The Making of a Hero — Part 3

Words Express Clearer Than Thoughts

“Shut up and sit down.”
“Please be quiet and find your seats.”
“Ladies and gentlemen, if you will kindly take your places. Quietly, please.”

Three distinctly different people spoke the words in the examples, and each addressed a unique audience. In the first, perhaps a drill sergeant or caustic CEO; the second might be a high school teacher cajoling his students; the third sounds like a preacher getting ready to start a round of church Bingo.

People speak differently given their personality, background, and situation. This is especially true of your hero.

Heroes are not wimps, nor indecisive, and usually not overly introspective: their yea is yea, their nay is nay—wishy-washy does not suit a hero. Heroes do not whine about their lot in life, or bemoan that things are unfair—their speech reflects this attitude.

When confronted, your protagonist does not respond apologetically with, “But, gee, Captain, I only led the men over the west ridge because I thought it was a better choice.” Instead, a hero says, “Captain, I led the men the best way.”

Notice the confrontation in the example—dialogue is best served with a side of tension, or at the least, a dollop of disagreement.

Conflict is a required ingredient in fiction, and where better to demonstrate than people’s conversations?

The way people speak and the words they use define them, and it’s important to be aware of the subtle differences when giving your characters a voice.

“I seen Billy at the car wash,” would not be uttered by an educated person (unless in mocking), nor would a person who did not finish sixth grade say, “It’s unfathomable to consider global warming untrue when you view the collected data,” (unless they are self-taught and you’ve previously shown this trait, as in the Matt Damon film, Good Will Hunting).

In the same way a King will be authoritative, a Priest may be demur, a commoner tentative when addressing one above their status. The words each say (and the way they say them) demonstrate their state of mind and their societal position.

Different people may say the exact same words, but their emphasis will alter, and thereby, better describe them and their peculiar views.

Italics can illustrate the differences. Read the following examples aloud with emphasis on the italicized word (and bold to make it easier to see).

What have you done?
What have you done?
What have you done?

Why are you going there?
Why are you going there?
Why are you going there?

Each asks the same question with a subtle difference, the italicized word highlighting the importance of the character’s concern, thus a peek deeper into their personality.

Contractions

Nowadays most people speak using contractions: I’m going to the store, we’re going to the movies, I’ll stay home with the kids. This was not always so. Historical novels seldom use contractions in speech.

I have a character (an educated scribe) that never uses a contraction, which gives him a more formal characterization. Other characters use contractions sometimes, some at every opportunity, each depending on the character illustrated and the scene circumstances. By the scribe not using a contraction—even when appropriate or even preferable—spotlights a portion of his personality.

Dialogue + Action = Deeper Characterization

Dialogue interspersed with an action beat speaks volumes about a character and their mood.

Jack crushed the beer can with one hand and tossed it aside. “I told you not to come back here.”

“But, why?” Julie took one step back, clutching her handbag, and remembered she had left the gun in the nightstand.

“I think you better tell me what happened,” Mike said, his hand reaching across the table like a snake coiling to strike.

“I thought you’d think that,” he said, laughing, “and so did ma.”

Clear and believable dialogue is essential to giving your characters life and showing the nuances that make David different than Frank.

If you find your characters sounding the same, go back to your Character Sketch and tweak something about their upbringing, world view, or education: each character needs to be unique, and most importantly, true to themselves.

Next Post: The Making of a Hero — Part Four: Thoughts Whisper Truer Than Description

See you on the next page,

Rick

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Author: Knights of Writ

Writer, blogger, Business Owner, dreamer, and fantasy lover

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