#(lmao not me having written an entire buzzfeed unsolved piece without a single dialogue tag

[coldtomyflash]

Hi! I'm the anon who asked you about advice for speech patterns with OC characters--absolutely love love loved your advice btw, it wasn't too much at all! I'm just struggling to write a character who grew up really close with their siblings and trying to not make them sound like either of them while still sounding like they grew up together. I want to be able to write dialogue without using tags sometimes and be able to know which character said what. Any more suggestions?

How many shows have you watched with close siblings recently? If any, spend some time analysing what they do in depth. And I’m asking about shows because actors can help you get a very clear feel for differences in character and tone, and should be easier to analyse from that approach than books would be.

I’ve recently watched Supernatural, with the two main characters being brothers who have spent literally almost the entirety of their lives (save for a stint to college for one of them) by each other’s side in close proximity. Nonetheless, I don’t think I’d have any issue telling who is speaking in a fic even if the dialogue had a sum total of zero (0) dialogue tags -- even (maybe especially) if the whole fic was just dialogue back and forth. I could most definitely write a fic as such, partly because I can hear their voices in my head if I were to close my eyes and try, and being able to “visualize” those voices makes it so much easier to ensure they stay distinct from one another. 

This is because the writers and actors have done a great job of giving them really similar speech conventions in some ways (as a baseline example, they both use the word “dude” in exactly the same ways) but also have their own quirks (for example, one has what’s almost a catchphrase of “so get this” and the other doesn’t really say that). Each voice is distinct, and it’s a lot less about specific word choice and more about how the way they speak relates to their character and character’s identity: hesitations, pauses, voice raises, cut-off words, interrupting the other, longer or shorter sentences, etc.

So pick out some things that you think both (all? not sure how many there are) of your sibling characters would have in common, and some things that would be unique about them. Does one use bigger/more erudite words than another? Does one swear more than the other(s)? Did one internalize the use of “so, like” from their peers where the other(s) didn’t? Does one raise their voice more than the other?

And do they all refer to things using some common terms? Do they have inside jokes and references that you can use to show how close they are? Does one tease the other more? Is one more terse than the other? 

I think you should be very clear about who these characters are inside your mind, and work to let that influence their voices as they come out on the page. Make sure that you’re writing dialogue as a fluid and living thing, rather than rigid. What does that mean? Look at these examples:

“you do not know what it means to me,” he said.

“you don’t know what it means to me,” he said quietly.

“you don’t know what it means to me” he said, voice quiet, pausing every second word with eyes downcast.

“you don’t... you don’t know what it means,” he all but whispered, so quiet that the faint “to me” was almost lost to the floor as he lowered his head.

Right, okay, I think I’ve got your attention. You’re seeing how there’s different ways of conveying hesitation, tone. Now let’s put that into a conversation without dialogue tags, and you can tell me if you think it’s obvious who’s speaking and how these individuals are different:

“you’re not going and that’s final!”

a pause, and then,

“you don’t... you don’t know what it means,” he all but whispered, so quiet that the faint “to me” was almost lost to the floor as he lowered his head.

“you - dude - what? where is this coming from? since when - ?”

“i... nevermind.”

“no, not nevermind! talk to me!”

“i shouldn’t’ve even brought it up.”

“yes you damn well should have, you - “

“would you - ...”

“would i what?”

“i... just would you ... stop... demanding. okay? i get that you’re worried, i do, but it’s...”

“[name]?”

“it’s my decision.”

(And scene)

Okay so obviously I’m in the mood to write something maudlin because idk what that even is, but I hope it managed to convey that one character is raising their voice (exclamation marks, short imperative sentences) and is worked up in a way that has him agitated (he cuts himself off it ends with “-” rathe than “...”). You know that even though he might be close with the other person, he is different than him, and is used to giving orders or taking charge.

whereas the other (let’s assume younger) brother here is hesitant, quiet, using a lot of ellipses (...) as he trails off, even after he cuts himself off you get the impression that he wants to say more but is hesitating to. the “okay?” could be interpreted as a louder “okay?” if it was said by the other, because it’s in it’s own sentence and not just modifying the previous sentence, but here (hopefully) you get the impression that it’s this character taking a second then pushing what he’s saying a bit. not “just would you stop demanding, okay?” but “stop demanding. okay?” by separating it, i’ve made it a question rather than a command. 

this younger character is also using qualifiers and adverbs (”just would you” not “would you” or even “would you just”) to soften his speech, whereas the older one is using swears to intensify his.

but neither of them are using any particular word choice here that would stand out, and they’re both comfortable with contractions, and repeating each other’s words back and forth in a way that makes it seem like they’re probably comfortable using the same language (nothing is in scare quotes when they quote/repeat things back to each other). there’s nothing here that stops them from being raised close in a way that means their speech is similar. 

So - that’s uh, my weird advice, i guess. get their voices in your head as best as you can, in a way that matches the character and their personality and their role as a sibling to the other (as well as the mood and emotions within each scene!), and do your best to write your dialogue a bit fluidly so that all those little idiosyncrasies that create tone (hesitations, pauses, full stops and new sentences, questions, exclamations, interruptions, etc) all come through naturally without requiring dialogue tags and description to make it come to life.

Final piece of advice on this: trust your reader. unless you screw up the order of who’s talking, they should be able to follow it back and forth. you can toss in a dialogue tag here and there if it gets to be an especially long exchange, or do what i like better and toss in other information about how they’re feeling or responding or what they’re seeing to help situate the reader in the correct PoV, but for the most part readers can follow a flowing conversation so long as they know who spoke first and you keep the back and forth exchange clear. 

#writing advice #writing reference #writing #writing resource #redhead vs. writing #dialogue #dialogue tags #hope this helps #honestly just give it a shot and see how it comes out #have a little faith #and play around with it #i love taking out dialogue tags #(lmao not me having written an entire buzzfeed unsolved piece without a single dialogue tag #that was a delightful challenge #anyway) #lovely to hear from you and good luck with the writing! #Anonymous