Do you know why I think it's important to get a handle on using dialog as a plot tool, as a means of forwarding the plot? It's because we look at information that seems to be unusual or not expected in accordance with Chekov's "Gun Over The Mantle Rule." If something significant or seemingly out of context is mentioned, it is deemed important and will be used later on. (Possibly a learned expectation, because that's the convention we see over and over in our reading careers, but still a factor to consider.) At any rate, it's the same as when you leave clues in a mystery: readers see something seemingly innocuous but placed in the story in such a way as to appear important...because anything in the story is only there because the author (we assume) deems it important. And if it is not important, it's a red herring and needs to be addressed or it is a dangling plot thread.
So when you have characters notice something, or have them say something, or structure the dialog so the reader infers a meaning/problem/whatever that isn't already resolved-- like the gun on the mantlepiece, your reader will be expecting to see that element return and be wrapped up.
So you need to be wary of unintended implications or irrelevant mentions, too. Failure to do so will annoy your readers.
OPPORTUNITIES FOR STRONG DIALOG
It's my observation that dialog is often underutilized as a writing tool. New writers in particular, if they aren't busy using too-literal and long-winded speeches, seem to rush through the talk to get to the action scene, or toss in a few words here or there because they know you have to have dialog. They just don't yet have a feel for what to do with it and for how dialog can function to serve the story.
In my observation, there are a few things that are commonly overlooked and which I don't usally see spelled out in articles about dialog:
- Subtext in dialog, e.g. implication,
- Utilizing dialog as a plot tool (speeding up a scene or focusing a reader's attention on what is important), and
- Paraphrasing dialog.
Subtext. One of the places where I think many writers miss an opportunity is that their dialog lacks subtext. You can use dialog to imply deceipt, foreshadow, or other important things about the story or characters. (Particularly useful if you want to hint at an unreliable narrator.) And you can add a great richness to the reading experience by having layered meaning like this.
Implied subtext is the most difficult type of dialog to write because it's derived from how you say things instead of saying them directly; and the way it works, in part anyhow, is that your reader discovers what is important because of what the characters notice as well as by what they say. The subtlety of this is really fantastic to read when done well, and gives a lovely depth to dialog scenes. (That said, it's not just the actual dialog that accomplishes this, but also the tags, stage business, character thoughts and other details that are part of the scene.)
Using dialog as a plot tool. I really do think that dialog serves a much deeper role than we generally give it credit, at least when we first start out in our writing careers. One of the most underutilized means of using dialog, I find, is based on an overlooked opportunity. We can direct a reader's attention using dialog in a much more direct manner. It's a writer's only opportunity to directly tell a reader something without directly telling them.
An example would be that you obviate a bunch of stage business and move the story along by having your character say, "Johnny, put down that puppy and leave your daddy's razor alone!" instead of walk her through the noticing, the description of the scene with a half-shaved dog and the rest of the actual action. One line does it all, saving you effort and getting past a bit of business that you wanted in the story but which you don't need to dwell on. Because, as we all know, not all events have the same weight, and minor events, even when they are needed in the story, do not need to be given equal treatment. Less important = less page space allocated. So dialog is one graceful way of dealing with a scene in shorthand.
And you can reference past events and provide backstory or narrative in the same manner. This is also a form of subtext or implication, but the shade of meaning is different, because I'm talking about using dialog to direct the readers' attention. Basically, a character paying attention to something is a clue to readers that they should notice and pay attention to this thing, too.
Paraphrasing. A similar technique is the paraphrase, where your character tells us a summary of a conversation. Sometimes a telling detail is needed, but you really don't want to bore the reader with the whole scene or conversation. Or, you may have shown us what's being referred to already, but we need to know another character has been told, thus avoiding a plot hole. We don't need to hear the whole thing again. (There are many examples of this being done badly, so try to be creative and not write an actual summation. A reference to a summation having been given is likely better.)
This technique of paraphrasing is good for both a first person narrator or for a speaker in a conversation (who may or may not be the narrator), but only the latter is actual dialog.
Examples. Statements such as, "Long and short, Joe, we agreed to disagree," or "Well, I gave him what he wanted. Enough said, okay?" are both versions of paraphrasing. But you can see that one sums up a conversation (presumably with a mention as to what it was about coming earlier); and the second sentence is implication. In the second example, the reader is led to infer something about the person saying it, in this case presumably the person is annoyed at having to answer or doesn't want to discuss this point for some other reason. The circumstances the writer presents prior to or with the dialog should fill in the picture and have readers paying attention for further details regarding the matter referenced.
Which last basically points out that choice of details in your dialog make a critical difference in reader focus as well as understanding.
What do you think the important underlying functions of dialog are to a novel in terms of structure?
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