I wanted to prattle on for a
minute about a part of dialogue we ignore a lot. The unspoken part, so to
speak. Well, not so to speak. Literally, the unspoken part.
Wait... can
something be literally unspoken in prose?
Anyway, as
I so often do... I’d like to tell you a little story.
I was
working on a movie once which had a pretty standard romantic subplot. Estranged
husband and wife, pushed apart by work (he wants to stay small town, she wants
to go national), and now brought back together again during a crisis. Like so many of the lower-budget things I
tended to be on, we ended up running short on time. The place they decided to
tighten things up was in the reconciliation/we-still-love-each-other scene. You know that scene, right? It’s in a bunch
of stories and a lot of movies.
The
director and the two actors huddled together and started talking about how they could trim the page and a half scene without, y’know, ruining it. Were
there phrases that could be combined? Maybe words that could be swapped out
for... shorter words?
At which
point the lead actor suggested... “What if we didn’t say anything?”
Which is
what’s in the final movie. You can watch it and see the one minute, one-shot scene. The two of the working together in
the lab, falling right back into old habits, giving each other little
appreciative glances...
And never
saying a word.
Some folks
are intent on picking “better” words and elaborate. meticulous phrasing.
That gets spread as kind of a gospel.
We’ve all seen it—the people who’ll never use five words if it can be
said in ten. If there’s a longer, more roundabout
way to talk about something, they’ll find it.
But I don’t need to do this. I’ve talked about the “less is more” idea a few times here. A fair amount of the time I can do just as much (or more) with just a few words. Subtext can get a point across so much stronger than the spoken (or shouted) word, and sometimes that subtext doesn’t even need dialogue.
But I don’t need to do this. I’ve talked about the “less is more” idea a few times here. A fair amount of the time I can do just as much (or more) with just a few words. Subtext can get a point across so much stronger than the spoken (or shouted) word, and sometimes that subtext doesn’t even need dialogue.
I know this
sounds kinda weird and contradictory. I think I’ve said here two or three or
forty-four times that dialogue is one of the key ways we show character, so it
just feels unnatural to have characters not say anything. Especially when there are so many cool lines and
comebacks tingling on our fingertips.
Let’s consider
it, though. How often can a grim silence
have so much more impact than the longest, most detailed monologue? Think about how flirty someone can be with
just the right gesture or look. There’s
whole schools of comedy based around the idea of an awkward silence.
And this is
going to be harder to write. I won’t lie
to you.. Depending on unspoken subtext means I need to have my descriptions perfect—not one extra adverb or adjective cluttering them up and
slowing them down. It means I need to
have a great sense of empathy—that I know exactly how this moment will be interpreted
by everyone who reads it, and not just by a few of my friends.
Y’see,
Timmy, this kind of subtlety is what makes my writing soar. It’s how I bring my story to life and raise
it up to the next level. I want to recognize
the chance to say nothing--to use that delicate balance of silence and
description and subtext--and take advantage of it.
Or, as K.M.Weiland once put it—“Never miss a good opportunity to shut up.”
Next time,
I wanted to discuss some basic geometry.
We haven’t done that in a while.
Until
then... go write.
I enjoy your ranty blog very much.
ReplyDeleteWell I'm glad someone does. Quiet as a grave around here...
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