Creating Strong Dialogue: Lessons from Who’s Afraid of Virginia Woolf?
For a person, fiction writers want their dialogue to be sharp, interesting, snappy, and true. The nuanced dialogue is a cornerstone of character construction (think Steinbeck’s common man or Fitzgerald’s Gatsby saying “Old Sport” when talking to friends and colleagues). The old-fashioned and highly effective way to create dialogue is to listen to the world around you and read other writers who have perfected the ability to put the truth in their characters’ mouths.
But reading and listening may not be the only way to learn to create great dialogue. I read Edward Albee’s play, “Who’s Afraid of Virginia Woolf?” Recently. I found it powerful, emotionally provocative, and difficult to put aside. As I finished the text, I realized that I had come across another source of instruction to create a strong and compelling dialogue: reading and / or watching plays. Think about it; a work is built around a primary superstructure: dialogue. The dialogue creates the characters and is the only written vehicle to move the story forward. Therefore, the dialogue has to be excellent in the best works.
Want another source of inspiration and instruction to create great dialogue? Go to your local library and check out some plays. Some suggestions to get started:
“Who’s Afraid of Virginia Woolf?” by Edward Albee
“Death of a Salesman” by Arthur Miller
“The Glass Menagerie” by Tennessee Williams
“My Name is Rachel Corrie” edited by Alan Rickman and Katharine Viner
Don’t forget that the above selection is an expression of what Mohamed Mughal is attracted to … and he’s an emotional and sentimental guy with a philosophical bent and the academic background of a rationalist. Apply your own tastes and inclinations to create your personalized list of plays to read. If your fiction falls into the crime, romance, horror, or comedy genres, you will definitely modulate your selections to reflect those dispositions.
