deal about the other elements of the story. For instance, here's an example of first-person narration:

As I walked home from the store, I could feel the cool spring breeze stir my hair. It was getting warm, and I had been looking forward to the end of snow, sleet, and rain for the past few months. I saw Charley coming down the sidewalk towards me. He was a nice guy, that Charley, but I always thought he was a few bulbs short of a chandelier. He waved at me, and I nodded in return.

As you can see, in the first-person mode, the narrator tells the story directly from his point-of-view. He has the ability to influence the reader's opinions of characters through his narration – here the narrator explains Charley is not a very intelligent person. However, for all the reader knows, this could just be the narrator's bias, not fact. Thus, when you read a story written in the first-person mode, look for evidence to support the narrator's claims.

How would you describe the narrative voice and perspective of this extract?

Click to read the opening of Great Expectations by Charles Dickens .

This is an example of first-person narration. The story is told by a character who is also a protagonist in the narrative. In Great Expectations , as in most first person narratives, the narrator is also the central character. The opening paragraph, with its emphasis on the narrator's family background, and the repetitions of his name – "So I called myself Pip, and came to be called Pip" – are an immediate suggestion that the character telling us the story is likely to be at the heart of it. This is further reinforced as we are then given more information about his family and his circumstances.

The story begins, then, with the narrator giving us an introduction to his own childhood, moving rapidly from the general to the particular and his meeting with the "fearful man" he met in the churchyard. Again, the relation of this incident at the start of the novel leads us to attach some significance to the episode and its participants, raising expectations that are not fulfilled until much later in the narrative.

Here, and throughout Great Expectations , there is in a sense a dual narrative perspective, presenting events narrated by the adult Pip which are at times mediated through the perceptions of the child Pip. The opening encounter in the churchyard, for instance, is enacted with a vivid immediacy. Look again at the point at which the narrative shifts from description to direct speech. The rapidity of the exchanges, with further repetitions of the main character's name and the allusion to his feelings of terror, engage us much more directly with the boy's feelings of horror and dismay.

Third-Person Limited and Omniscient

Third-person narration is related by someone who does not refer to him or her self and does not use “I,” “you,” or “we” when addressing the reader. Here's the same story as above, told in third-person narration:

As Bill walked home from the store, he could feel the cool spring breeze stir his hair. It was getting warm, and he had been looking forward to the end of snow, sleet, and rain for the past few months. He saw Charley coming down the sidewalk towards him. Charley was a nice guy, but he was a few bulbs short of a chandelier. Charley waved at Bill, and he nodded in return.

In this example, the story is told by someone looking at the characters from an outside perspective. A third-person narrator will not be a character in a story, but an outside entity relating the story's events. Third-person narrators rarely give biased accounts of events, but sometimes you will encounter an unreliable third-person narrator.

Some third-person narrators tell from a limited perspective. These narrators relate a story from one point of view, which is often the main character's point of view. Because readers can only tell what that character is thinking and feeling, they have a limited perspective of what other characters are thinking and feeling. In addition, since only one character's perspective is narrated, the audience gets to see the world through that character's eyes; this can be good for revealing certain facts about setting and character, but it can also present a slightly biased story.

The other type of third-person narration is told from an omniscient perspective. This means that the narrator relates the story in third person but has access to all information in the story. The third-person omniscient mode is often used when an author wants to relate a text through the viewpoints of several characters. Third-person omniscient narrators tend to be the most reliable narrators, as they can present all the facts of a story.

Finally, you will sometimes encounter a story that is told in first-person narration by multiple narrators. When reading a multi-narrator text, you must always be aware of who is speaking. Multi-narrator prose provides the reader with as much insight about the characters as third-person omniscient narration does. However, because the reader only receives first-person accounts from each character, this kind of narration tends to be very biased. Thus, it is up to the reader to analyze the information provided by the narrators to reach conclusions about the story.

Omniscient Narrators

This would perhaps be a good point at which to say a little more about third-person narrators. These are often known as an " omniscient " narrators. An omniscient narrator is one that exhibits full knowledge of the actions, thoughts and feelings of each of the characters in the story. Austen invariably used this omniscient perspective, and it remains a popular means of narration amongst contemporary writers. Indeed, more recent authors have made great play of drawing attention to the narrator's role as an all-powerful figure, an embodiment of the author who has full control of the characters at his or her mercy. The beginning of Martin Amis' novel London Fields demonstrates this well:

This is a true story but I can't believe it's really happening. It's a murder story, too. I can't believe my luck. And a love story (I think), of all strange things, so late in the century, so late in the goddamned day. This is the story of a murder. It hasn't happened yet. But it will. (It had better.) I know the murderer, I know the murderee. I know the time, I know the place. I know the motive (her motive) and I know the means. I know who will be the foil, the fool, the poor foal, also utterly destroyed. And I couldn't stop them, I don't think, even if I wanted to. The girl will die. It's what she always wanted. You can't stop people, once they start creating . What a gift. This page is briefly stained by my tears of gratitude. Novelists don't usually have it so good, do they, when something real happens (something unified, dramatic and pretty saleable), and they just write it down? (1989, p. 1)

We might be forgiven for thinking that this is the direct voice of Martin Amis himself. After all, he is the author of the novel, the manipulator of events and characters. But as we read on we realise that this narrator is another character, an American writer called Samson Young, who is living in London in the flat of yet another fictional writer, Mark Asprey (note the initials). To further confuse matters a writer called Martin Amis also makes a cameo appearance in the novel! London Fields uses a variety of narrative perspectives. When Samson Young is actually present at the events described first-person narration is used; when he is not we have something akin to the omniscient narrator of the Austen extract in Activity 2, but we also have the sense that that narrator has a name and a role in the novel.

Video 4.9.1 : Point of view/narrator

Dialogue/Dialog

Dialogue is defined as a conversation between two or more people in a movie. In addition, a fictional piece could have a monologue where a character is speaking out loud when he or she is alone. A character, for example, may contemplate the pros and cons of taking some form of action in a monologue. Dialogue, monologue, and narration progresses the story in literature.

When analyzing character , the terms dialogue , monologue , and soliloquy take on increased importance. Conversation between two or more characters is referred to as dialogue (usually the majority of speech in plays consists of dialogue). A monologue is when one character delivers a speech to convey his or her thoughts, although other characters may remain on stage in scene. Similar to a monologue, a soliloquy is a speech made by one character but delivered when he or she is alone on stage. Knowing the root words of each term can help clarify the distinction. Monologue comes from the Greek words monos (single) and legein (to speak); soliloquy comes from the Latin words solus (alone) and Ioqui (to speak).

What would fiction be without dialogue? Take a look at the following example of a scene with and without dialogue.

Jack, Suzie and Alec are walking home after work. Jack begins the conversation, as he always does. Suzie speaks, as she is always the first one to respond. Alec is silent for a moment and the other two stop walking. Alec notices that they stopped so he stops walking too. Bewildered, Alec mumbles. Jack retorts. Alec looks at them both. Suzie interjects. Alec returns a comment. After a brief moment of silence where all three look at one another, they shrug their shoulders and begin to walk again.

Suzie questions. Alec comments again. There is silence again and Suzie stops the other two. Suzie speaks. Jack interjects again. Alec calmly states. Jack and Suzie look at each other stunned.

The above scene, with no dialogue but just a description, is only a group of actions with no meaning. They could refer to almost any type of situation. As a viewer, after watching the above scene, would you be interested enough in watching the rest of the movie with no dialogue?

Now read the scene with dialogue.

Jack, Suzie and Alec are walking home after work.

Jack begins a conversation as he always does, “How was the work day?”

“All right,” Suzie says as she is always the first one to respond.

Looking at Alec, Jack asks, “How was your day, Alec?”

Alec is silent for a moment as the other two stop walking. Alec notices that they stopped walking so he stops. Bewildered, Alec mumbles, “What?”

“How was your day?” Jack retorts.

“Fine, fine.” Alec looks at them both. “How do you think it was?”

“I don’t know. That’s why I asked.”

Suzie interjects, “That’s why we asked. We like to know how your day was.”

“Oh,” Alec returns.

After a brief moment of silence, where all three look at one another, they shrug their shoulders and begin to walk again.

“Wait a minute! You never did tell us how your day was,” Suzie questions. “Yeah!” agrees Jack.

“Oh,” Alec comments again. There is silence again and Suzie stops the other two.

“Well…” Suzie says. “Yeah,” interjects Jack again.

“I quit my job,” Alec calmly states. Jack and Suzie look at each other stunned.

The dialogue gives the viewer an understanding of what is going on. If the above scene was at a beginning of the fiction piece, the viewer would have an idea what the conflict in the story was going to be.

Contributors and Attributions

• Adapted from Writing About Literature: The Basics by CK-12, license CC-BY-NC
• Adapted from the course Approaching Prose Fiction from OpenLearn licensed under CC-BY-NC-SA
• Adapted from What is Sound? in Exploring Movie Construction and Production, license CC-NC-SA 4.0
• Adapted from Elements of Drama in Literature for the Humanities, source Florida State College at Jacksonville, license CC-BY: Attribution

Understanding Dialogue: A Comprehensive Guide

What is dialogue, how to use dialogue in stories, dialogue and character development, how to format dialogue, dialogue punctuation rules, how to write realistic dialogue, dialogue dos and don'ts, dialogue writing exercises, dialogue in different genres, dialogue examples from literature.

Have you ever been immersed in a book, movie, or play, where the characters' words seem to leap off the page or screen, making you feel like you're right there in the room with them? That's the power of dialogue. Understanding dialogue—what it is, how to use it, and how to write it—opens up a whole new world of storytelling ability. Let's dive in, shall we?

Let's start with the basics. The definition of dialogue is conversation between two or more people as a feature of a book, play, or movie. But it's more than just talk. Dialogue lets us peek into the minds and hearts of characters. It helps move the story forward and builds the world where the story takes place.

But wait a minute—you might think. Isn't dialogue just people chatting? Well, yes and no. Here's why:

• Dialogue is not just conversation: In real life, we often talk without a clear goal or purpose—just think about the last time you chit-chatted about the weather! But in a story, every line of dialogue should serve a purpose: revealing character, advancing the plot, or setting the mood, to name a few.
• Dialogue reveals character: What a character says—and how they say it—can tell you a lot about their personality, background, and motivations. For example, a character who always speaks in short, clipped sentences might be nervous or hiding something.
• Dialogue advances the plot: The action in a story often hinges on dialogue. Maybe one character spills a secret, triggering a chain of events. Or maybe another character talks their way out of a tricky situation, changing the course of the story.
• Dialogue sets the mood: The tone of dialogue can help set the mood of a scene. A light-hearted exchange might signal a happy or relaxed moment, while a heated argument could signal tension or conflict.

So while dialogue might seem like just talk, it's actually a key tool in a writer's toolbox—one that can bring characters to life, drive the story forward, and much more.

If the definition of dialogue is conversation in a story, then knowing how to use it effectively is like knowing how to speak the language of your characters. Let's look at some practical ways to use dialogue in stories.

• Use Dialogue for Exposition: Exposition is a fancy term for "background information." Instead of having a narrator tell us a character's backstory, you can reveal it through dialogue. For example, one character might say to another, "I haven't been back to this town since the factory closed and my family had to move."
• Use Dialogue to Show, Not Tell: You've probably heard this writing advice before: "Show, don't tell." Dialogue is a great way to do this. Instead of telling us that a character is angry, show it by having them shout, "I've never been so mad in my life!"
• Use Dialogue to Reveal Character: Dialogue is a great way to reveal character traits. For instance, a character who speaks in long, complicated sentences might be intellectual or pretentious. A character who rarely speaks might be shy, mysterious, or stoic.
• Use Dialogue to Advance the Plot: Dialogue can move the plot forward. Perhaps a character reveals a secret, proposes a plan, or makes a decision that changes the direction of the story. Dialogue is a great way to make these plot developments feel natural and believable.

Remember, dialogue is more than just words—it's a tool that can bring your story to life. So, the next time you're crafting a tale, think about how dialogue can help you show your readers what's happening, rather than just telling them.

Ever wondered how dialogue can impact character development? Let's find out!

In any story, dialogue is not just chatter between characters. It serves a more significant role — it helps to develop characters. Yes, you heard it right! The words your characters speak can change the way readers perceive them, influencing their depth, personality, and growth. Let's explore this concept with some examples.

• Revealing Personality: The way a character speaks can tell a lot about their personality. Let's take a character who always speaks politely, even in stressful situations. This could suggest that they are well-mannered, patient, or even a bit of a pushover.
• Highlighting Growth: As your story progresses, dialogue can show how your characters grow and change. For example, a character who starts off speaking timidly but gradually becomes more assertive throughout the story clearly demonstrates personal growth.
• Showing Relationships: Dialogue is a great way to show the dynamics between characters. Do they argue a lot? Are they always supportive of each other? These interactions can give readers insights into the relationships between characters.
• Adding Depth: Finally, dialogue can add depth to your characters. By giving your characters distinct voices and ways of speaking, you make them more real and relatable to your readers.

So next time you write dialogue, remember: it's not just about what your characters say, but how they say it. The dialogue you write can shape your characters, making them more complex, relatable, and memorable.

Now that we've understood the role of dialogue in character development, let's dive into the nitty-gritty of formatting dialogue. If you've ever wondered, "What's the correct way to format dialogue?" — look no further.

First, let's start with the basics. Dialogue in writing is typically enclosed in quotation marks. This helps readers identify when a character is speaking. Here's an example:

"I'm going to the store," said John.

Now, let's move on to a few rules that can help you ace dialogue formatting:

• Start a New Paragraph for Each Speaker: When a new character speaks, start a new paragraph. This makes it clear who's speaking and keeps the text organized.
• Use Dialogue Tags Wisely: Dialogue tags like 'said', 'asked', 'yelled' help readers know who's speaking. But remember, less is more. If it's clear who's speaking, you can skip the dialogue tag.
• Handling Actions: If a character performs an action while speaking, it's usually included in the same paragraph as their dialogue. For example, "John tossed the ball, saying, "Catch!"
• Long Speeches: If a character is delivering a long speech, you can break it up into multiple paragraphs. Just remember to open each paragraph with quotation marks but only close the final paragraph with them.

Formatting dialogue might seem tricky at first, but with a little practice, it'll become second nature. Just remember to keep it clear who's speaking and you're good to go!

Let's talk about punctuation. Yes, I know, it's not the most exciting topic in the world. But when it comes to dialogue, the right punctuation can make or break your story. So, let's dive into the definition of dialogue punctuation rules.

• Commas and Periods: In dialogue, commas and periods typically go inside the quotation marks. For example: "I'm going to the store," said John. Or, "I'm going to the store."
• Question and Exclamation Marks: These too go inside the quotation marks if they're part of the dialogue. For instance: "Are you going to the store?" or "I'm going to the store!"
• Dialogue Tags: If a dialogue tag follows the dialogue, replace the period (or other ending punctuation) with a comma. Like this: "I'm going to the store," said John.
• Multiple Paragraphs: If a character's dialogue extends over several paragraphs, each paragraph should begin with quotation marks. But only put ending quotation marks on the last paragraph.

Remember, these are general rules and there may be exceptions based on style guides or individual writing styles. But for a beginner, these rules provide a solid foundation for writing dialogue that's clear and easy to follow.

Ever read a book where the dialogue just didn't feel real? We've all been there. But don't worry—you've got this. Let's break down how to write realistic dialogue.

First up, listen to real conversations . Yes, you read that right. Real people don't talk like characters in a book. They interrupt each other, change the topic, use slang, and rarely speak in perfect prose. So, take a moment to listen to the people around you. You'll start to notice the unique rhythm and flow of real conversation, which you can then use in your own writing.

Next, remember to keep it concise . In real life, people don't usually give long, uninterrupted speeches. They're more likely to use short, snappy sentences. So, when writing dialogue, try to keep it short and sweet. This will also help keep your readers engaged.

Finally, make sure your dialogue reflects your characters . Think about who your characters are—their background, age, profession, etc.—and let this influence how they talk. For example, a teenager probably won't sound the same as a 50-year-old professor.

Remember, writing realistic dialogue takes practice. So, don't get discouraged if it doesn't come naturally at first. Keep at it, and before you know it, you'll be writing dialogue that's so real, your readers will think they're eavesdropping on an actual conversation!

Alright, so you've got the basics down. But there's always room for improvement, right? So, here are some dos and don'ts for writing dialogue that hits the mark.

Do use dialogue to reveal character . Dialogue should do more than just move the plot forward—it should also give readers insight into your characters. Whether it's showing a character's sense of humor, their fears, or their dreams, dialogue is a powerful tool for character development.

Don't overuse names . In real conversations, we rarely use each other's names. So, when writing dialogue, try to avoid using names too often—it can feel unnatural and pull readers out of the story.

Do use contractions . Unless you're writing a character who speaks very formally, contractions can make dialogue feel more natural. So, instead of "I will not", try "I won't".

Don't forget about body language . Dialogue isn't just about what is said—it's also about how it's said. Using body language can add depth to your dialogue and reveal more about your characters.

Do read your dialogue out loud . This can help you catch any awkward phrasing and make sure your dialogue sounds natural.

By keeping these dos and don'ts in mind, you can make sure your dialogue is not only realistic, but also engaging and revealing. Remember, the goal is for your dialogue to feel like a real conversation that pulls readers into your story.

Okay, now that we've gone through the dos and don'ts, it's time to put pen to paper and start practicing. Here are a few exercises to help you improve your dialogue writing skills.

1. Write a conversation between two characters who are complete opposites . This could be a fun-loving teenager and a serious adult, or a quiet librarian and a loud rock star. The aim of this exercise is to showcase their differences through dialogue.

2. Rewrite a conversation from a movie or a book . Take a dialogue scene from your favorite movie or book and try to rewrite it in your own words. This can help you understand how dialogue is structured and how to build tension and emotion.

3. Write a dialogue where a secret is revealed . The secret could be anything—a hidden love, a buried treasure, a past mistake. The goal here isn't the secret itself, but how it's disclosed through dialogue.

4. Write a conversation where characters are arguing . The argument could be about anything, but the focus should be on showing their emotions and viewpoints through dialogue, rather than narration.

5. Write a dialogue with no words at all . Sounds challenging, right? Try to convey a conversation using only actions and body language. This can help you understand the non-verbal aspects of dialogue.

Remember, practice makes perfect. So, don't worry if you find these exercises tough at first. The more you practice, the better you'll get at writing dialogue that not only sounds real, but also pulls readers into your story.

Just as spices give different flavors to food, dialogue can bring out the unique taste of each genre. This is why understanding the definition of dialogue isn't enough. You also need to know how to use dialogue to enhance the atmosphere and mood of your story. Let's look at how dialogue is used in different genres.

Mystery and Thriller: In these genres, dialogue is often crisp, tense, and loaded with clues. Characters speak in short, sharp sentences, and every word matters. They might speak in riddles or codes, making the readers hang on to every word.

Science Fiction and Fantasy: Characters in these genres often speak in a way that reflects the world they inhabit. They might use unusual words or phrases, and their dialogue often helps to build the world and set the atmosphere. Think of the way characters in "Harry Potter" or "Star Wars" speak.

Romance: Ah, the genre of love and longing. Here, dialogue is all about expressing emotions. Characters in a romance novel often speak in a way that reveals their deepest desires and fears. The dialogue is often passionate, moving, and emotional.

Comedy: In this genre, dialogue is all about making the reader laugh. Characters might use puns, sarcasm, or witty one-liners. The dialogue in a comedy often has a fast pace, with characters bouncing off each other's words.

The key to writing good dialogue in any genre is to understand the mood and atmosphere of the genre, and then use dialogue to enhance it. Remember, dialogue is not just about what the characters say, but also how they say it.

Now that we've looked at how dialogue works in different genres, let's explore some examples of dialogue in literature. These examples will help you understand the power and potential of dialogue in storytelling.

1. "Pride and Prejudice" by Jane Austen: This classic novel is known for its witty and engaging dialogue. Let's take a look at this piece of dialogue between Elizabeth Bennet and Mr. Darcy:

"In vain I have struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you."

This dialogue perfectly captures Mr. Darcy's feelings for Elizabeth and his struggle to express them. It's a great example of how dialogue can reveal a character's emotions and inner turmoil.

2. "To Kill a Mockingbird" by Harper Lee: The dialogue in this novel is realistic and powerful, reflecting the setting and the themes of the story. Here's an example of dialogue between Scout and Atticus Finch:

"Atticus, you must be wrong...""Well, they're certainly entitled to think that, and they're entitled to full respect for their opinions," said Atticus, "but before I can live with other folks I've got to live with myself. The one thing that doesn't abide by majority rule is a person's conscience."

This dialogue reveals Atticus' character and his beliefs, showing us why he chooses to stand up for what he believes is right, even when it's unpopular.

3. "The Catcher in the Rye" by J.D. Salinger: The dialogue in this novel is raw and authentic, capturing the voice of the teenage protagonist, Holden Caulfield. Here's a piece of dialogue that showcases Holden's cynical view of the world:

"I'm the most terrific liar you ever saw in your life. It's awful. If I'm on my way to the store to buy a magazine, even, and somebody asks me where I'm going, I'm liable to say I'm going to the opera. It's terrible."

Through this dialogue, we get a glimpse into Holden's mind and his struggle with truth and authenticity.

These examples show how dialogue can reveal character, set the mood, and move the story forward. Remember, the definition of dialogue is far more than just words spoken by characters. It's a tool that can bring your story to life.

If you're looking to further develop your understanding of dialogue and want to apply it to the world of scriptwriting, check out Jessy Moussallem's workshop, ' Scriptwriting .' This workshop will provide you with valuable insights and techniques on how to create engaging and realistic dialogue, bringing your scripts to life.

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Definition of Dialogue

Plato initially used the term “dialogue” to describe Socratic dialectic works. These works feature dialogues with Socrates, and they were intended to communicate philosophical ideas. As a current literary device, dialogue refers to spoken lines by characters in a story that serve many functions such as adding context to a narrative , establishing voice and tone , or setting forth conflict .

Writers utilize dialogue as a means to demonstrate communication between two characters. Most dialogue is spoken aloud in a narrative, though there are exceptions in terms of inner dialogue. Writers denote dialogue by the use of quotation marks (indicating spoken words) and dialogue tags (words such as “said” or “asked” indicating which character in the narrative is speaking). For example, Charles Dickens utilizes dialogue, quotation marks, and dialogue tags effectively in his work Great Expectations :

“Oh! Don’t cut my throat, sir,” I pleaded in terror. “Pray don’t do it, sir.” “Tell us your name!” said the man. “Quick!” “Pip, sir.” “Once more,” said the man, staring at me. “Give it mouth!”

The reader is able to understand which words are spoken and by which characters. This passage demonstrates the way dialogue is used to convey the thoughts and actions of characters in addition to creating dramatic conflict that moves the plot along.

Examples of Why Writers Use Dialogue

Dialogue, when used effectively in a literary work, is an important literary device. Dialogue allows writers to pause in their third-person description of a story’s action, characters, setting, etc., which can often feel detached to the reader if prolonged. Instead, when characters are “speaking” in first-person in a narrative, the story can become more dynamic.

Here are some examples of why writers use dialogue in literary works:

• reveal conflict in a story
• move story forward
• present different points of view
• provide exposition , background, or contextual information
• efficient means of conveying aspects and traits of characters
• convey subtext (inner feelings and intentions of a character beyond their surface words of communication)
• establish deeper meaning and understanding of a story for the reader
• set character’s voice, point of view , and patterns of expression
• allow characters to engage in conflict
• create authenticity for reader

Famous Lines of Dialogue from Well-Known Movies

Well-known movies often feature memorable lines of dialogue that allow the audience to connect with characters and have a greater understanding of the plot as well as enjoyment of the film. Here are some famous lines of dialogue from well-known movies:

• Casablanca:   “But what about us?” “We’ll always have Paris.”
• The Wizard of Oz: “Lions? And Tigers? And Bears?” “Oh my!”
• Star Wars (A New Hope): “He’s almost in range.” “That’s no moon; it’s a space station.”
• Love Story: “Jenny, I’m sorry.” “Don’t. Love means never having to say you’re sorry.”
• No Country for Old Men:   “Look, I need to know what I stand to win.” “Everything.”
• Forrest Gump: “I thought I’d try out my sea legs.” “But you ain’t got no legs, Lieutenant Dan.”
• Toy Story: “Buzz, you’re flying!” “This isn’t flying; this is falling with style .”

Writing Effective Dialogue

Writers often find it difficult to utilize dialogue as a literary device. This is understandable considering that most of the daily dialogue exchanged between people in reality is often insignificant. In addition to being meaningful, it’s also difficult to write dialogue that “sounds” authentic to a reader. This poses a danger of taking a reader’s attention away from the story due to distracting dialogue.

However, writers shouldn’t avoid dialogue. This literary device, when written well, accomplishes many things for the narrative overall. Dialogue that sounds natural, authentic, and lifelike will advance the plot of a story, establish characters, and provide exposition. Therefore, writers should understand their purpose in using this literary device effectively as a means of creating a compelling story and entertaining experience for the reader.

Examples of Dialogue in Literature

As a literary device, dialogue can be utilized in almost any form of literature. This allows readers to better understand characters, plot, and even the theme of a literary work. Here are some examples of dialogue in well-known literature:

Example 1:  Up-Hill  (Christina Rossetti)

Does the road wind up-hill all the way?    Yes, to the very end. Will the day’s journey take the whole long day?    From morn to night , my friend . But is there for the night a resting-place?    A roof for when the slow dark hours begin. May not the darkness hide it from my face?    You cannot miss that inn. Shall I meet other wayfarers at night?    Those who have gone before. Then must I knock, or call when just in sight?    They will not keep you standing at that door. Shall I find comfort, travel-sore and weak?    Of labour you shall find the sum. Will there be beds for me and all who seek?    Yea, beds for all who come.

It can be rare in poetry to find dialogue as a literary device due to a poem ’s typical nature of not featuring characters. However, in Rossetti’s literary work, the structure of the poem is in dialogue form. The poet asks questions of an unknown speaker and receives answers in return. This dialogue structure is effective in the poem in that the poet’s questions can be understood in a literal as well as symbolic manner. The poet is, on the literal surface, asking about the direction of the road, how long the journey will take, and what they may find once they reach the top of the hill. The unknown speaker replies with logical answers to these questions at a literal level.

However, Rossetti’s poem can also be interpreted as symbolic dialogue. The poet’s questions can be understood as those that humans would ask about the path of life and expectations in death and the afterlife. In this way, the dialogue, or conversation, is between the poet who represents human curiosity and an unknown speaker with the authority to reassure and confirm “answers” to these symbolic questions. Readers are left to wonder if the symbolic dialogue in the poem is between the poet and perhaps God.

Example 2:  The Importance of Being Earnest (Oscar Wilde)

ALGERNON. I’m afraid I’m not that. That is why I want you to reform me. You might make that your mission, if you don’t mind, cousin Cecily. CECILY. I’m afraid I’ve no time, this afternoon. ALGERNON. Well, would you mind my reforming myself this afternoon? CECILY. It is rather Quixotic of you. But I think you should try. ALGERNON. I will. I feel better already. CECILY. You are looking a little worse. ALGERNON. That is because I am hungry. CECILY. How thoughtless of me. I should have remembered that when one is going to lead an entirely new life, one requires regular and wholesome meals. Won’t you come in ?

Since plays are dramatic literary works to be performed, they often rely almost exclusively on dialogue between characters as a means of presenting the narrative. When plays are performed on stage, the audience can see and hear which character is speaking in addition to their physical attitude , vocal tone, inflection, etc. When reading a dramatic work such as Wilde’s famous play , the reader understands who is speaking as a result of the character’s name associated with specific lines of dialogue.

Wilde was known for using dialogue as a literary device to create witty conversations between his characters for the audience’s entertainment. However, Wilde’s word play and unexpected exchanges between characters often didn’t serve to create much dramatic action in terms of plot in his literary works. Instead, Wilde’s use of dialogue and patterns of expression convey the voice and traits of his characters in addition to setting forth some dramatic conflict in the narrative.

Example 3:  Hills Like White Elephants  (Ernest Hemingway)

“And you think then we’ll be all right and be happy.” “I know we will. You don’t have to be afraid. I’ve known lots of people that have done it.” “So have I,” said the girl. “And afterward they were all so happy.” “Well,” the man said, “if you don’t want to you don’t have to. I wouldn’t have you do it if you didn’t want to. But I know it’s perfectly simple.” “And you really want to?” ” I think it’s the best thing to do. But I don’t want you to do it if you don’t really want to.” “And if I do it you’ll be happy and things will be like they were and you’ll love me?” “ I love you now . You know I love you.”

In this short story , Hemingway utilizes dialogue as a literary device to allow his characters to “talk” about a subject , though the actual subject itself is not directly named or expressed by either the man or the girl. This poses a challenge to readers in terms of determining what the couple is actually discussing. This is an effective strategy considering the couple is discussing whether the girl should terminate her pregnancy–a subject that would have been taboo to mention outright. Instead, Hemingway constructs dialogue such that the reader must interpret the difference between what the two characters are saying and what they truly mean.

Therefore, to understand the story, readers must pay close attention not to what is being said but who is speaking and the manner in which they speak. The dialogue becomes much more about the nature of the characters than the words they are speaking. This allows the reader to notice subtleties such as the plaintive tone of the girl, her ambiguous feelings, and her need for reassurance. In turn, the reader is able to notice the pressuring and insistent tone of the man. Hemingway’s use of dialogue, in a sense, offers a story in which the words “tell” less about the narrative than the attitudes of the characters do.

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What is Dialogue in Literature? Definition, Examples of Literary Dialogues

Home » The Writer’s Dictionary » What is Dialogue in Literature? Definition, Examples of Literary Dialogues

Dialogue definition: Dialogue is a conversation between two or more characters in a literary work.

What is Dialogue?

Meaning of dialogue: The term dialogue means “two” (di-) “speak” (log). In this sense, two people are speaking to create dialogue.

Dialogue is a spoken conversation that includes at least two characters.

Example of Dialogue:

“No,” responded Mrs. Smith.

“How much longer?”

“At least another hour.”

Types of Dialogue

In literature, and elsewhere, there are a few different types of dialogue. Here are the two most common types.

What is Inner Dialogue?

Sometimes inner dialogue is said out loud (Everyone talks to himself once in a while!) and sometimes inner dialogue takes place in the mind.

Sometimes inner dialogue is punctuated in italics.

• I cannot believe I hurt my brother. Will he ever forgive me?
• “I cannot believe I hurt my brother. Will he ever forgive me?” wondered James.

What is Outer Dialogue?

Outer dialogue exists between two (or more) characters and is said “ out loud .”

Outer dialogue punctuated with quotation marks. Each new speaker requires a new paragraph and indentation.

“Let’s go to the beach this afternoon!” suggested Kara.

“I’d rather go to the zoo,” responded Miguel.

“Let’s flip a coin to decide,” remarked Amanda.

“I call heads!” shouted Miguel.

The Function of Dialogue

First, it creates characterization. In fact, it is one of the four main methods of characterization. The audience learns much about a character through his speech.

Second, dialogue advances the plot . Interactions within, between, or among characters help to give insight to the storyline.

Additionally, well-written dialogue makes a text realistic. In the real world, people interact and have conversations. This is critical to a successful text.

Examples of Dialogue in Literature

Here is an example from the opening chapters of The Catcher in the Rye between Mr. Spencer and Holden Caulfield.

“What did Dr. Thurmer say to you, boy? I understand you had quite a little chat.

“Yes, we did. We really did. I was in his office for around two hours, I guess.”

“What’d he say to you?”

“Oh…well, about Life being a game and all. And how you should play it according to the rules. He was pretty nice about it. I mean he didn’t hit the ceiling or anything. He just kept talking about Life being a game and all. You know.”

“Life is a game, boy. Life is a game that one plays according to the rules.”

“Yes, sir, I know it is. I know it.”

This is example is an introduction to Caulfield’s true character. Throughout the text, he lies and tries to manipulate adults. This example begins to develop the cunning side of Caulfield.

Define dialogue in literature: the definition of dialogue in literature is a conversation between two or more characters in a story, or between a character and himself.

To sum up, dialogue:

• is an exchange of words between two or more characters
• can be “inner” or “outer”
• develops characterization

See also dialogue vs. dialog .

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Dialogue Definition

What is dialogue? Here’s a quick and simple definition:

Dialogue is the exchange of spoken words between two or more characters in a book, play, or other written work. In prose writing, lines of dialogue are typically identified by the use of quotation marks and a dialogue tag, such as "she said." In plays, lines of dialogue are preceded by the name of the person speaking. Here's a bit of dialogue from Alice's Adventures in Wonderland : "Oh, you can't help that,' said the Cat: 'we're all mad here. I'm mad. You're mad." "How do you know I'm mad?" said Alice. "You must be,' said the Cat, 'or you wouldn't have come here."

Some additional key details about dialogue:

• Dialogue is defined in contrast to monologue , when only one person is speaking.
• Dialogue is often critical for moving the plot of a story forward, and can be a great way of conveying key information about characters and the plot.
• Dialogue is also a specific and ancient genre of writing, which often takes the form of a philosophical investigation carried out by two people in conversation, as in the works of Plato. This entry, however, deals with dialogue as a narrative element, not as a genre.

How to Pronounce Dialogue

Here's how to pronounce dialogue: dye -uh-log

Dialogue in Depth

Dialogue is used in all forms of writing, from novels to news articles to plays—and even in some poetry. It's a useful tool for exposition (i.e., conveying the key details and background information of a story) as well as characterization (i.e., fleshing out characters to make them seem lifelike and unique).

Dialogue as an Expository Tool

Dialogue is often a crucial expository tool for writers—which is just another way of saying that dialogue can help convey important information to the reader about the characters or the plot without requiring the narrator to state the information directly. For instance:

• In a book with a first person narrator, the narrator might identify themselves outright (as in Kazuo Ishiguro's Never Let Me Go , which begins "My name is Kathy H. I am thirty-one years old, and I've been a carer now for over eleven years.").
• Tom Buchanan, who had been hovering restlessly about the room, stopped and rested his hand on my shoulder. "What you doing, Nick?”

The above example is just one scenario in which important information might be conveyed indirectly through dialogue, allowing writers to show rather than tell their readers the most important details of the plot.

Expository Dialogue in Plays and Films

Dialogue is an especially important tool for playwrights and screenwriters, because most plays and films rely primarily on a combination of visual storytelling and dialogue to introduce the world of the story and its characters. In plays especially, the most basic information (like time of day) often needs to be conveyed through dialogue, as in the following exchange from Romeo and Juliet :

BENVOLIO Good-morrow, cousin. ROMEO Is the day so young? BENVOLIO But new struck nine. ROMEO Ay me! sad hours seem long.

Here you can see that what in prose writing might have been conveyed with a simple introductory clause like "Early the next morning..." instead has to be conveyed through dialogue.

Dialogue as a Tool for Characterization

In all forms of writing, dialogue can help writers flesh out their characters to make them more lifelike, and give readers a stronger sense of who each character is and where they come from. This can be achieved using a combination of:

• Colloquialisms and slang: Colloquialism is the use of informal words or phrases in writing or speech. This can be used in dialogue to establish that a character is from a particular time, place, or class background. Similarly, slang can be used to associate a character with a particular social group or age group.
• The form the dialogue takes: for instance, multiple books have now been written in the form of text messages between characters—a form which immediately gives readers some hint as to the demographic of the characters in the "dialogue."
• The subject matter: This is the obvious one. What characters talk about can tell readers more about them than how the characters speak. What characters talk about reveals their fears and desires, their virtues and vices, their strengths and their flaws.

For example, in Pride and Prejudice, Jane Austen's narrator uses dialogue to introduce Mrs. and Mr. Bennet, their relationship, and their differing attitudes towards arranging marriages for their daughters:

"A single man of large fortune; four or five thousand a year. What a fine thing for our girls!” “How so? How can it affect them?” “My dear Mr. Bennet,” replied his wife, “how can you be so tiresome! You must know that I am thinking of his marrying one of them.” “Is that his design in settling here?” “Design! Nonsense, how can you talk so! But it is very likely that he may fall in love with one of them, and therefore you must visit him as soon as he comes.”

This conversation is an example of the use of dialogue as a tool of characterization , showing readers—without explaining it directly—that Mrs. Bennet is preoccupied with arranging marriages for her daughters, and that Mr. Bennet has a deadpan sense of humor and enjoys teasing his wife.

Recognizing Dialogue in Different Types of Writing

It's important to note that how a writer uses dialogue changes depending on the form in which they're writing, so it's useful to have a basic understanding of the form dialogue takes in prose writing (i.e., fiction and nonfiction) versus the form it takes in plays and screenplays—as well as the different functions it can serve in each. We'll cover that in greater depth in the sections that follow.

Dialogue in Prose

In prose writing, which includes fiction and nonfiction, there are certain grammatical and stylistic conventions governing the use of dialogue within a text. We won't cover all of them in detail here (we'll skip over the placement of commas and such), but here are some of the basic rules for organizing dialogue in prose:

• Punctuation : Generally speaking, lines of dialogue are encased in double quotation marks "such as this," but they may also be encased in single quotation marks, 'such as this.' However, single quotation marks are generally reserved for quotations within a quotation, e.g., "Even when I dared him he said 'No way,' so I dropped the subject."
• "Where did you go?" she asked .
• I said , "Leave me alone."
• "Answer my question," said Monica , "or I'm leaving."
• Line breaks : Lines of dialogue spoken by different speakers are generally separated by line breaks. This is helpful for determining who is speaking when dialogue tags have been omitted.

Of course, some writers ignore these conventions entirely, choosing instead to italicize lines of dialogue, for example, or not to use quotation marks, leaving lines of dialogue undifferentiated from other text except for the occasional use of a dialogue tag. Writers that use nonstandard ways of conveying dialogue, however, usually do so in a consistent way, so it's not hard to figure out when someone is speaking, even if it doesn't look like normal dialogue.

Indirect vs. Direct Dialogue

In prose, there are two main ways for writers to convey the content of a conversation between two characters: directly, and indirectly. Here's an overview of the difference between direct and indirect dialogue:

• This type of dialogue can often help lend credibility or verisimilitude to dialogue in a story narrated in the first-person, since it's unlikely that a real person would remember every line of dialogue that they had overheard or spoken.
• Direct Dialogue: This is what most people are referring to when they talk about dialogue. In contrast to indirect dialogue, direct dialogue is when two people are speaking and their words are in quotations.

Of these two types of dialogue, direct dialogue is the only one that counts as dialogue strictly speaking. Indirect dialogue, by contrast, is technically considered to be part of a story's narration.

A Note on Dialogue Tags and "Said Bookisms"

It is pretty common for writers to use verbs other than "said" and "asked"  to attribute a line of dialogue to a speaker in a text. For instance, it's perfectly acceptable for someone to write:

• Robert was beginning to get worried. "Hurry!" he shouted.
• "I am hurrying," Nick replied.

However, depending on how it's done, substituting different verbs for "said" can be quite distracting, since it shifts the reader's attention away from the dialogue and onto the dialogue tag itself. Here's an example where the use of  non-standard dialogue tags begins to feel a bit clumsy:

• Helen was thrilled. "Nice to meet you," she beamed .
• "Nice to meet you, too," Wendy chimed .

Dialogue tags that use verbs other than the standard set (which is generally thought to include "said," "asked," "replied," and "shouted") are known as "said bookisms," and are generally ill-advised. But these "bookisms" can be easily avoided by using adverbs or simple descriptions in conjunction with one of the more standard dialogue tags, as in:

• Helen was thrilled. "Nice to meet you," she said, beaming.
• "Nice to meet you, too," Wendy replied brightly.

In the earlier version, the irregular verbs (or "said bookisms") draw attention to themselves, distracting the reader from the dialogue. By comparison, this second version reads much more smoothly.

Dialogue in Plays

Dialogue in plays (and screenplays) is easy to identify because, aside from the stage directions, dialogue is the only thing a play is made of. Here's a quick rundown of the basic rules governing dialogue in plays:

• Names: Every line of dialogue is preceded by the name of the person speaking.
• Mama (outraged)  : What kind of way is that to talk about your brother?
• Line breaks: Each time someone new begins speaking, just as in prose, the new line of dialogue is separated from the previous one by a line break.

Rolling all that together, here's an example of what dialogue looks like in plays, from Edward Albee's Zoo Story:

JERRY: And what is that cross street there; that one, to the right? PETER: That? Oh, that's Seventy-fourth Street. JERRY: And the zoo is around Sixty-5th Street; so, I've been walking north. PETER: [anxious to get back to his reading] Yes; it would seem so. JERRY: Good old north. PETER: [lightly, by reflex] Ha, ha.

Dialogue Examples

The following examples are taken from all types of literature, from ancient philosophical texts to contemporary novels, showing that dialogue has always been an integral feature of many different types of writing.

Dialogue in Shakespeare's Othello

In this scene from Othello , the dialogue serves an expository purpose, as the messenger enters to deliver news about the unfolding military campaign by the Ottomites against the city of Rhodes.

First Officer Here is more news. Enter a Messenger Messenger The Ottomites, reverend and gracious, Steering with due course towards the isle of Rhodes, Have there injointed them with an after fleet. First Senator Ay, so I thought. How many, as you guess? Messenger Of thirty sail: and now they do restem Their backward course, bearing with frank appearance Their purposes toward Cyprus. Signior Montano, Your trusty and most valiant servitor, With his free duty recommends you thus, And prays you to believe him.

Dialogue in Madeleine L'Engel's A Wrinkle in Time

From the classic children's book  A Wrinkle in Time , here's a good example of dialogue that uses a description of a character's tone of voice instead of using unconventional verbiage to tag the line of dialogue. In other words, L'Engel doesn't follow Calvin's line of dialogue with a distracting tag like "Calvin barked." Rather, she simply states that his voice was unnaturally loud.

"I'm different, and I like being different." Calvin's voice was unnaturally loud. "Maybe I don't like being different," Meg said, "but I don't want to be like everybody else, either."

It's also worth noting that this dialogue helps characterize Calvin as a misfit who embraces his difference from others, and Meg as someone who is concerned with fitting in.

Dialogue in A Visit From the Good Squad

This passage from Jennifer Egan's A Visit From the Good Squad doesn't use dialogue tags at all. In this exchange between Alex and the unnamed woman, it's always clear who's speaking even though most of the lines of dialogue are not explicitly attributed to a speaker using tags like "he said."

Alex turns to the woman. “Where did this happen?” “In the ladies’ room. I think.” “Who else was there?” “No one.” “It was empty?” “There might have been someone, but I didn’t see her.” Alex swung around to Sasha. “You were just in the bathroom,” he said. “Did you see anyone?”

Elsewhere in the book, Egan peppers her dialogue with colloquialisms and slang to help with characterization . Here, the washed-up, alcoholic rock star Bosco says:

"I want interviews, features, you name it," Bosco went on. "Fill up my life with that shit. Let's document every fucking humiliation. This is reality, right? You don't look good anymore twenty years later, especially when you've had half your guts removed. Time's a goon, right? Isn't that the expression?"

In this passage, Bosco's speech is littered with colloquialisms, including profanity and his use of the word "guts" to describe his liver, establishing him as a character with a unique way of speaking.

Dialogue in Plato's Meno

The following passage is excerpted from a dialogue by Plato titled Meno.  This text is one of the more well-known Socratic dialogues. The two characters speaking are Socrates (abbreviated, "Soc.") and Meno (abbreviated, "Men."). They're exploring the subject of virtue together.

Soc. Now, if there be any sort-of good which is distinct from knowledge, virtue may be that good; but if knowledge embraces all good, then we shall be right in think in that virtue is knowledge? Men. True. Soc. And virtue makes us good? Men. Yes. Soc. And if we are good, then we are profitable; for all good things are profitable? Men. Yes. Soc. Then virtue is profitable? Men. That is the only inference.

Indirect Dialogue in Tim O'Brien's The Things They Carried

This passage from O'Brien's The Things They Carried exemplifies the use of indirect dialogue to summarize a conversation. Here, the third-person narrator tells how Kiowa recounts the death of a soldier named Ted Lavender. Notice how the summary of the dialogue is interwoven with the rest of the narrative.

They marched until dusk, then dug their holes, and that night Kiowa kept explaining how you had to be there, how fast it was, how the poor guy just dropped like so much concrete. Boom-down, he said. Like cement.

O'Brien takes liberties in his use of quotation marks and dialogue tags, making it difficult at times to distinguish between the voices of different speakers and the voice of the narrator. In the following passage, for instance, it's unclear who is the speaker of the final sentence:

The cheekbone was gone. Oh shit, Rat Kiley said, the guy's dead. The guy's dead, he kept saying, which seemed profound—the guy's dead. I mean really.

Why Do Writers Use Dialogue in Literature?

Most writers use dialogue simply because there is more than one character in their story, and dialogue is a major part of how the plot progresses and characters interact. But in addition to the fact that dialogue is virtually a necessary component of fiction, theater, and film, writers use dialogue in their work because:

• It aids in characterization , helping to flesh out the various characters and make them feel lifelike and individual.
• It is a useful tool of exposition , since it can help convey key information abut the world of the story and its characters.
• It moves the plot along. Whether it takes the form of an argument, an admission of love, or the delivery of an important piece of news, the information conveyed through dialogue is often essential not only to readers' understanding of what's going on, but to generating the action that furthers the story's plot line.

Other Helpful Dialogue Resources

• The Wikipedia Page on Dialogue: A bare-bones explanation of dialogue in writing, with one or two examples.
• The Dictionary Definition of Dialogue: A basic definition, with a bit on the etymology of the word (it comes from the Greek meaning "through discourse."
• Cinefix's video with their take on the 14 best dialogues of all time : A smart overview of what dialogue can accomplish in film.

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• Alliteration
• Tragic Hero

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When You Write

What Are Dialogues In A Story? Understanding The Importance Of Conversation

Have you ever found yourself lost in a story, hanging on every word of a conversation between two characters? That’s the power of effective dialogue in storytelling.

Dialogues are the conversations between characters in a story and play a crucial role in creating a compelling narrative. Whether it’s a novel, a screenplay, or a play, the way characters talk and interact with each other can make or break a story.

In this article, you’ll learn about the importance of dialogues in storytelling, the different types of conversations, and techniques for creating effective dialogues. You’ll also discover common mistakes to avoid and practice exercises to help you improve your dialogue writing skills.

So, whether you’re an aspiring writer or a seasoned storyteller, understanding the role of conversations in your stories is vital to engaging your audience and keeping them hooked until the very end.

Key Takeaways

• Effective dialogue is crucial in creating a compelling narrative.
• Dialogues can be categorized into everyday, conflictual, and inner monologues, each with its own importance.
• Everyday conversations can enhance social skills, improve communication, and increase knowledge.
• Conflictual conversations drive the plot forward and create tension, while inner monologues reveal a character’s motivations, fears, doubts, and insecurities.

The Role of Dialogues in Storytelling

You can’t tell a good story without using dialogues, as they’re what brings your characters to life and creates a connection with your audience.

The importance of dialogues lies in their ability to develop characters and move the plot forward. Without them, a story would be nothing more than a boring narrative.

Dialogues allow characters to express their thoughts, feelings, and motivations, giving readers a glimpse into their personalities. Through conversations, characters can reveal their fears, hopes, and dreams, making them relatable and human.

Moreover, dialogues create tension, conflict, and resolution, driving the story forward. They provide context, setting, and atmosphere, immersing readers in the story’s world.

In short, dialogues are essential to any good story, as they add depth, complexity, and emotion to the characters and plot.

Types of Conversations

Get ready to explore the many types of conversations in storytelling! You’ll encounter everyday conversations that reveal character traits and move the plot forward.

You’ll also come across conflictual conversations that heighten tension and create drama. And don’t forget inner monologues that offer insight into a character’s thoughts and emotions.

With these three types of conversations, you’ll have the tools to craft engaging and dynamic dialogue in your own stories.

Everyday Conversations

Engaging in everyday conversations can enhance one’s social skills and improve their ability to communicate effectively with others. Small talk, which is a type of everyday conversation, allows individuals to break the ice and establish a connection with others. It’s a great way to initiate a conversation and build rapport with someone new.

Additionally, small talk can help individuals improve their communication skills as it requires them to actively listen, ask questions, and respond appropriately. Here are some benefits of engaging in everyday conversations:

• It can improve your mood and decrease stress levels.
• It can help you establish a sense of community and belonging.
• It can increase your knowledge and exposure to different perspectives.
• It can improve your networking skills and potentially lead to new opportunities.
• It can help you develop empathy and emotional intelligence.

Overall, engaging in everyday conversations can have a positive impact on one’s personal and professional life. It’s important to remember that communication is a two-way street, and actively participating in conversations can help individuals improve their social skills and establish meaningful connections with others.

Conflictual Conversations

When people have disagreements or opposing views, it can lead to tense and uncomfortable discussions. Conflictual conversations can be difficult to navigate, but they’re essential in any story. In fact, they often drive the plot forward and create tension that keeps the reader engaged.

Dealing with conflictual conversations requires a certain level of skill and patience. It’s important to listen actively and try to understand the other person’s perspective. Instead of attacking their beliefs, focus on finding common ground and working towards a resolution.

Some helpful strategies include taking a break if things get too heated, using ‘I’ statements instead of ‘you’ statements, and acknowledging the other person’s feelings. By using these techniques, you can transform a conflictual conversation into a constructive dialogue that moves the story forward.

Inner Monologues

Don’t underestimate the power of inner monologues – they’re a key tool for writers to convey a character’s thoughts and emotions in a way that truly immerses the reader in the story.

Inner monologues allow readers to get inside a character’s head and understand the motivations behind their actions. They also serve as a way to add depth to characters, showcasing their fears, doubts, and insecurities.

By including inner monologues, writers can develop characters in a way that feels authentic and relatable to readers.

The importance and function of inner monologues in storytelling cannot be overstated. They allow readers to connect with characters on a deeper level and understand their actions in a more meaningful way.

Inner monologues provide insight into a character’s thought process, which can impact the story’s plot and how the character interacts with others. In essence, inner monologues serve as a window into a character’s soul, giving readers a glimpse into their hopes, dreams, and fears.

By incorporating inner monologues, writers can create well-rounded characters that readers can’t help but root for.

Techniques for Creating Effective Dialogues

To make your dialogues effective, you’ll need to use contractions and second-person point of view. This will give your readers the impression that they are part of the conversation. By using contractions, you can create a casual and realistic tone, making your characters more relatable to your audience. Second-person point of view, on the other hand, allows your readers to immerse themselves in the story and connect with the characters on a deeper level.

To further enhance your dialogues, here are three techniques you can use:

• Vary sentence length and structure. This can help you establish the pace of your story and create tension during important conversations. Short, abrupt sentences can convey urgency, while longer, more complex sentences can indicate a more relaxed tone.
• Use dialogue tags sparingly. While it’s important to indicate who is speaking, too many ‘he said’ or ‘she said’ tags can be distracting. Instead, try to use actions or descriptions to identify the speaker.
• Avoid exposition. Dialogues should not be used to dump information about the story or characters. Instead, use them to reveal character traits, advance the plot, or create conflict. By doing so, you can keep your readers engaged and invested in the story.

Common Mistakes to Avoid

Now that you’ve learned some techniques for creating effective dialogues, it’s important to talk about common mistakes to avoid.

One of the most frequent mistakes writers make is punctuation errors. Incorrect use of commas, periods, and quotation marks can confuse readers and take away from the flow of the conversation. It’s important to carefully review your dialogues and make sure they’re properly punctuated.

Another common mistake is using unnatural language. Dialogues should feel like real conversations, with characters speaking in a natural and believable way. If your dialogues feel forced or stilted, readers may have a hard time connecting with the characters. It’s important to read your dialogues out loud to hear how they sound and make revisions as needed.

By avoiding these common mistakes, your dialogues will be more engaging and effective in driving your story forward.

Practice Exercises

Are you ready to take your dialogue writing skills to the next level? Let’s dive into some practice exercises that will help you improve your ability to craft compelling conversations in your stories.

First up, we’ll explore writing dialogue-only scenes to really hone in on the power of conversation to drive a narrative forward.

Then, we’ll analyze and edit existing conversations to understand what makes them effective or where they could use some improvement.

Finally, we’ll discuss the importance of feedback and critique to help you continue to grow and refine your dialogue writing skills. Get ready to become a master of conversation!

Writing Dialogue-Only Scenes

Imagine you’re eavesdropping on a conversation between two strangers at a coffee shop; their dialogue-only scene is so captivating, you can’t help but feel like you’re a part of their story.

You hear the pacing of their dialogue, the pauses, and the inflections in their voices. Every word they say has a purpose, and it’s clear that each character has their own unique voice.

Without any exposition or description, you understand their personalities and motivations based solely on their conversation.

As you continue to listen, you realize the power of writing dialogue-only scenes. They force you to focus on the words and actions of the characters, without any distractions or embellishments.

They allow you to fully immerse yourself in the story and experience it through the characters’ eyes. Writing dialogue-only scenes requires a careful balance of pacing and character voice, but when done right, they can be some of the most engaging and memorable moments in a story.

Analyzing and Editing Existing Conversations

You can truly improve the impact of your characters’ conversations by closely analyzing and editing their existing words and actions. One way to do this is by looking at the pacing of the dialogue. Are there areas where the conversation drags on for too long? Are there moments where the dialogue feels rushed?

By adjusting the pacing, you can make the conversation feel more natural and engaging, keeping your readers invested in the characters and their stories. Another way to improve the impact of dialogue is by using it as a tool for character development. Through conversations, your characters can reveal their personalities, motivations, and desires.

By analyzing their existing dialogue, you can see where there may be missed opportunities to further develop your characters. Maybe there’s a moment where a character could reveal more about their backstory, or perhaps there’s a chance for them to show a different side of themselves. By editing and refining the dialogue, you can create a more well-rounded and dynamic cast of characters.

Feedback and Critique

Getting feedback and critique on your writing can be incredibly valuable in improving your skills and refining your craft. This was demonstrated by the writer who received constructive criticism on their character development, leading them to flesh out a previously underdeveloped protagonist.

Whether it’s from a writing group, a mentor, or a beta reader, receiving critique can help you identify your strengths and weaknesses, and provide suggestions for how to improve your work. However, it’s important to remember that giving feedback can be just as important.

When giving feedback, it’s important to be specific and constructive, pointing out both what worked well and areas that could be improved. It’s also important to remember that receiving critique can be difficult, so it’s important to approach the process with empathy and kindness.

By giving and receiving feedback, writers can continue to grow and improve their craft, creating increasingly compelling and engaging stories.

As a writer, you understand the importance of creating a compelling story that engages your audience. One of the most effective ways to do this is through dialogue.

Dialogues bring your characters to life and allow your readers to get to know them on a deeper level. By using various types of conversations and techniques, you can create a story that is not only entertaining but also thought-provoking.

But it’s not just about creating any dialogue. As with any other aspect of writing, you need to put in the effort to ensure that your dialogues are effective and engaging. This means avoiding common mistakes such as using unrealistic language or over-explaining things, and instead focusing on creating authentic, believable conversations that move the story forward.

So, the next time you’re writing, remember the importance of dialogues and how they can elevate your story to new heights. With a little practice and perseverance, you can create a masterpiece that resonates with your readers long after they’ve finished reading it.

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