Authentic dialogue should not be confined to reporting speech as it is spoken. People are either timid or ramble when they speak. They are not always direct when they speak. When two people are engaged in a one on one dialogue, the writer must take the opportunity to articulate their thoughts in a concise manner. Rambling dialogue or a character who cannot say directly what he means will sound like he has really nothing to say.

Example (spoken dialogue): “Grandma, there’s something I want to tell you and I hope you wouldn’t take amiss. It’s been bothering me for a long time, you know. Every time I visit you on the weekends, I mean, I enjoy visiting and listening to your stories. But you know, the kiss you give me when I arrive and before I leave? Well, I don’t mind if you kiss me. I think it’s very affectionate of you. So, about the kiss. I’m already thirty-five.” Etc.

The grandchild is rambling. Sure, he is afraid to offend his grandmother, but this fear can be shown in a way so that the writer doesn’t give too much space to the character’s wordiness. Some novice writers would argue that many people don’t speak straight to the point and they use many gap fillers and crutch words. How can dialogue be authentic when characters always speak in a straightforward manner? Understand that you are writing a speech in fiction. A skillful writer must convey the sum of ideas in wordy speech. Creating authentic dialogue doesn’t mean wordiness. A writer’s job is to rewrite language into stating what is needed to be said.

Example (written dialogue): “Grandma, there’s something I need to tell you . . . is it okay if you kiss me on the cheek or forehead but not on the mouth?”

In this short dialogue, the grandchild delivers his thought in a straightforward fashion, yet the reader can sense that he feels awkward saying it.

Even a beta male character archetype who gets tongue-tied in the presence of a beautiful woman should not ramble. The skillful writer can illustrate that this beta male is tongue-tied and feels awkward without making him wordy. This character can be at loss for words. A combination of description with dialogue can help.

Example: Parker wiped the sweat on his forehead as Brenda closed her locker and stared at him. “Brenda,” he said. “Um, would you like to go to the dance with me?”

There is no reason for Parker to be wordy. If he does that, Brenda might just walk away especially if she is the type who likes straightforward guys. Never make the excuse that your character cannot say what he means because that is what happens to real people when they feel uneasy—this would be lazy writing. There is more in being less.

Consider the works of authors such as Judy Blume and Elmore Leonard. Blume’s teen characters are unequivocal and Leonard’s gangsters are snappy. The trick to writing authentic dialogue is to create an impression of authenticity and not by copying it.