Ideally, dialogue in fiction is supposed to be a representation of how people actually speak. (Extracting the polite greetings and chitchat and such, unless that chitchat reveals story or character.) So how better to learn the way people actually speak than listen to them conversing with one another?
Before I get arrested as an accessory to violation of privacy, I’m not saying that you should put your ear up to walls (unless something particularly juicy is going on and you stand to make a few bucks selling the story to the tabloids) or hang out outside people’s domiciles with a shotgun mic. I’m talking about a little public eavesdropping. Don’t think you can pull it off without blushing, staring, urinary incontinence, or otherwise giving yourself away? Try some of my favorite Harriet The Spy eavesdropping tips:
1. Observe the natives in their natural habitat. Writing YA and don’t think your dialogue sounds authentic? Go to the mall. Hang out in the food court near a large group of kids. Don’t act like a stalker. Just…hang out. Don’t look at them; it makes them clam up and, depending upon how you are dressed, makes them move away. Bring something to read, preferably something stuffy, non-electronic, and unrelated to anything teenage kids are interested in. Like the complete works of Nathaniel Hawthorne. You will essentially become invisible.
2. Become a fly on the wall while writing everything down. I keep a little notebook in my purse, in my car, pretty much in every room in my house. Never know when those plot bunnies will strike. But if I’m going somewhere that promises a long wait, I’ll bring my “real” journal. This is especially fruitful while I’m waiting to have my oil changed. I’ll get a cup of coffee and make myself comfortable in their waiting area, which is usually crowded. I’ll open my journal and scribble down everything I hear. Why would anybody question innocent little me? I’m simply writing in my journal.
3. Learn the art of reading without reading. This is my favorite Harriet the Spy eavesdropper tool. If I bring a magazine or book on the train and actually read it, I won’t pick up on the conversation the two women behind me are having about a mutual friend’s episiotomy. (Hey, you never know when you might need something like that in a scene.) If I focus on the white space between the lines and unfocus my eyes, I can hear every word. It’s kind of like those $#&@$ puzzles where if you look at them just right, you can see the chrysanthemum in the elephant’s ear. Don’t ask me; I couldn’t see it either.
4. Know that most people are very casual about their public phone behavior. I love banks of pay phones, where they still exist. If you act like you’re waiting to make a call (pace about, stare at your watch, jingle change in your pocket, and for heaven’s sake, don’t check your BlackBerry, as that’s a dead giveaway), you can pick up a boatload of great authentic dialogue. Even more fun is guessing at the conversation on the other side of the phone. Use it as a writing exercise. The advent of cell phones has made one-sided eavesdropping even easier. The rule here is not to approach anyone having a cell phone conversation. That scares them off, and it’s just plain rude. These opportunities are usually spontaneous. For instance, you’re enjoying a double tall cappuccino at your favorite people-watching spot when Beyoncé starts warbling from the cell phone of the twenty-something sitting near you. She starts an animated and very loud discussion with her BFF about her last date with a married celebrity, a certifiable cretin who picked his teeth at the dinner table, said that Hitler was misunderstood, and ordered lasagna for her when he damn well knew that she was lactose intolerant. You are under no obligation to move.
Any good Harriet the Spy tips you’ve used to improve your writing? What are some of your favorite pieces of authentic dialogue?
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Note: This post was originally published in a slightly different form here.
Laurie Boris is a Contributing Author for Indies Unlimited and author of the five-star novel, THE JOKE’S ON ME. Her second novel, DRAWING BREATH, is due out in May. For more information, please see the IU Bio page and her website: http://laurieboris.com