Using Dialogue in ‘Show, Don’t Tell.’

Okay, we all know dialogue tells the reader or the other character things. It may sound somewhat ironic, but you can also do a lot of showing through the process of dialogue. It can be just as effective as using sensory description.

Many authors will use dialogue for the purpose of exposition or info-dumping. However, skilfully written dialogue can reveal much more in a subtle and engaging manner.

Here’s two pieces of dialogue relating the same thing:

“There’s a pothole right in front of your house, Jack.”

“Geez, you need to get that thing fixed, Jack. Every time I pull up your driveway, I nearly blow out a tyre.”

The first example gives bland facts, but dialogue can show a character’s experiences, personality traits and show relationships to other characters.

Using dialogue to show relationships and motivations.

Here are a few essential tips to help you write exceptional character-building dialogue:

Always choose your words carefully. Word choice is everything. Assign each of your characters a few linguistic quirks: words or phrases that only they use, or structure sentences specifically for them. One character, for example, may use a lot of big words because they think it makes them sound educated. In the ‘Star Wars’ movies, Yoda speaks with an inverted syntax.

When your characters converse with one another, thee dialogue alone, if done well, can be enough to determine who is speaking. Try to ensure the phrasing conveys the overall relationship and conversational tone. This can be tricky to juggle when dealing with a large roster of characters but the more you practice switching between the relationships, the easier it becomes.

What does this mean?

Think about your own life and how you change how you talk depending on who you’re talking to. You wouldn’t behave in the same manner in a job interview as you would out for a pint with your mates (at least one would hope not!).

You also wouldn’t necessarily be laughing and talking in a jovial manner at a funeral service, so make sure the tone matches the environment, setting and/or situation.

Dialogue goals.

It’s a good idea to try to avoid mundane conversation. A lot of writers believe this makes the piece grounded , gritty or realistic. It may do but it’s also incredibly boring to read. Each character should have some sort of a goal they want to get out of the discussion. Keep in mind your character’s motivations – both their over-arching goals and conversational goals. Do they want something from the other person? Is it a status battle? Or do they just want to end the conversation and leave?

Avoid monologues.

Try to keep things moving. For dialogue to be fully absorbed by the reader, it needs to stay quite short. It’s a good idea to try to keep unbroken dialogue to around 100 words or less. Longer conversations should be punctuated with brief descriptions and action beats. If the character needs to speak for longer in one go, make sure it’s pivotal to the plot.

Subtext in dialogue.

Sometimes it’s not about what a character is saying, but what they’re not saying: a seemingly minor comment can imply a lot more that goes unsaid. Remember ‘the Iceberg Theory.’

Here’s an example from ‘The Office’:

In one of the earlier seasons, before Jim and Pam get together, Jim’s having a hard time. He keeps getting interrupted and side-tracked from an important sales call and he ends up losing the sale and his commission. Later that day, Pam rests her head on his shoulder – prompting Jim to comment, ‘Not a bad day.’

On the surface, it appears Jim’s making a casual comment on a mundane topic, but the subtext is his feelings for Pam. In that one simple gesture, she’s turned his day around which suggests something larger at play between the two.

Great “showing” dialogue.

Leigh Bardugo’s ‘Six of Crows’ books have great examples of dialogue among many characters. Not only do the characters possess a distinctive voice, but they interact in varied and exciting ways. Here’s an excerpt that starts with the group’s leader, Kaz, explaining how to pick a pocket:

“Let’s say the mark is a tourist walking through the Barrel. He’s heard it’s a good place to get rolled, so he keeps patting his wallet, making sure it’s there, congratulating himself on just how alert and cautious he’s being. Of course every time he pats his back pocket or the front of his coat, what is he doing? He’s telling every thief on the Stave exactly where he keeps his scrub.”

“Saints,” grumbled Nina. “I’ve probably done that.”

“Everyone does,” said Inej.

Jesper lifted a brow. “Not everyone.”

“That’s only because you never have anything in your wallet,” Nina shot back.

“Mean.”

“Factual.”

“Facts are for the unimaginative,” Jesper said with a dismissive wave.

The reader is able to infer things about each character’s personality and role within the group. Kaz is a no-nonsense boss; Nina and Jesper are the smart-alecs; and Inej is more thoughtful and compassionate.

The dialogue also has a clear purpose. Kaz laying out a scenario they’re going to replicate as part of a heist. There’s subtext in the form of Nina and Jesper sniping at each other to relieve their nerves about the upcoming mission.

Try this:
 
Take the one line of exposition below and relay the same information in a conversation between two characters. In addition to practicing your showing, use this opportunity to create two distinct voices.

Taylor had graduated top of his class from one of the country's most prestigious universities, something Alex struggled to believe.

Make sure your characters aren't just talking at each other on an empty stage. Show them doing something  — anything — while engaged in conversation.