At skrive dialog/Writing dialogue

Dialog er noget, der kræver øvelse. Når man kan skrive det, så er det et fantastisk redskab til karakteropbygning, konfliktoptrapning og levendegørelse i teksten.

Det er vigtigt, at dialogen er tilpasset personernes karakter og tekstens tid og at den er ”virkelig”, det vil sige, at det er sådan, personer virkelig taler sammen.

Du kan bruge enten gåseøjne ”” til at indramme dialogen med eller – i starten af hver talesætning. Det mest brugte, og oftest det, forlagene foretrækker, er gåseøjne.

”Okay, hvad laver du så her?”

Jeg svarede ikke umiddelbart. Efter et par sekunders tung tavshed sagde jeg: ”Jeg kom bare forbi.”

 

– Skal du med ud at løbe?

Han joggede lidt på stedet som for vise, hvad han mente.

– Jamen, så vent her, sagde jeg og gik ind for at skifte tøj.

 

  • Tænk over din brug af ”sagde han, sagde hun”. Oftest behøves de slet ikke. Det giver sig selv, hvem der taler, eller det vises med handlingen. Hvis det er nødvendigt at markere, hvem der taler, så brug andre ord: hviskede, sukkede, udbrød, råbte, hvæsede.
  • Dialog er ikke fyld. Fyld er aldrig godt. Gør det kort og præcist som med resten. Brug dialog til at fortælle historien: vigtige oplysninger, karaktertræk, opbygning af klimaks.
  • Lyt til rigtige dialoger. Det er afbrydelser, gestikuleren, øjekast, trippen, mimik. Der er så meget mere end ord. Ingen taler uafbrudt eller når at give lange monologer.
  • Skriv mellem sætninger: beskrivelser, tanker, minder. Lad ikke karaktererne tale uafbrudt.
  • Lad være med at sige alt direkte. Hentyd og antyd.
  • Undgå adverbier! Eksempel: sagde hun vredt, sagde han leende, hviskede hun rædselsslagen. Læseren skal gerne selv fornemme følelsen i situationen.

Her er et eksempel:

“No, I am not sick”, he said with a sudden strength that also allowed him to turn his head and smile at her. So easy this lie was suddenly.

“I am not sick, nothing is wrong. I was up most of the night writing, but it wouldn’t work out, and I am rather frustrated. Let’s have a glass of wine; I am sure it will help.”

Now she laughed, no more worry in her eyes. She believed his words, believed his smile.

“It’s 10 am. We just had breakfast, and now you want to drink wine?”

He was laughing with her even though he did not understand how he could produce laughter in the middle of this emptiness.

“We shall drink until we fall over. From now on …”

……………………………

Dialogue takes practice. When you master it, it’s an amazing tool that helps you build characters, create conflict, and liven up the text.

It’s important that the dialogue is adapted to the character of the person and the time of the text and that it’s “real”, which means it’s how people really talk.

You can either use quotation marks for framing the dialogue or begin each sentence with a -. The most used is the quotation marks and this is most often what the publishers prefer.

“Okay, so what are you doing here?”

I didn’t answer right away. After a few seconds of heavy silence, I said: “I just came by.”

 

– Are you gonna come with me for a run?

He jogged on the spot a little as if to show what he meant.

– Well, wait here then, I said and went in to change clothes.

 

  • Consider how you use ”he said, she said.” Most often you don’t need it at all. It’s obvious who’s talking or it’s shown in the actions. If it’s necessary to say it then use other words such as: whispered, sighed, exclaimed, yelled or hissed.
  • Dialogue isn’t filling. Filling is never good. Make it short and precise like the rest. Use dialogue to tell the story: important information, character traits, building conflict.
  • Listen to real dialogues. No one talks without end or has the time to give extensive monologues. Real dialogue is clipped by interruptions, gestures, sounds.
  • Write descriptions, thoughts and memories in between the sentences. Don’t let them talk for pages on end.
  • Don’t say everything directly. Make hints and suggestions.
  • Avoid adverbs! Example: she said angrily, he said laughing, she whispered terrified. The reader must be able to know this through the story alone.

 

Her er et eksempel:

“No, I am not sick”, he said with a sudden strength that also allowed him to turn his head and smile at her. So easy this lie was suddenly. A rush.

“I am not sick, nothing is wrong. I was up most of the night writing, but it wouldn’t work out, and I am rather frustrated. Let’s have a glass of wine; I am sure it will help.”

Now she laughed, and there was no more worry in her eyes. She believed his words, believed his smile.

“It’s 10 am. We just had breakfast, and now you want to drink wine?”

He was laughing with her even though he did not understand how he could produce laughter in the middle of this emptiness.

“We shall drink until we fall over. From now on… ”

 

 

 

 

 

About Louise Andersen

Jeg er redaktør, underviser og forfattercoach i min egen virksomhed Skriv for livet. I’m an editor, teacher and writer’s coach with my own company Write For Your Life.
This entry was posted in Literature, writer's guide, writing and tagged , , , . Bookmark the permalink.

Leave a Reply

Please log in using one of these methods to post your comment:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s