How to declutter your dialogue

Novel dialogue is not like reality, where much of what we say is of little consequence to the bigger picture of our lives. Here’s how to check that all your dialogue needs to be there. Then remove the mundane!

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​Why speech in a novel is different

Artful dialogue requires balancing realism with engagement and ensuring that every word spoken by a character pushes the novel forward rather than making the reader feel like they’re eavesdropping on a mundane conversation at the bus stop

Every line of dialogue should have a purpose. If it doesn’t, it probably shouldn’t be in your book.

It can take courage to remove words you've spent an age crafting but as I hope to show in the example below, readers don't need every little detail. Less is so often more!

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​A three-pronged approach to dialogue

My favourite way of assessing whether dialogue is working is to think in terms of voice, mood and intention. 

When we focus on those three things, we avoid dull dialogue – conversations about the weather, how someone takes their tea or coffee, and courtesy statements such as ‘Hi, how are you?’

Voice
Voice tells us who characters are, what makes them tick – their fears, frustrations, hopes and dreams, identity, preferences.

Perhaps their speech is abrupt, rude, measured, polite, sweary or seductive.

When we change the way a character speaks, we change their voice. And that means we change them.

Mood
Characters can show us how they’re feeling via their dialogue.

Emotionally evocative speech allows readers to access the internal experience of a non-viewpoint character. And that makes it a powerful tool.

Perhaps their speech is abrupt, assertive, hesitant, forceful, pleading. Using the right words means the speech tags and narrative won’t need to be cluttered with further explanation.

Intention
Intention is another way of framing subtext. How characters speak tells us what they want. 

Perhaps they’re asking questions for the purpose of discovery and understanding whodunit (doctors, lawyers, PIs and police officers regularly use dialogue in novels to this end). Dialogue can express a multitude of motivations. 

Ask yourself what your character wants every time they open their mouth.

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​Example: Real but mundane dialogue

Let’s look at an example of dialogue that represents the kind of conversation one would expect to hear in real life. It includes the polite chitchat that people indulge in before they get down to business.

Laurie comes back to the office with me for a meeting with Kevin. ​These meetings are basically of dubious value, since all we seem to do is list the things we don’t understand in our preparation for a trial we don’t know will even take place.
     “Hi, Kevin,” I say.
     “Hey, Andy. How you doin’?”
     “Not too bad, thanks. Christ, it’s cold out though. I need something to warm me up. Gonna grab a coffee. Want one? Laurie, you?”
     Kevin nods.
     Laurie says, “Please. Milk and sugar.”
     “So Kevin,” I say as I hand around the drinks, “we need to talk about Petrone.”
     It’s the first chance I’ve had to tell Kevin about my meeting with the guy. I fill him in. When I get to the part where Petrone denied trying to have me killed, Kevin asks, “And you believed him?”
     ​“I did.”
     “Just because that’s what he said?”
     I nod. “As stupid as it might sound, yes. I’ve had dealings with him before, and he’s always told me the truth, or nothing at all. And he had nothing to gain by lying.”
     ​“Andy, the guy has had a lot of people murdered. How many confessions has he made?”

Were you enthralled by the welcome and refreshments section, or did you just wish we could get to the point? I think I know the answer!

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​​The slimmed-down version

Now let’s look at how author David Rosenfelt actually wrote this excerpt from Play Dead (Grand Central, 2009, p. 175), and beautifully too:

Laurie comes back to the office with me for a meeting with Kevin.
​     These meetings are basically of dubious value, since all we seem to do is list the things we don’t understand in our preparation for a trial we don’t know will even take place.
​     It’s the first chance I’ve had to tell Kevin about my meeting with Petrone. I fill him in. When I get to the part where Petrone denied trying to have me killed, Kevin asks, “And you believed him?”
​     “I did.”
​     “Just because that’s what he said?”
​     ​I nod. “As stupid as it might sound, yes. I’ve had dealings with him before, and he’s always told me the truth, or nothing at all. And he had nothing to gain by lying.”
​     ​“Andy, the guy has had a lot of people murdered. How many confessions has he made?”

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What readers don’t care about

Rosenfelt knows that none of his readers care about the weather, the coffee, or whether people say hello to each other or not.

And so he leaves all of that out and lets the reader imagine that this stuff took place. And it’s enough. In the published novel, as opposed to the version I butchered, the first line of speech is “And you believed him.”

With that, we’re straight into Kevin’s incredulity and concern, and his desire to understand what the team is dealing with in regard to Petrone.

Meanwhile, Andy has his lawyer hat on. His initial reply is succinct, so that we are left in no doubt about his belief that Petrone was telling the truth, and that he is determined to reassure Kevin.

This is no-messing dialogue that focuses on story, not whether the speech is what we might actually hear – in its entirety – in real life.

It’s an excellent example of an author ensuring that every word counts and that there’s no bus-stop-talk filler.

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​Summing up

To declutter dialogue and make every word count, ask yourself the following:

• Is every line relevant to the story?
• Is the character speaking with purpose or taking up ink/pixels on the page?
• Can mundane chitchat be removed without damaging sense and flow?
• Could the dull stuff be replaced with speech that deepens character?

Want the booklet version of this post? It's available on my Dialogue resources library. Click on the cover below to hop over to the page. Once you're there, choose the Booklets icon.

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More fiction editing resources for authors and editors

• Editing Fiction at Sentence Level
• Making Sense of ‘Show, Don’t Tell’
• Making Sense of Point of View
• Making Sense of Punctuation
• How to Write the Perfect Fiction Editorial Report
• Switching to Fiction
• The Differences Between Developmental Editing, Line Editing, Copyediting and Proofreading (free webinar)
• How to Punctuate Dialogue (course)
• Resource library: Dialogue and thoughts

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About Louise Harnby

Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.

• Get in touch: Louise Harnby | Crime Fiction & Thriller Editor
• Connect: X @LouiseHarnby, Facebook and LinkedIn
• Learn: Books and courses
• Discover: Resources for authors and editors

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