How to write a romance novel
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Writing Dialogue
Article describes the 'how tos' of creating interesting and unique characters.
Without dialogue the novel becomes a travelogue—interesting, perhaps, but the endless descriptive content soon puts the reader to sleep. The characters live through their words, not their actions. In High Rise, Mike Calvert, is more than just an aging, burned-out cop. The novel starts out with the typical cop stereotype, but Kim transforms Mike from a one-dimensional cop to someone who is capable of love and commitment. Kim’s independence and competence draws Mike to her. Likewise, Mike’s offensive, four-letter words and male chauvinism, create the tension between the two protagonists. One wonders on one level—how in the world can these two be attracted to one another? But during the middle of the book, the two begin to draw strength from each another—Mike relies on Kim to let go of his past fears of measuring up to his father (also a cop) while at the same time confronting his pending retirement and obsolescence. Kim draws upon Mike’s strength to confront her own vulnerabilities—fear, insecurity, fear of failure.
The dialogue in the beginning might be offensive with a plethora of four-letter words. Throughout the book, the use of “babe” as a term of endearment, while offensive to some women (okay, maybe most) does not deter Kim from seeking closer understanding of this aging cop, going nowhere, and afraid of his future. Likewise, Kim uses “Hon” to engage Mike’s softer side, and not as a flippant expression of okay, I know you’re there.
After the explosion at Kim’s business in Round Rock, she expresses her first out-of-character remarks on page 138—“Oh my God, Ron, Ron, Ron.” Her boss has just been dismembered in an explosion and she becomes the antithesis of everything female she abhors—lack of control of her emotions. Her hysterical sobbing is interrupted by Mike’s interrogative style, not to appear uncaring, but to snap Kim back to reality with his simple question “Who can notify next of kin?” There was much work to be done and little time for grieving. A romance novel might have spent an entire chapter on these two exchanges, but a mystery thriller, is about plot and fast pacing. There was little time to exchange pleasantries; that would come later, as is typical with most couples: in the privacy of their bedroom where intimacies and vulnerabilities are freely reciprocated.
Kim’s leaving her father to return to Mike in Austin is but another example of a strong father nurturing his daughter. Beginning on page 228: “Daddy, I can’t believe it’s over.” “It is for now, honey . . .” “I can now go back to Mike. I miss him so much.” “I know you do, Kim. He loves you too. It’s time for you to go home now.” “I know, daddy. I’ll miss you.” “Me too, Kim.”
The above exchange comes after a harrowing pursuit of the mastermind killer and crazed surgeon. The tension all but leaves Kim after the gun fire, helicopters, high-speed chases, and near misses. One imagines Kim falling helplessly into her father’s arms, not knowing if she will ever see him again as she prepares to leave New Haven for Austin.
The final dialogue between Kim and Mike comes full circle to the secret of their attraction: playful repartee. Look at their final exchange in the book on page 246: “Well I’m sure you noticed Alexander’s wife in her low-cut dress.” (Kim) “Ah, yes. She was mighty proud of her new silicone implants. Gives new meaning to the word push-up.” “Mike you’re such a chauvinist.” “Hey, babe, I’ve spent a lifetime as a detective and I make it my job to be observant.” “Yeah, Okay, Mister Gantry. Tell me another one.” They laughed.
Characters come to life through their words. Relationships are defined by verbal exchanges. Good, tension-filled dialogue is what screenwriters dream for when adapting a novel to a screenplay. Scenes become alive and the characters, multi-dimensional. It’s difficult to write good, meaningful dialogue because the writer must assume the persona of each character and move into the first person—a more daunting task than the omniscient, third-person, objective narrator.
For those of you interested in a good resource book, go to Writing Mysteries: A Handbook by the Mystery Writers of America, edited by Sue Grafton with Jan Burke and Barry Zeman, Writer Digest Books, 2002. There is an excellent chapter on “How to Write Convincing Dialogue” by Aaron Elkins.
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