The title kind of asks it all. Also, how about making the first sentence of your novel dialogue? Is this frowned upon, or just a matter of one's opinion?
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Are dialogue-driven novels a bad idea?
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I really don't know what this question means. A novel all in dialogue? Mostly? 50-50? What exactly is a book thats driven by its dialogue?
And the answer to all of these has to be: of course they aren't a bad idea. Assuming, as always, that they're done well.
And the answer to all of these has to be: of course they aren't a bad idea. Assuming, as always, that they're done well.
From what I've just read on Nathan Bransford blog, starting with dialogue is not frowned upon, but difficult to do well.
Dialogue breathes life into a story's characters.
Re the main question - the addition of 'Also' to the second sentence in the original post means I have no idea what the main question is.
Re the main question - the addition of 'Also' to the second sentence in the original post means I have no idea what the main question is.
I'd say try to balance dialogue with action(s). Depending on what sort of story you are trying to tell it could be a good thing to have a lot of dialogue for speedy development or whatever. I don't think it would be wise to lean too far one way or the other.
Also, a messenger scene is not usually the best way to handle an event in a novel (Basically, don't tell have someone tell the someone what's going on, it's more exciting to show it happening). If you show enough, a few of these wouldn't hurt, I guess.
Also, a messenger scene is not usually the best way to handle an event in a novel (Basically, don't tell have someone tell the someone what's going on, it's more exciting to show it happening). If you show enough, a few of these wouldn't hurt, I guess.
Lots of novels start with dialogue. I actually do not know who this Nathan blogger is. I don't take my advice from anyone I meet on the road. There are a fair amount of dialogue only novels. What I don't totally like is that you would have to describe things using dialogue. It all depends on how you pull it off. (This is supposed to be creative writing, not business writing. You don't need to follow a format, however when you don't you might find yourself in the "literature" section of the bookstore.)
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FYI this "Nathan blogger" is Nathan Bransford, agent with Curtis Brown. His blog is very well respected in the industry. On top of that he is also a regular here at AW who answers questions over in the Ask The Agent section. This is his blog for interested parties: www.nathanbransford.blogspot.com
At any rate, anything can be done in writing so long as it is done well. I think the typical issue with starting a novel with dialogue is that it is so out of context for the reader, they have no idea who is talking and therefore have no vested interest. It is very difficult to begin with dialogue that will grab the reader and not frustrate them. But it can, and has been, done. As to the idea of a dialogue-driven novel . . . I'm not really sure what you are referring to specifically, but I would venture to say that these days most mainstream novels are dialogue driven. It comes down to, I believe, our film/tv culture where so much is revealed through characters talking with each other. The more literary the work it seems, the less dialogue there can sometimes wind up being. Anyway, if this is to what you are referring, I don't think you'll have any problem with that at all. If you are talking about something else . . . again, as long as you do it well . . . go for it!
At any rate, anything can be done in writing so long as it is done well. I think the typical issue with starting a novel with dialogue is that it is so out of context for the reader, they have no idea who is talking and therefore have no vested interest. It is very difficult to begin with dialogue that will grab the reader and not frustrate them. But it can, and has been, done. As to the idea of a dialogue-driven novel . . . I'm not really sure what you are referring to specifically, but I would venture to say that these days most mainstream novels are dialogue driven. It comes down to, I believe, our film/tv culture where so much is revealed through characters talking with each other. The more literary the work it seems, the less dialogue there can sometimes wind up being. Anyway, if this is to what you are referring, I don't think you'll have any problem with that at all. If you are talking about something else . . . again, as long as you do it well . . . go for it!
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I can't speak for what's selling, but I know I personally prefer more dialogue in novels, and I know others who do, as well. I often skim over pages and pages of rich description. Though I also agree with those who say the dialogue needs to be balanced with action. I don't want to read a story about talking heads.
And Nathan Bransford's blog is fantastic. I second Toothpaste on that. Everyone who hasn't been following it should check it out. He's hilarious and informative, too.
And Nathan Bransford's blog is fantastic. I second Toothpaste on that. Everyone who hasn't been following it should check it out. He's hilarious and informative, too.
Although, to be fair, he'd be a better blogger, agent, and probably human being if he hadn't rejected my query.
For good examples of very dialogue-driven novels, see Roddy Doyle's first two, The Commitments and The Snapper, and also Alan Garner's Red Shift.
So yes, anything is possible is done well - but it's probably not advisable as a technique for a beginner to use.
So yes, anything is possible is done well - but it's probably not advisable as a technique for a beginner to use.
Ok, I guess I needed to be more specific.
Of course I did not mean a novel consisting entirely of dialogue. I meant a novel that simply had alot of dialogue per scene.
And as far as me adding 'also' to my original question, I'm sorry if it confused you. I was asking one big question, then one little question that went along with the big question. I think it's fairly explanatory, yes?
Thank you to everyone for your feedback.
Toothpaste, you were right on with my original query. Your response was what I was getting at.
Of course I did not mean a novel consisting entirely of dialogue. I meant a novel that simply had alot of dialogue per scene.
And as far as me adding 'also' to my original question, I'm sorry if it confused you. I was asking one big question, then one little question that went along with the big question. I think it's fairly explanatory, yes?
Thank you to everyone for your feedback.
Toothpaste, you were right on with my original query. Your response was what I was getting at.
If I were writing a novel that consisted primarily of dialogue, and did not require introspection, I would write it as a play or screenplay instead. I believe fiction should justify its use as a mode of storytelling, and to do that, you need to get into your characters' heads--which is the one major thing we have that filmmakers can never match.
I'm a big fan of dialog being a gag writer and all. That said some agents and publishers frown on too much dialog. I have no idea what too much dialog actually is since one person's too much is another person's just right.
I think writers should play to their strengths. If you write good dialog then I don't think there is anything wrong with having a lot of dialog your novel.
I think writers should play to their strengths. If you write good dialog then I don't think there is anything wrong with having a lot of dialog your novel.
Philip Roth's Deception is an example of a novel that is (almost) entirely dialogue. It's probably easier to get it published if (a) it's done well and (b) you're already a household name. Possibly not his best known work though.
Cheers,
Rob
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I don't mind a lot of dialogue, as my characters are pretty chatty, but in truth I wouldn't like it if there's just an EXCESSIVE HUGE AMOUNT of it, like just constant chattering in every scene. Sometimes no talking or little talking is needed. If there's primarily dialogue throughout the whole thing (even if the characters happen to be doing other things at the time, which I'm guessing they would be?), it just seems like the writer is trying to be too clever, seeing as things with lots of dialogue try to make the dialogue witty and interesting. Such attempts often fall through. It's really hard to maintain wittiness for an entire book, plus, it seems false. Most people are not so clever and witty and good with speaking ALL THE TIME in real life.
This is why I can't stand the show "The Big Bang Theory," because of the one tall skinny geek who, every time he opens his mouth, lets loose this really LONGWINDED string of words that just go on and on--he always speaks rapidly and tries to be funny but to me it's just so irksome and contrived that I can't bear to watch that show. I could stand the show, however lame, if he and his dialogue weren't in it.
This is just my opinion. Without seeing your dialogue I couldn't say for sure how it would work.
This is why I can't stand the show "The Big Bang Theory," because of the one tall skinny geek who, every time he opens his mouth, lets loose this really LONGWINDED string of words that just go on and on--he always speaks rapidly and tries to be funny but to me it's just so irksome and contrived that I can't bear to watch that show. I could stand the show, however lame, if he and his dialogue weren't in it.
This is just my opinion. Without seeing your dialogue I couldn't say for sure how it would work.
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Thirded.
I don't dislike lack of dialogue, I just can't stand nothing happening for long periods of time. Too much description makes for a bored Makai. Too much talking head dialogue and my brain will start to parody it, but a little description, action, and all that other good stuff's great.
Which probably propegates my inability to write much description.
Anyway, when you're writing I'd say try not to think "Am I writing too much dialogue," or that sort of thing, just let it go. Even if it turns out you have too much, you can usually cut excess later and add in more details. If that's what's going to drive you forward though, worry about later. I personally think it's easier to go back and add description and action than to go back and add more to a conversation.
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If done well, anything is possible.
No Country for Old Men was written almost entirely in dialogue.
No Country for Old Men was written almost entirely in dialogue.
I always think that a novel needs a certain amount of narrative. I consider myself pretty dialog-oriented, but I don't even approach 60% dialog.
If your story seems to be more than 60% dialog, maybe a novel isn't the right format. Maybe if you thought of it more as a play or script (with appropriate formatting), it might work a bit better for your project.
If your story seems to be more than 60% dialog, maybe a novel isn't the right format. Maybe if you thought of it more as a play or script (with appropriate formatting), it might work a bit better for your project.
Ask yourself why you are inclined to use dialogue so much. Do you enjoy conveying characterisation through representation of speech? Are you after a specific literary effect? How does the act of speaking relate to the themes in your work?
There isn't any real reason you could't write an almost all-dialogue novel. Should you write one is the real question. Plays and screenplays are possibilities worth considering, but it's always a pleasure to read well-crafted dialogue. I wouldn't at all mind reading a novel with lots of talking, if it's done right. If a reader feels, as Makai puts it, that "nothing is happening", you are doing it wrong. There is potential for action and tension in dialogue, too. Reading some good plays can help a lot in this regard.
There isn't any real reason you could't write an almost all-dialogue novel. Should you write one is the real question. Plays and screenplays are possibilities worth considering, but it's always a pleasure to read well-crafted dialogue. I wouldn't at all mind reading a novel with lots of talking, if it's done right. If a reader feels, as Makai puts it, that "nothing is happening", you are doing it wrong. There is potential for action and tension in dialogue, too. Reading some good plays can help a lot in this regard.
I think if you have a crap load more dialogue than narrative--and I'm talking about a 70:30 ratio--you might as well be writing a screenplay.
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