Dial Log

Dialog allows characters to interact with their setting, with each other, and with the reader. Dialog challenges the writer in both use and execution, both technically and artistically. The rules of use follow the same pattern as the use of description and exposition, but because dialog feels like a different animal the temptation to treat it differently can be excruciating.

 

Dialog serves the same purpose as exposition, and can be treated the same way. There is nothing intrinsically special about dialog to set it apart from narrative or descriptive exposition, only the “voice” and perceptions of the speaker should differentiate it from the surrounding text. As small a thing as this is, it serves the very important purpose of introducing variety into the reader’s experience and serves to break up descriptive and narrative passages.

 

Dialog may partially substitute for description, and descriptive dialog should be treated the same way. Having characters witness and describe a setting or event allows the writer to introduce uncertainty in the form of selective perception and expression. Descriptive passages by the “narrator” carry the weight of law, but characters have the same flaws as other people. This ability lets the writer focus the reader’s attention on a single portion of the setting or events and cast it in a specific light.

 

Dialog should never present information that the reader already has or is about to receive. Although dialog serves the same purpose as description and exposition, readers expect characters to do more than simple recite their experiences and describe their surroundings. If the details of a scene have already been given to the reader, characters can assume knowledge and refer to things without repeating the details. If a reader is about to receive this kind of information, characters need not go into it at all. Never make the reader read twice what he only needs to read once. A particular danger here is the “recap report”, where one character repeats the action of a previous scene to another character. The reader was there, don’t make him read it all again.

 

Dialog should always serve to move the plot forward or to advance character development. Real people spend hours a day in repetitive, boring, mindless, and meaningless conversation. The last thing a reader wants is to be subjected to the same experience in a novel. Characters can and should display “realistic” behavior such as engaging in small talk and reviewing their grocery lists, but unless that small talk reveals a dramatic development in their relationship or that grocery list suddenly turns out to be a treasure map, the writer should gloss over the experience in favor of a few narrative words. The reader’s time and attention are precious; do not waste them on trivialities.

 

Dialog should always be accompanied by an identifier. Novels do not contain pictures, verbal cues, or other identifiers. Readers must put an effort into identifying the speaker of any given line of dialog, and readers often have a very different mental picture of a scene than does the writer. Simply identifying the speaker for the reader in every passage of dialog promotes readability and helps the reader more accurately reproduce the story. This may be done by linking dialog to descriptive or narrative sentences explicitly featuring a character, or by including the underused “John said” at some point in the speech. Although grammatically permissable, dialog should never be left without an explicit identifier.

 

Long speeches have the same effect as long descriptive and narrative passages. Dialog has its own Rule of 4 to help break this up: a paragraph may only contain four lines of dialog, and one of those must refer to the setting. A second Rule of 4 follows: for every four continuous lines of dialog, an explicit identifier must be used. Your readers will thank you.

A Brief Time of History

Exposition lays out all the groundwork in a novel that the reader cannot experience directly. Description provides those images and sensations that can be sense or felt, completing a mental picture of the setting and the characters. Dialog helps shape character through verbal interaction, and informs the reader at the same time that it moves action forward. Exposition fills in the gaps left by relying on purely observable description and involves the reader more intimately with the source material. Properly employed exposition addresses history, functionality, or purpose with information the reader needs but cannot witness or easily deduce. It may be presented in dialog, descriptively, or in narrative passages.

 

Many of the same dangers and rules that surround descriptive passages also apply to expository passages, including information overload from a data dump, the need to anchor the passage with a character, and the Rules of 4. To recap: expository passages should provide only the minimum amount of information necessary for the reader to frame the present and immediate future action, every paragraph should relate the information to a character, and (Rule of 4) a writer may include up to four expositional sentences in a paragraph, one of which must relate the information directly to a character.

 

Exposition addresses a different type of information that does description, and runs a danger particular to this type of discourse. Where descriptive passages run the risk of turning into hyper-detailed travelouges or catalogs, expositional passages may easily turn into a lecture about the subject matter, and stray from the immediate action. The Rules of 4 help to mediate this risk, but a writer may sometimes decide in the middle of a scene that the reader needs more detail or a more complex concept than can easily be presented using (Rule of 4) only four points of information. At this point, the writer should backtrack in the manuscript and present all the necessary information before the scene begins; this will avoid causing the reader to wander down rabbit trails in the middle of a scene, and potentially lose the flow of action. Exposition presented within a scene should relate closely to the scene; exposition presented outside of a scene’s framework or preparatory to its commencement has more freedom to develop its purpose.

 

The purpose of exposition once again is to present the reader with necessary information that he cannot witness or easily deduce. This information may be historical, functional, or purposeful. Because the reader does not possess perfect knowledge of the story’s setting, historical information will need to be provided in order to frame the context of a setting or scene. The writer often has far more information about the history of a setting than the reader needs, and should only present those portions that relate to the immediate scene. Because a reader does not possess perfect technical knowledge about how everything in the story functions, it will occassionally become necessary to detail technological workings or the process involved in a procedure. The reader will not wish to have his story interrupted with a technical manual, and will be looking for just enough information to understand what is happening. Purposeful exposition is extremely common, and often takes the form of internal character dialog and thought processes; rather than addressing the what or how of a scene, it speaks to the why. Purposeful exposition enables the reader to understand the instigating circumstances and consequences of an action, but the reader seeks this information only as it relates to the current scene instead of a character’s entire existence.

 

Presenting exposition often proves problematic; the largest difficulty by far may be avoiding a data dump for the reader’s benefit and working exposition naturally into a scene. Strict exercise of the Rules of 4 will assist with this effort, as will the conscious separation of expository passages from character scenes. Readers need information, but they need it in bite-sized portions, with room to fill in for themselves those portions the writer leaves to their imagination.

Scene It

Action in a novel happens through dialog, description, and exposition. Dialog is the beating emotional heart of your characters, but it cannot stand alone; dialog needs setting and motion in order to give it meaning. Setting the scene needs to be high on a writer’s priority list in order to give his characters a place to act and emote. Description treats the current setting of the story, detailing those persons, places, and things around which the action is currently taking place and often are performing those actions themselve. Exposition provides the reader with information that cannot be observed, or explicitly lays out information that must be deduced. Description and exposition provide the foundation for dialog, and we will treat all three this week.

 

Description lays the groundwork for most of a novel, impersonally detailing the surroundings containing the characters and their world. Description is a powerful tool that substitutes for the reader’s eyes and ears in the novel. The reader is wholly dependent on the writer to provide the information through which the world of the novel will be interpreted. The writer has an obligation to make that description complete. In this sense, complete doesn’t mean that the descriptive passage details everything in the area, but that the descriptive passage contains all of the information immediately or presently relevant to the reader. As the reader needs to observe new things about the setting, more description can be layered in order to provide the details of the setting.

 

There is a particular danger in using descriptive passages when providing the initial setting for a scene; the writer often faces the temptation of providing all the information possible all at once. This tendency is sometimes referred to as a data dump. The reader is overwhelmed with information, experiencing a virtual sensory overload as he does not yet know which part of the description is going to be relevant to the immediate action of the story. As additional portions of the setting become important or additional details become relevant, they may be revealed in future paragraphs. This is a good place to introduce one of the Rules of 4: a paragraph may only contain four descriptive sentences, and one of those must describe the characters.

 

For the purpose of description, a “character” need not be a person. A “character” need only be the subject of an action. In describing a storm, the writer is allowed to spend three sentences detailing the wind, the rain, and the ocean swells. His last sentence must describe the plight and condition of the boat navigating the fearsome waters. As far as the reader is concerned, the boat is their point of identification within the setting, that makes it a “character”. Applying this rule in this way breaks up long descriptive passages, and gives the reader a context in which to frame the action and setting.

 

Description is applied to people and objects as well as settings. Detail-oriented writers can provide every crease and fold of their character’s garments, but few readers are going to appreciate this level of detail. Another Rule of 4 applies when detailing people or objects within a setting: when detailing a person or thing, only four points of identification may be used for each paragraph. Trimming the details in this way allows the reader to participate in describing characters and important objects by filling in the nuances from his own imagination. This also forces the writer to focus on things that are truly important to advancing the action within his story.

 

Descriptive passages only apply to those things that can be observed with the five senses, anything else is exposition. The truth is that the reader will always fill in the details of any given scene, setting, or person from bits and pieces of his own experience. The writer’s job is to provide the reader with just enough particulars so that the readers’ perception materially resembles the images the writer is attempting to convey. A picture may be worth a thousand words, but a reader’s attention only lasts for a paragraph.