Trish writes narrative nonfiction and short stories, some of which have won international competitions and are analysed in her latest book Inside Stories for Writers and Readers. She is also a social anthropologist and author of travelogues. Trish lives in New Zealand. You can follow her on Twitter @TrishaNicholson and visit her tree house on her website at http://trishnicholsonswordsinthetreehouse.com
Take it away Trish…
Trish: Thank you Stavros. I’d like to start with the idea that although film and the short story may each employ different strengths to tell a particular tale, what they share is greater than their differences.
“Short story and film are expressions of the same art, the art of telling a story by a series of subtly implied gestures, swift shots, moments of suggestion…”(H .E. Bates).
Dialogue is especially significant in this respect. By eavesdropping on what they say, readers and viewers hear characters’ desires and intentions directly from the source. Crafted with care, verbal exchanges demonstrate character traits, emotional states, relationships with twists of deceit, manipulation and asymmetry, and they reveal facts and motivations that push the plot.
‘Talk’ that achieves none of these is idle chatter that clutters the story and slows the pace.
In Inside Stories for Writers and Readers, I unpick dialogue in a couple of stories, explaining the role of each spoken phrase. The following excerpt shows how much can be conveyed through a few lines of dialogue within a 100-word micro-fiction. In this story, a couple sit at a table in a train-station café. A tramp occupies the same table and lifts his T-shirt to scratch flea bites.
“Let’s move,” you hiss.
We learn the character being quoted is probably intolerant of tramps. A tag had to be used because no one has spoken up to that point and there are three people at the table, but the ‘hiss’ not only tells us how the words were delivered, but that the narrator seems to have a negative attitude towards the comment, or the speaker – to use ‘whisper’ instead, would have given a whole different meaning and character hint.
“There’s still an hour,” I say.
It is unlikely that the tramp would have spoken this, so the tag is not necessary in that sense, but it provides the symmetry of ‘you said/I said’ to point up the rejoinder that deliberately ignores the subtext of the other speaker as to the reason for moving: there is underlying tension here.
We’re starting over: going on a second honeymoon – to Torquay.
This suggests problems in the past but the inner voice of the narrator is optimistic, and gives vital plot information – where they are going and why.
“You’re always so obtuse.” I feel your spittle spatter my face.
The choice of ‘obtuse’, while apt anyway, was made especially for its spittle-delivering qualities. The use of ‘always’, like ‘never’, is argumentative and again indicates a history of conflict. The spittle comment is not needed as a speech tag, but it up-grades the speaker’s anger and paints a visual picture of the scene.
You get the Brighton train.
The narrator’s inner dialogue describes an important action in the plot, and the one word “Brighton” tells us there will be no second honeymoon (the significance of “Torquay” earlier). [The Last Train].
Dialogue helps us to create vivid scenes; to emulate the immediacy of film by revealing crucial aspects of our stories directly through the words and actions of characters.
Stavros: Once again, I want to extend a special thank you to Trish Nicholson for agreeing to share with us her considerable knowledge of the craft of writing.
Trish: It’s been my pleasure Stavros.