HOW TO WRITE DIALOGUE II – If writing dialogue set right now in the real world is difficult, writing historical dialogue is even harder. Surprising as it sounds, you don’t want absolute accuracy. The deeper into the past you go, the less likely it is that anyone living today actually knows how anyone spoke and the chances are, we wouldn’t understand them anyway.
What you do want is readable dialogue that carries information, advances the plot, indicates relationships, conveys character, mood AND is authentic. My fourth novel, Sugar Island, is set around 1860 on an island off the coast of Savannah, Georgia, where my English protagonist, Emily Harris, has been forced to live by her American husband on a slave plantation. Emily is based on the real life actress, Fanny Kemble, who wrote a diary of her experience on St Simons Island.
HOW TO WRITE DIALOGUE – Walter: Castor beans.
Jesse: So, what are we going to do with them? Are we just gonna grow a magic beanstalk? Huh? Climb it and escape?
Walter: We are going to process them into ricin.
Jesse: Rice ’n Beans?
Walter: Ricin. It’s an extremely effective poison.
Dialogue is something that many writers struggle with. If you sit in a cafe and transcribe a conversation you’ll see that people don’t talk the way they do in books and films. They are not eloquent, they have accents or dialects, they use slang, jargon; their speech is repetitive, circular, they stick in redundant words like like, you know, I mean; frequently they don’t say what they mean or what they truly want to say. Quite often they’re not listening but waiting for a gap in the conversation to speak or are simply talking over the other person. Equally, you don’t want to write dialogue that’s stilted or reads as if it has been written down, rather than spoken but you do want to capture the essence of how a particular character speaks. It’s tricky! Continue reading