Being an author isn’t as simple as writing a novel. It’s like 20 separate skills we wrap up into one thing and tell ourselves we suck at it. In reality, you probably rock at least half of those. So, if you clicked on this blog, I’m assuming this is a skill you suck at. No big deal. Here’s a few tips to help you improve.
Note, this isn’t a guide on how to punctuate dialogue. If you’re wanting help with that, check out this resource.
Write for the Length of the Pause
You’re going to want to have moments of pause in your conversation, during which your character will take action or take note of how things around them look. But where many learning writers fail is by either writing long paragraphs of description followed by a quick retort or literally writing an explanation of a pause instead of using the time it takes for a reader to finish the dialogue beat to match the length of the pause.
If you character has the time to take in the world around them, by all means, give us all the details. If they don’t, then we don’t either! Save any long-winded explanations that don’t fit into the conversation for the reflection your POV character has afterward.
Make Most Dialogue Invisible
Okay, not actually. But most of your dialogue tags should be. Unless it’s a particularly strained conversation, the rhythm of your dialogue should flow naturally like two friends catching up. I don’t know about you, but when my friends get together, there are nearly zero spaces between sentences, which gives the writer of our lives little room for longer dialogue tags.
People like to say said is dead. But that has become misconstrued. Using said followed by an adverb is a red flag for agents and should be avoided at all costs. So, it’s better to use words like scoffed, cooed, whispered, and released over said + adverb. But most of your interactions should use said or no dialogue tag at all and imply the tone within the dialogue itself. It enriches characterization and reader immersion.
Take Advantage of One-Line Characterization and Theming
Your next most useful and powerful tool to connect with characters are the one-liners that surround dialogue. If you’re going to create a pause in the conversation that lasts one line, then make sure that one line is doing some heavy lifting.
These can be impactful moments to bring in elements of a character’s personality, emotion, style, or looks that get lost in a sea of descriptive paragraphs. It’s an excellent moment to bring in a clue for a mystery or first notice an object that may become central to the plot later. A great dialogue beat will fit inside the conversation being had while doing a little extra legwork to build a rich reading experience.
Easing Out v. Abrupt Ends
Knowing how to end dialogue can be just as important as what is said. Unless your scene is a story structure checkpoint, it’s very unlikely you’re ending your dialogue with anyone saying goodbye. So, having other outs is key.
One of my favorite techniques is ending a chapter with an especially great final point in dialogue. This is always most effective without a dialogue tag, and it does a great job of building anticipation in readers because they know instinctively that more would come after it in real life. But it isn’t something you want to do all the time.
Most dialogue ends with a reflection from the POV character, who recaps what was most important or what they noticed but didn’t get a chance to say. This gives readers an emotional bookend to the scene as well.
Acknowledge It’s Never Going to be Realistic
Many authors ask me how to write dialogue that is more authentic and realistic, and it’s a trap that we set for ourselves as writers. I even wrote a blog on the subject a few years back. But the truth is that nothing in a book is realistic. How often do you see characters pee? Usually not once in the whole book. Instead, the key is to know which bits of realistic conversation to pull from while building in everything you need from a literary perspective. Focus on things like natural timing and differentiating character voices rather than comparing it to real life. It’s not. It’s fiction. No one says goodbye when they hang up the phone.
Writing dialogue is hard, but hopefully these tips will help you improve your dialogue beat timing. If you’re feeling like this is something you especially suck at or aren’t sure exactly how to apply it, working with someone like a book coach or line editor can make a huge difference in your ability to apply it even if you only do a little of it. That way you can see how it works in your own authorial voice rather than with generic advice from a blog.
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