Good Dialogues on Fiction
Dialogue is an indispensable tool for almost every fiction production. A text must have a strong purpose when the writer chooses to doesn’t use a dialogue to tell a story. That’s because this is the moment when you, the writer, brings to characters the opportunity to speak directly to the reader, without the narrator’s mediation. Note, the writer is donating voices to his characters and these voices must fit with the characteristics of each one.
According to Juliana Amato, writer of “Brevida” (Edith), there are thousands of ways to present a character, “but the dialogue, the speech, is probably the purest: the words came from the character’s mouth, not from the narrator’s mouth”. Juliana borrowed a phrase from her screenplay’s professor: “a dialogue is a good dialogue only when it moves the story forward”.
As important as a dialogue evidences, the writer might care about the purpose of it. Diego Schutt, in his article “Dialogues”, emphasizes the author’s power of choice: “the difference between narrative and dialogue is focused on how the writer desires the characters to be introduced to the reader”, and highlights the dialogue as a “credibility test” to the narrator. Note that this is a test to the narrator, not necessarily to the writer, duality that Schutt jests about: “the characters don’t have life until they talk”.
Ok, so, how to let them talk? “There isn’t a recipe, or specific tools on creation: quotation marks, em dashes, speeches inside the text without differentiation between what dialogue is and what the rest is. These kind of instruments concern to the style, and the individual style is exactly what will lend to the dialogue a shine”, explains Juliana.
She made a list where you can find amazing dialogues and get inspired:
- “The hour of the star” – Clarisse Lispector
- “O Monstro” – Sergio Sant’anna
- “O Natimorto” – Mutarelli
- “Hiroshima mon amour” – Marguerite Duras
- And everything you can find of Nelson Rodrigues
By Jr. Bellé