Podcast

Wednesday, March 13, 2019

Storyteller's Rulebook: How People Really Talk

So I assume we’re all enjoying the “Operation: Varsity Blues” scandal, where the rich and famous got arrested for various illegal schemes to get their kids into universities (hiring imposters to take their kids’ SATs, faking learning disabilities to get more time on the SAT, photoshopping their heads onto athletes to get recruited, outright bribery, etc.)

The latest development is that Vice has transcribed some of the tapes, which are delightful, but they’re also really instructive for writing dialogue. In my own writing, I’ve often gotten pushback for how fragmentary my dialogue is, but I always defend it by saying that the way we really talk. Well, these strictly-faithful transitions back me up nicely. Here’s one example:

  • SPOUSE: So [my son] and I just got back from [U]SC Orientation. It went great. The only kind of glitch was, and I-- he didn’t-- [my son] didn’t tell me this at the time-- but yesterday when he went to meet with his advisor, he stayed after a little bit, and the-- apparently the advisor said something to the effect of, “Oh, so you’re a track athlete?” And [my son] said, “No.” ’Cause, so [my son] has no idea, and that’s what-- the way we want to keep it.

Another conversation:

  • B. ISACKSON: Well, I, I-- But if-- but they, they --
  • CW-1: Yes.
  • B. ISACKSON: --went the meat and potatoes of it, which a-- which a guy would love to have is, it’s so hard for these kids to get into college, and here’s-- look what-- look what’s going on behind the schemes, and then, you know, the, the embarrassment to everyone in the communities. Oh my God, it would just be-- Yeah. Ugh.

And another:

  • CAPLAN: Done. The other stuff (laughing)--
  • CW-1: That will be up to you guys, it doesn’t matter to me.
  • CAPLAN: Yeah, I, I hear ya. It’s just, to be honest, I’m not worried about the moral issue here. I’m worried about the, if she’s caught doing that, you know, she’s finished. So I, I just—
  • CW-1: It’s never happened before in twenty-some-odd years. The only way anything can happen is if she--
  • CAPLAN: Someone talks--
  • CW-1: Yeah, if she tells somebody.

People don’t finish their sentences, they lose their train of thought, they rephrase things on the fly, they interrupt each other. These are all highly-educated successful people and every single one talks this way.

So should you write this way? As I said, producers and other note-givers thought I was doing it too much. It was realistic, but maybe too much so. If your characters are too articulate, injecting some of this realism into your dialogue will make it come alive and feel refreshingly real, but maybe don’t take it as far as I did. The goal in writing is to crate a sense of the real, but once you’ve done that you can make everyone a little more articulate than they would actually be.

Edited to Add: Here was a comment of mine that I thought should be elevated to the main piece: Looking at the above transcript, you probably wouldn't want to write a sentence exactly like “and here’s-- look what-- look what’s going on behind the schemes, and then, you know, the, the embarrassment to everyone in the communities.” That's realistic in an annoying way.

But you might well want to write something like the next sentence: “Oh my God, it would just be-- Yeah. Ugh.” That's realistic in a more appealing way. Not finishing that sentence seems more meaningful than the stumbles in the previous sentence.

Sunday, March 03, 2019

Little Break

Okay, guys, despite the fact that I’ve had several weeks, I don’t have another book ready to go. I don’t know if we’re going to move forward to another one or move backwards and re-examine some of the others from a “Believe-Care-Invest” perspective, but I’m not ready to do either yet, so I’ll take a week or two off here.