Relationships & Partners and Writing Skills Tips. (A Writing Advice Guide Book

Lecture 8 Integrating Dialogue within A Narrative.

Integrating Dialogue Within A Narrative
First off this chapter starts off that he says in the chapter to come following this which is previous chapter in James Hynes writing guide book you're encountering now my friends that in the Mechanics of Dialogue he set this rule for Speech.
"'That Speech, in fiction no matter how rambling, digressive, elaborate or colorful, must serve a purpose.'"

And that generally speaking, we can categorize those purposes as evoking characters, telling the story and providing exposition. In this lecture, we'll talk about in more detail about how dialogue can serve those purposes.
Some stories and novels are made up almost entirely of dialogue, while some soies useit only as a seasoning. Deciding just how much, how often, and how efictively your characters speak will also help you decide just what sort of story you're writing.

Dialogue to Evoke Character
Character is evoked by a variety of techniques used together or in close succession, including description, action, dialogue, interior monologue, and so on. Although dialogue doesn't always bear the brunt of characterization, it's not unusual for individual characters to speak in distinctive ways. Dickens, for example, is known for his colorful secondary characters, who often use catchphrases or speak in a particular dialect. George R. R. Martin, who has proven to be a sort of a latter-day Dickens, also uses this technique with the characters in his fantasy series A Song of Ice and Fire.

It's perhaps more common for a character to have a distinctive pattern of speech than an off-repeated catchphrase. The perpetually debt-ridden Mr. Micawber in Dickens's David Copperfield, for example, is distinguished by his comically elaborate way of expressing himself.
This technique works well in narratives where the characters are a bit more extreme than they might be in a more realistic narrative.

In the 19% century, many writers used dialect, with the result that much 19% century fiction is now unreadable. In Dracula, for example, there's a long, almost incomprehensible passage Bram Stoker tries to reproduce the accent of an old sailor from Yorkshire. The use of dialect, as in Mark Twain's Huckleberry Finn or Zora Neale Hurston's Their Eyes Were Watching God, can also come across as offensive or stereotypical.

The problem with dialect, then, is twofold: It's often difficult to follow, and unless the entire work is written in dialect (as Huckleberry Finn is, for example), dialect can set certain speakers apart as "not normal," with the result that it's difficult for readers to think of them as fully human. -James Hynes.
(So in other words know your dialects well and keep them consistently before you attempt writing them down as part of your characters. -Lumna10)
Today, most writers evoke dialect in a more subtle fashion, relying on word choice and variations in grammar and syntax to suggest regional speech or social class, rather than trying to reproduce it in every detail. Consider Toni Morrison's Beloved, a novel about an African American family in the aftermath of the Civil War. The characters speak a straightforward, conversational, modern English, with just an occasional hint of slang or nonstandard syntax or grammar to suggest their race, social class, and era.

As mentioned earlier, people in fiction generally have something at stake or something they want, and the best way to evoke character with dialogue is to have them express what they want, though not necessarily directly. In other words, creating effective dialogue for a character involves inhabiting that character's point of view, not necessarily reproducing an accent or a particular pattern of speech.

It's also true that characters sometimes just talk-not about what they want or about the situation they're in—but about something tangential or even completely unrelated, and the sound of their voices serve to evoke the speaker and the milieu.

Creating a character's speech is less about reproducing a real-life dialect and more about who that character is and how his or her speech might reflect the immediate situation; a nervous character, for example, may stammer or ramble.