How to Write Authentic Dialogue: Literary Novelists on Natural Speech.

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Dialogue, for me, is the absolute heart of a literary novel. It’s the pulse, the very rhythm that makes characters breathe and pushes the story forward. It’s not just about writing down what people say; it’s a careful, deliberate art form. Through dialogue, I reveal who my characters are, move the plot along, explore themes, and paint the world of my story.

The biggest challenge? Going beyond just generic chit-chat to create speech that feels inherently, unmistakably real – authentic to each person, to the situation, and to the deeper truths of what I’m trying to say. This guide is my way of sharing the masterful techniques I’ve learned from literary novelists myself, how they achieve that elusive naturalness. I’ve dug into the layers of how humans interact to give you some actionable insights for your own writing.

Beyond the Spoken Word: Understanding Subtext

Authentic dialogue rarely says exactly what it means. Human communication is so messy, full of hidden intentions, secret desires, and cultural quirks. This “subtext” is what makes natural speech truly sing. It’s the crucial difference between genuine interaction and just a straightforward exchange of information. I use subtext all the time to add depth, tension, and a sense of realism.

Here’s what I mean:

  • Generic: “I hate this job. I’m leaving.” (It’s direct, but it doesn’t give you much to work with, does it?)
  • Authentic (with subtext): “Another Monday. Feels like the air itself is stale today, doesn’t it? Funny how some places just… stick to you.” (The character isn’t explicitly saying “I hate my job,” but you can feel the weariness, the passive longing to escape. You get the unspoken sentiment right away.)

My tip for you: For every single line of dialogue you write, ask yourself: What’s the real reason this character is speaking? What are they not saying? How does their unspoken agenda influence their words? So often, the most compelling dialogue happens between the lines. A seemingly innocent comment can carry the weight of a character’s entire emotional world.

Character as Voice: The Unmistakable Signature

We all speak differently, don’t we? Our vocabulary, how we structure our sentences, our rhythm, even the phrases we prefer – they’re all shaped by our background, education, personality, and even how we’re feeling in that exact moment. Authentic dialogue isn’t some universal voice; it’s a choir of distinct, recognizable voices.

Let me give you an example:

Imagine three characters: a gruff, working-class mechanic; a highly educated, introspective scholar; and a bubbly, impulsive teenager.

  • Mechanic: “Look, pal, that engine’s shot. Ain’t no two ways ’bout it. You want me to patch it, it’s a band-aid. You want it right, it’s new parts.” (Short, direct sentences; informal language; he’s all about practical reality.)
  • Scholar: “One finds oneself pondering the myriad implications of such a systemic failure, the confluence of variables leading to this, dare I say, inevitable entropy.” (Complex sentence structure; formal, academic words; very philosophical.)
  • Teenager: “OMG, seriously? Like, it’s totally fried? That’s, like, the worst thing EVER. I literally can’t even.” (Exaggeration; slang; vocal fillers; fragmented sentences.)

My tip for you: Develop a dialogue “fingerprint” for each of your main characters. Think about:

  • Their vocabulary: Do they use sophisticated words or simple ones? Slang, jargon, or formal language?
  • Their sentence structure: Are they long, winding sentences? Short, punchy declarations? Fragmented thoughts?
  • Their rhythm and pacing: Do they speak quickly or slowly? Do they pause, hesitate, or interrupt others?
  • Their quirks: Do they have a particular catchphrase, a habit of repeating certain words, or a unique way of expressing agreement or disagreement?
  • Their education and background: How do these factors influence how they talk? Someone raised in the countryside will likely sound different from someone from a bustling city.
  • Their emotional state: How do anger, fear, joy, or sadness show up in their speech? Do they stammer when nervous or become overly verbose when excited?

I always read my dialogue aloud, adopting the voice of each character. Does it feel consistent and distinct? If you can swap a line between two characters and it still sounds right, you haven’t quite found their unique voice yet.

The Dance of Dialogue Tags and Action Beats

Relying too much on repetitive dialogue tags like “he said,” “she said” can make your dialogue feel flat. While “said” is often invisible and perfectly fine, I try to weave in action beats and more evocative tags to make things feel more natural and provide important context.

Here’s what I mean:

  • Weak: “I don’t believe you,” she said angrily. “You lied.”
  • Better: “I don’t believe you,” she hissed, her eyes narrowing. “You lied.” (This adds a stronger verb, an action beat, and the italics emphasize the word.)
  • Even Stronger (integrating action): Her fingers curled into fists at her sides. “I don’t believe you.” She leaned in, her voice a dangerous whisper. “You lied.” (Dialogue is punctuated by actions that convey emotion and intent without me explicitly stating them.)

My tip for you:

  • Vary Dialogue Tags Occasionally: Use alternatives to “said” thoughtfully when they add specific information (like “whispered,” “mumbled,” “shouted,” “interrupted,” “demanded”). But I definitely avoid overly dramatic or flowery tags that draw attention to themselves (like “ejaculated,” “vociferated”). Simplicity often wins.
  • Prioritize Action Beats: Instead of telling the reader how a character feels, show it through their actions, gestures, and reactions. An action beat can communicate so much more than a descriptive tag.
    • Instead of: “I’m so frustrated,” he said, throwing his hands up.
    • Try: He threw his hands up, a strangled sound escaping his throat. “I’m so frustrated.”
  • Blend Seamlessly: Integrate tags and beats so they feel like a natural part of the conversation, not an add-on. They should give context without interrupting the flow of speech.

The Rhythm of Real Conversation: Pauses, Interruptions, and Overlap

Real conversations are messy. They’re rarely neat, turn-taking exercises like a script. They’re full of:

  • Hesitations and Pauses: People think before they speak, or they pause for effect, or because they’re searching for the right words.
  • Interruptions: People talk over each other, especially when emotions are running high or during fast-paced exchanges.
  • Overlap: Lines can start before the previous one fully ends, creating a sense of urgency or shared energy.
  • False Starts and Self-Correction: “I mean, no, that’s not right. What I’m trying to say is…”

Here’s what I mean:

  • Stilted:
    “Did you go?” she asked.
    “No,” he replied. “I decided not to.”
  • Authentic:
    “Did you—” she started, but he cut her off.
    “No. I mean, I thought about it, but… what was the point, really?” He trailed off, looking at his hands.

My tip for you:

  • Punctuation as Pauses: I use em dashes (—) for abrupt interruptions or thoughts that trail off. Ellipses (…) are great for hesitations, moments of silence, or words left unsaid.
  • Overlapping Dialogue: I use line breaks or parentheticals to show when characters are speaking simultaneously or cutting each other off.
    • “I just think—”
    • “You think what? That I’m an idiot?”
  • Vocal Fillers: Just like in real speech, characters might use “um,” “uh,” “like,” “you know,” etc. I use them sparingly, as too many can get annoying, but a well-placed filler can really enhance realism, especially if it’s typical of a certain speaker.

Dialogue as Forward Momentum: Plot and Revelation

Authentic dialogue isn’t just about sounding real; it always serves a purpose. Every exchange should move the plot forward, reveal something about a character, convey information, or deepen the central themes of your story. Dialogue that just exists to fill space is dead weight, in my opinion.

Here’s what I mean:

  • Generic (exposition dump): “As you know, Bob, our corporation, GloboCorp, is facing a major lawsuit because of the pollution scandal we tried to cover up last year, which involved our CEO and cost us billions.”
  • Authentic (integrated into conflict and character): “So, it’s done, then? The papers are served?” His voice was barely a whisper.
    “For GloboCorp, yes,” she said, her expression grim. “And ‘yes’ for the man who signed off on the internal memo, too.”
    He flinched. “But—”
    “No buts, Michael. We both knew this was coming. That river wasn’t going to clean itself, and neither was our reputation.”
    (This dialogue reveals plot points, hints at past events, shows character’s reactions, and builds tension, all while sounding perfectly natural.)

My tip for you: Before I write a dialogue scene, I always ask myself:

  • What is the core conflict being explored here?
  • What new piece of information needs to be revealed?
  • How does this exchange deepen our understanding of a character?
  • What decision or action will result from this conversation?

If you can’t answer these questions, the dialogue might be unnecessary and needs another look. Dialogue should never feel like an information download; it should feel like life unfolding.

The Power of Silence: What’s Not Said

Silence in dialogue is just as powerful as the words themselves. A pause, a refusal to answer, or an awkward silence can convey more tension, emotion, or meaning than a whole page of spoken words. I’ve learned that truly literary novelists understand this nuanced power.

Here’s what I mean:

  • With words: “Are you angry?” she asked. “Yes,” he said.
  • With silence: “Are you angry?” she asked.
    He didn’t answer, just stared at the wall. The silence in the room stretched, taut and thick. She watched him, waiting, then finally sighed.

My tip for you: Use silence strategically. Consider:

  • When a character is too overwhelmed to speak.
  • When a truth is too painful to verbalize.
  • When a character needs time to process information.
  • When silence itself creates dramatic tension or mystery.
  • When withholding information is a character’s tactic.

A well-placed silence can build anticipation, reveal deep-seated emotions, or highlight an unspoken conflict.

Sensory Details and Figurative Language in Speech

Characters don’t just speak; they experience the world. Their speech can be filled with sensory details, metaphors, and similes that show their unique way of seeing things and give the dialogue texture and authenticity. It’s not about making characters sound like poets, but about making their speech feel rooted in their reality.

Here’s what I mean:

  • Flat: “It was a bad day.”
  • Authentic (with sensory detail and figurative language): “Today was like chewing on gravel. Every conversation felt like pulling teeth, and the air just tasted like stale coffee and disappointment.” (The character uses strong sensory images and a simile to convey their experience, reflecting their personal way of processing a “bad day.”)

My tip for you:

  • Listen to your characters: How do they describe things? Do they use vivid imagery, or are they more practical?
  • Incorporate their world: If your character is a chef, their language might be full of culinary metaphors. If they’re a carpenter, their speech might reference building or structure.
  • Reflect emotion: Metaphors and similes can be powerful tools for revealing emotional states subtly. “My heart felt like a drum solo.” “Her words were ice shards.”

Mastering the Craft: Rewriting and Refinement

Authentic dialogue rarely just appears perfect in a first draft. It’s a result of careful revision, really listening, and cutting ruthlessly.

Here’s what I mean:

Imagine a draft where characters give too much backstory:

  • First Draft: “As you know, John, after Aunt Carol died of tuberculosis in 1987, she left me this antique locket, which I’ve always cherished because it reminds me of our shared childhood on the farm.”
  • Revised (more natural): “This locket… remembers Carol, doesn’t it? From the farm.” (The revised version hints at shared history, trusts the reader to figure things out, and focuses on the emotional core.)

Or dialogue that’s too “on the nose”:

  • First Draft: “I don’t trust you. You are a dishonest person.”
  • Revised (with subtext and action): “Funny, isn’t it?” She traced a finger along the rim of her coffee cup. “How some things just… never quite add up.” She looked at him, a glint in her eye he couldn’t quite decipher.

My tip for you:

  • Read Aloud: This is the single most important technique. Reading your dialogue aloud will immediately show you awkward phrasing, clunky sentences, or characters who sound too much alike.
  • Listen to Real Conversations: Pay close attention to how people speak in real life. Notice pauses, interruptions, how they repeat themselves, their vocal quirks. Don’t copy, but absorb the rhythm and patterns.
  • Cut the Fluff: Get rid of unnecessary pleasantries, small talk that doesn’t advance anything, and lines that could be implied or shown through action.
  • Tighten and Economize: Can you say the same thing in fewer words? Is there a stronger, more vivid verb you could use?
  • Check for Exposition Dumps: Does a character suddenly launch into a long monologue of backstory or world-building? Find ways to weave this information naturally into the interaction.
  • Test for Character Voice: If you removed the dialogue tags, could you identify who is speaking just by their voice?

The Echo Chamber: Dialogue and Theme

In literary fiction, dialogue often acts as an echo chamber for the novel’s central themes. Characters, through their conversations, indirectly or directly explore the philosophical, social, or personal ideas that are at the heart of the story. This isn’t about making characters sound like philosophers, but about imbuing their ordinary interactions with deeper meaning.

Here’s what I mean:

If a novel’s theme is the erosion of truth:

  • Character A: “You ever wonder if there’s even such a thing as ‘true’ truth anymore? Like, what we see, what we hear… it all just feels like a performance.”
  • Character B: (Scoffs) “There’s what you believe, and there’s what you make others believe. Those are the only truths that count in this town, pal.”

(These lines aren’t explicit thematic statements, but they contribute to the overarching exploration of ‘truth’ within the narrative through the characters’ unique perspectives.)

My tip for you:

  • Identify Your Themes: Clearly define the core ideas your novel explores (e.g., identity, loss, resilience, social justice).
  • Weave Them In: How can your characters, in their natural speech, touch upon these themes? It could be through their arguments, their observations about the world, their personal philosophies, or even their jokes.
  • Avoid Didacticism: The goal is to let the themes emerge organically through the characters’ interactions, not to have characters lecture the reader about them.

The Unspoken Language of Body and Gaze

Dialogue isn’t just about what comes out of a character’s mouth; it’s deeply connected to their physical presence. The way they stand, the tension in their muscles, the direction of their gaze – all of these contribute to the meaning and authenticity of their words. I see literary novelists integrate physical cues seamlessly into their dialogue.

Here’s what I mean:

  • Without body language: “I resent that,” he said.
  • With body language: “I resent that,” he said, pushing himself to his feet, his jaw tight. His eyes, usually placid, held a flicker of something she hadn’t seen before. (The physical actions amplify the verbal statement, showing how he resents rather than just stating it.)

My tip for you:

  • Visualize the Scene: Before I write, I picture my characters in the scene. What are their natural postures? How do they react physically to stress, anger, joy?
  • Incorporate Specific Gestures: Instead of generic actions like “he shrugged,” I think about more specific, revealing gestures. Does he fidget with his hands? Pace back and forth? Cross his arms?
  • Focus on the Eyes: Eye contact, avoiding eye contact, narrowed eyes, wide eyes – the eyes are powerful conveyors of emotion and intent.
  • Show Internal States Physically: Instead of “she was nervous,” I show her constantly adjusting her glasses or biting her lip.

By combining the spoken word with the unspoken language of the body, you create a complete and truly authentic representation of human interaction.

Building a Dialogue Masterpiece

Crafting authentic dialogue is an ongoing process for me, one of observation, experimentation, and refinement. It demands a keen ear for the subtleties of human speech, a deep understanding of my characters, and a willingness to trim and polish until every word feels true. I approach dialogue not as simple transcription, but as a living, breathing component of my narrative, infused with subtext, individual voice, and relentless forward momentum. When I achieve that natural, undeniable realism, my characters step right off the page and into the reader’s mind, cementing their place in a truly memorable literary experience.