1. DIALOGUES ARE NOT AN INFORMATION TRANSMISSION POINT
Dialogues should not be used to present what is already known or to provide the reader with a lot of background information. Occasionally, however, it is necessary to transmit information and here I present three ways how you can do this a little more elegantly and Can I Hire Someone To Write My Essay?
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1. Uneducated listener
For example, if you want to explain a machine / new technology / process, you can have a figure explain this machine to another, much less experienced person. Occasionally, children are also used for this purpose or someone explains something to the cleaning help, for example. Then, in case of doubt, the reader will understand.
2. Amusing scene / scenic writing
In scriptwriting, there is the phrase The Pope in the Pool - the Pope in the Pool. This idiom refers to the fact that sometimes a lot of information has to be conveyed in one place in a film. However, so that it doesn't get too dry and boring for the viewer, a funny situation is used. In this way one tries to conceal the fact that the viewer is 'instructed' at this point.
You can imagine that the Pope is swimming his laps in the pool, for example, while the cardinals are lined up around the edge of the pool and each one holds a different item of clothing from the Pope in their hands. This scene is amusing that the viewer takes in the information without getting bored.
3. Dispute
Tension is an important part of novels. Dialogues and arguments add to the suspense potential of the story. For example, through reproaches (related to past events of the characters), information previously unknown to the reader can be brought to light.
2. DIALOGUE SHOULD SOUND NATURAL, WHICH IS NOT A TRUE-TO-LIFE RENDITION OF A CONVERSATION
Have you ever overheard a conversation in a cafe or on the tram? These conversations are filled with broken sentences, Uh's and Mhm's. Of course, you can't use these dialogues in a novel without the conversation dragging on. Only a toned down version of natural language would be used in dialogue so as not to irritate the reader. Pay attention to it.
Dialogues should sound natural, but not be a phonetic implementation of what is being said
If you use accents and all linguistic peculiarities in a dialogue, e.g. Bavarian, the reader pays a lot of attention to this part of the novel. First of all, he has to concentrate very hard on it and a non-Bavarian may not be able to understand what is being said at all. Second, dialect is very distracting from the content.
It is better to use only a few expressions sparingly that are specific to the dialect. The reader will recognize that the character speaks slang or dialect. This is the most common practice used by authors.
Also, avoid using names too often.
Example of a dialog with too many names:
“Bertram, would you like a glass of water?”
“Yes, Karl Heinz. Gladly."
Nobody speaks like that. You are just trying to let the reader know who is speaking. However, it is better:
"Would you like a glass of water?" Asked Karl Heinz.
"Yes, of course," said Bertram.
3. IT IS BETTER TO TAKE BACK YOUTH LANGUAGE / SLANG AND ONLY HINT AT IT (UNLESS ONE HAS LITERARY INTENTIONS)
Even with youth language, less is more. It is better to use only a few expressions that are typical of the group of young people who appear in your novel. Otherwise your novel may be out of date in a year or even misunderstandings may arise. Youth language changes very quickly. What sounded cool on one day is soon out of date and uncool.
SWEAR WORDS IN CONVERSATION
The use of swear words should also be used sparingly. Cursing too often can quickly distract the reader from the content or even annoy them. A swear word is usually okay to make a statement. Unless, of course, you want swear words to be perceived as a peculiarity and hire people to write papers.
4. SHE ASKED / SAID HE ARE INVISIBLE
These inquit formulas are very neutral and are usually overlooked by the reader. They only serve as a guide to who is currently speaking (without the reader being torn from the flow of the narrative).
Expressive verbs like whisper, nag, hiss, etc., draw attention to the way something is being said, but not what is being said. It is better if you understand from what has been said whether a character is screaming, whimpering or yelling. Replace the “stage directions” with said or asked. In this way you stick to the often preached principle of show, don't tell .
Even if you use 'stage directions', do not combine them with adverbs.
Example: "What are you doing here?" He whispered fervently.
"Help you!" He whispered, panting.
I made this mistake myself. And my dialogue read like a dime novel, although I had a completely different tonality in my head.
5. ASSIGN AND LOOSEN UP DIALOGUE THROUGH ACTIONS
Here is another way to avoid asking and saying all the time.
You can interrupt a dialogue with small sentences that describe the characters' actions.
Example: "What are you here for?" He took his tea and took a sip without taking his eyes off her.
In this way it is possible to bring in more images in the dialogue.
Tip : However, interruptions can distract the reader from the content of the dialogue. What a character does while speaking can shift the focus from what is said to the action. The reader begins to imagine how the character is acting and pays less attention to what he is saying. As with all writing techniques, one has to know when to get this effect on the reader.
Therefore, it is best to leave out irrelevant, everyday things. Rather, describe actions that are crucial to the plot or characterization of a character.
6. SUBTEXT: EVERYTHING YOU DON'T SAY, BUT WHAT IS BETWEEN THE LINES.
When people talk to each other, they are talking on the level of what is being said. What they really mean, however, is between the lines. In the subtext. Subtext is a great way to cause misunderstandings and fill the conversation with conflicts. Because there are enough reasons that characters want to misunderstand each other!
For example, two people can talk about the preparation of spinach, but they are actually angry about the father's decision regarding the farm.
Tip : You formulate individual sentences in such a way that they work both in the context of what is said (e.g. preparation of spinach), but also in the context of the subtext (farm economy). In this way it is possible to charge dialogues and let situations escalate.
7. READ SCRIPTS TO BETTER USE DIALOGUE IN YOUR NOVEL
Try to listen carefully to conversations and see what people are saying between the lines.
If you don't like reading scripts, then just pay attention to what you like best about the dialogues when it comes to films and novels. Dialogues are like little mini-dramas. Misunderstandings. Conflicts. And we have the luxury of listening to them.
WHY ARE DIALOGUES SO IMPORTANT TO THE NOVEL?
Publishers and agents love dialogue. I even know an agent who doesn't read a manuscript that doesn't have dialogue on the first 5 pages.
Above all, you can also shine as an author with dialogues. Because when you write, you have enough time to be spontaneous, funny, touching or entertaining.
Dialogue is also a way of loosening up a slowly moving plot and Write My Essay Today
ADDITIONAL TIP: THE FORMATTING OF THE DIALOGUE IN A NOVEL
The rules of punctuation in literal speech are really not difficult, and yet they always create confusion.
The easiest thing to do is to look at a few examples to use as a guide. So that this article doesn't explode, I wrote an extra article on the topic: Formatting a dialog. Or better: for punctuation when speaking verbatim.