I DIALOGHI
Ed eccoci a un altro capitolo fondamentale della nostra guida: i dialoghi. Pensate che sia roba semplice da scrivere? Errore.
I dialoghi possono attribuire una forza sorprendente al vostro racconto… oppure esserne la rovina.
Esempio:
“Buongiorno, Miss Fairchild,” disse Maddy.
“Buongiorno a voi, Miss Carlisle,” rispose lei
“Oggi è proprio una bella giornata,” fece Maddy muovendosi sulla sedia.
“Oh, sì, e stasera ci sarà il ballo. Che emozione!” le disse di rimando l’amica.
Bla bla bla. Dialogo noioso, inutile, pesante.
Riuscite a immaginare di poter leggere anche soltanto un’altra riga di un romanzo così?
I dialoghi non sono un “accessorio” della narrazione ma un elemento indispensabile di essa che, in svariati casi, può arrivare a sostituirla.
Ecco allora alcune regolette che non vi faranno sbagliare:
1. Date dei tratti caratteristici al dialogo/modo di esprimersi dei vostri personaggi, qualcosa che li renda immediatamente riconoscibili (ad esempio, una frase, un’esclamazione, ecc.);
2. Usate frasi brevi, incisive. Se volete che uno dei vostri personaggi risulti noioso, vi sarà sufficiente renderlo verboso. Quindi evitate l’eccesso di dialogo e il dialogo sterile perché se pensate di “allungare il brodo” per guadagnare parole o battute, rinunciateci: qualunque editor se ne accorgerebbe;
3. Date, attraverso il dialogo, individualità ai personaggi e ricordate che i dialoghi devono sempre avere uno scopo ben preciso;
4. Rendete i dialoghi essenziali e non fornite tutte le informazioni subito. CENTELLINATE e the reader will be taken to keep reading to find answers to any questions you have raised. If you give now all the answers, read on will be more boring;
Example:
"Conte, because you touched it again this horrible scar? It is still bleeding. Oh, do not curse, please. I know that you're the procured during a violent confrontation with one of the dragoons of the king who had tried to burn down your castle because you belong to a clan of rebels, enemies of the Crown. "
really talk like that? Horror! The watchword is STRIPPED. Let's see: The Count
touched again the horrible scar, still bleeding, and swore. The girl took his hand and took it to heart. "I know that most of the pain, the scar reminds you of terrible moments of your life, but your time and then will avenge you." She kissed his hand rough, more accustomed to war than to caress.
See? The reader can not help but wonder: why the scar? What happened in the past? Why would you want revenge? What secret hides the count? Etc., etc..
And slowly you will give all the answers in the course of the story;
5. Never tell people what the reader already knows.
Example:
"As my best friend, Martha, you know which is the third daughter of the Earl of Cranberries. And I hate the restrictions and rules that my position requires me. "
If you intend to create a boring character, you're on your way!
Let's review everything
"I do not understand why it can not run barefoot on the grass as you do, Martha."
"Because you're not like me. I love you like a sister, but as the daughter of an earl ... "
" Third daughter, please, only the third daughter. But the Count's Cranberries, unfortunately, I know. "
" You have responsibility, Drucilla. "
" Appearances at stake here, I know, "sighed the countess. Included
the difference? The amount of information is the same (presumably information that you provided earlier), but the liveliness of the dialogue is completely different.
Make your characters through dialogue, speak and do not simply provide a list of information;
6. Do not get me wrong, but do not imply the right words to say exactly what you mean, so that the reader gives it the right way to what is said,
7. What the character says has more impact on the reader of what you can tell you as authors;
8. Repetitions, contraction, pause reveal the mood of the character so Evaluate well.
soon!!
