“There’s Something Terribly Wrong…”

V’s revolutionary speech – V for Vendetta

Many of you will be familiar with the graphic novel, or film of aforesaid, ‘V For Vendetta’, by Alan Moore. Moore is an English writer, primarily known for his graphic novels, who has written for ‘2000 AD’ and ‘D.C Comics’.

I thought, like the antagonist revolutionary; V, I’d take a moment to have this quiet rant…

V: Allow me first to apologise for this interruption. I do, like many of you, appreciate the comforts of everyday routine, the security of the familiar, the tranquillity of repetition. I enjoy them as much as any bloke. But in the spirit of commemoration, where upon important events of the past, usually associated with someone’s death or the end of some awful bloody struggle, are celebrated with a nice holiday, I thought we could mark this…day… by taking some time out of our daily lives to sit down and have a little chat.”

You see I’m going to reference V quite a bit! Many people at this time of year – Christmastime, claim to feel the joy of the season. Their sense of goodwill to all mankind lights up, and they feel better in themselves. But isn’t this all hypocrisy? How can one feel a sense of obligation and empathy for one’s ‘fellow man’ for a day or two, then disregard it for the rest of the year? How can those who follow religious doctrine claim to be caring and giving when they do not open their doors to the poor and homeless at this time of year? How can any of us claim to be feeling the ‘true meaning of Christmas’ whilst closing our doors and curtains against the bleak truth that there are thousands – if not millions, suffering right now?

“V: There are, of course, those who do not want us to speak…Why? Because while the truncheon may be used in lieu of conversation, words will always retain their power. Words offer the means to meaning, and for those who will listen, the enunciation of truth. And the truth is, there is something terribly wrong with this country, isn’t there?”

And not just England – which is where V is set and to what he is referring. Take a look at where you live. Be honest. Is it truly a place of equality? Do all people really avoid the truncheon? Do those who speak out maintain their freedom? Or is your government frightening you into a state of impotent paralysis, whereby you feel unable to speak against it, or act against it? Or vote against it? Is your government smothering you with platitudes? Is your government telling outright lies that seem so unbelievable that – you simply cannot bring yourself to believe them?!

“V: Cruelty and injustice, intolerance and oppression. And where once you had the freedom to object, to think and speak as you saw fit, you now have censors and systems of surveillance coercing your conformity and soliciting your submission. How did this happen? Who’s to blame? Well, certainly, there are those who are more responsible than others, and they will be held accountable. But again, truth be told, if you’re looking for the guilty, you need only look into a mirror.”

Is there a nation on Earth that does not have a system of surveillance anymore? In 2016, China had a reported 176 million surveillance cameras in operation, with plans to increase this number. The U.S. has approximately 15.3 cameras for every 100 individuals, followed by China with approximately 14.4 and the U.K. with 7.5. Other top 10 countries include Germany (6.3), Netherlands (5.8), Australia (4), Japan (2.7), France (2.5) and South Korea (2). So forget about your ‘western freedoms’; you are being watched, counted, surveyed – spied upon on a daily basis. And how do they get away with it? Because we let them. They say it is for our security and protection, but one has to wonder at the increasing level of CCTV’s around the world. And yet the ‘cruelty, injustice and intolerance’ are rarely recorded by these CCTV’s. These crimes are exposed by the people who happen to pull their phones out the fastest. And when these people stand up for what is right, and honest and true – someone somewhere silences them – or attempts to.

“V: I know why you did it. I know you were afraid. Who wouldn’t be? War, terror, disease. They were a myriad of problems which conspired to corrupt your reason and rob you of your common sense. Fear got the best of you, and in your panic, you turned to… He promised you order, he promised you peace, and all he demanded in return was your silent, obedient consent.”

Don’t get me wrong. I’m not saying I’m innocent, no, far from it. I am as guilty as the next person. I am as complacent and self-serving as anyone who feels they should keep their head below the parapet of politics. I am comfortable and lazy with it! But our turning away is as bad, if not worse, than the act itself. We know these things are happening and yet….
We know the seas are choking on our plastic – OUR plastic, and yet…
We know the President/PM/Chancellor/Governor lied, and yet…

And yet…
…there are sparks of light in the darkness we all create. Individuals who shine so brightly, speak so passionately, hold up the truth to anyone who will look and listen, that they just cannot (or should not) be ignored.
2019 has seen a rise in young people calling out their governments. Youngsters who have revitalised the people’s passion in a variety of subjects. From gun laws, to education. From female empowerment to climate change.
I raise my glass; and invite you to do the same, to those brave individuals who have not been cowed, or restrained, who have spoken out with fierce determination against systems of oppression. They deserve our support, our thanks and most of all, our cooperation.
Some of them are familiar, some not so; depending on where in the world you live. So let us say ‘Thank you’ to:-

Hong Kong protests – Joshua Wong, age 23 years, helped organise the protests and the Umbrella Movement, criticized the oppression of protesters by the Hong Kong police, and the extradition draft law as pro-Beijing and called for the Chief Executive of Hong Kong Carrie Lam to resign.

The #NeverAgain movement – David Hogg, Jaclyn Corin, Emma González, Cameron Kasky, and Alex Wind. The center of a massive youth movement for gun control after surviving a massacre that killed 17 of their classmatesat Marjory Stoneman Douglas High School in Parkland, Florida.

Jihye Yang, 22, is one of the leading youth feminist voices in South Korea, which was rocked this year by protests against a spate of illegal filming cases. Women have been recorded in their homes, on the streets, and even in toilets. Tens of thousands of women have marched in protest under the slogan “My life is not your porn”.

Alexandria Villaseñor, 14 years old – the founder of Earth Uprising, a global climate change movement, and one of the youngest organizers of the historic Sept. 20th Global Climate Strike, is on the front lines of the climate change movement.

Youth Climate StrikeGreta Thunberg, aged 16 years, was first pictured sitting alone outside Swedish parliament in a strike that she hoped would raise alarms among lawmakers. Soon, she had spurred an international movement of students striking on behalf of climate change.

V: So if you’ve seen nothing, if the crimes of… government remain unknown to you then I would suggest you allow the… [year] to pass unmarked. But if you see what I see, if you feel as I feel, and if you would seek as I seek, then I ask you to stand beside me one year from tonight, outside the gates of Parliament, and together we shall give them a fifth of November that shall never, ever be forgot.”

Well, I’m not suggesting we all gather around our parliament buildings on the 5th November or to conduct V-like Vendettas. But I am inviting you all to join these; and other, young people across the world in making things better, making things right. Forget slogans like ‘Make….Great Again’. None of the countries who use this phrase have ever had a decade which was great for all it’s citizens.
But they can be made great for the first time in their histories!

Have a peaceful holiday season wherever you may be. And remember, we can make a difference. YOU can make a difference.

Wishing you all a Very merry Christmas!

And a happy, healthy New Year.

V for Vendetta Christmas

Writing Dialogue

*N.B: Warning, contains offensive language.

 

“Good morning readers, and welcome to another post on Flailing Through Life.”

“Hi! Another day, another post!”

“Hey! You! Yes you! Come and read this, no, don’t look over there, look here!”

 

As dialogue, which is preferable? Which grabs attention quickest? Which is most appropriate for your scene? Some of you are experienced writers, so you already have a handle on this aspect of the craft, but we can all do with a little extra topping on the ice-cream sundae of the written word – couldn’t we?

There are a few successful novels and novellas that contain no dialogue whatsoever, Shikasta by Doris Lessing being one of them; the story is presented in a series of reports from an alien who inhabits earth. Another is Bridget Jones’s Diary by Helen Fielding, which is created through diary entries. However today, let’s look at how we make people talk.

Dialogue exists to bring your characters to life, it makes them appear ‘real’, it allows for interaction between characters, it reveals what sort of person he or she is. And if done well, it can make your writing come alive.

I am a massive movie fan, I watch films all of the time, I spent many hours in my childhood sitting indoors on a sunny day, with the curtains partially drawn, watching old black and white movies; mostly British or French. I am a huge fan of Quentin Tarantino films – and his dialogue is perfect.

Take a look at this section from Reservoir Dogs – Mr White does not want to tip the waitress when everyone else has done so:

                          

            NICE GUY EDDIE

                Okay, everybody cough up green for

                the little lady.

       Everybody whips out a buck, and throws it on the table.

       Everybody, that is, except Mr. White.

                              NICE GUY EDDIE

                 C’mon, throw in a buck.

                        WHITE

                 Uh-uh.  I don’t tip.

                              NICE GUY EDDIE

                 Whaddaya mean you don’t tip?

                        WHITE

                 I don’t believe in it.

                              NICE GUY EDDIE

                 You don’t believe in tipping?

                      PINK

                         (laughing)

                 I love this kid, he’s a madman,

                 this guy.

                      BLONDE

                 Do you have any idea what these

                 ladies make?  They make shit.

                     WHITE

                 Don’t give me that.  She don’t

                 make enough money, she can quit.

       Everybody laughs.

                              NICE GUY EDDIE

                 I don’t even know a Jew who’d have

                 the balls to say that.  So let’s

                 get this straight. You never ever

                 tip?

                    WHITE

                 I don’t tip because society says I

                 gotta.  I tip when somebody

                 deserves a tip.  When somebody

                 really puts forth an effort, they

                 deserve a little something extra.

                 But this tipping automatically,

                 that shit’s for the birds.  As far

                 as I’m concerned, they’re just

                 doin their job.

                           BLUE

                 Our girl was nice.

                           WHITE

                 Our girl was okay.  She didn’t do

                 anything special.

                          BLONDE

                 What’s something special, take ya

                 in the kitchen and suck your dick?

ReservoirDogsTipping

So what sort of people are they? Sure, when you watch the movie you can see them all sat around in their matching black and white, but what does this little section tell us about Mr. White? The dialogue is about a mundane subject; tipping, but it is interesting because of the people who are having the conversation as much as anything else; makes it kind of weird (and if you’re like me, then comical) https://www.youtube.com/watch?v=V4sbYy0WdGQ&list=RDV4sbYy0WdGQ#t=0

Tarantino does this repeatedly in his films. We get two or more characters who we know, as the audience, are awful people; killers, murderer’s, punks, criminals and so forth. Then he gives them this dialogue about everyday stuff, it is the Juxtapositioning of dialogue and character expectation that creates interest and tension.

Here’s another. In Pulp Fiction, Jules and Vincent, hit-men for Marcellus Wallace, are in the apartment of some college kids who tried to pull one over on Wallace. It’s payback time. We the audience kind of know this, but what happens is this –

 

                                    JULES

                         Good for you. Looks like me and

                         Vincent caught you at breakfast,

                         sorry ’bout that.  What’cha eatin’?

                                     BRETT

                         Hamburgers.

                                     JULES

                         Hamburgers. The cornerstone of any

                         nutritious breakfast. What kinda

                         hamburgers?

                                     BRETT

                         Cheeseburgers.

                                     JULES

                         No, I mean where did you get’em?

                         MacDonald’s, Wendy’s, Jack-in-the-

                         Box, where?

                                     BRETT

                         Big Kahuna Burger.

                                     JULES

                         Big Kahuna Burger. That’s that

                         Hawaiian burger joint. I heard they

                         got some tasty burgers. I ain’t never

                         had one myself, how are they?

                                     BRETT

                         They’re good.

                                     JULES

                         Mind if I try one of yours?

                                     BRETT

                         No.

                                     JULES

                         Yours is this one, right?

                                     BRETT

                         Yeah.

               Jules grabs the burger and take a bite of it.

                                     JULES

                         Uuummmm, that’s a tasty burger.

                              (to Vincent)

                         Vince, you ever try a Big Kahuna

                         Burger?

                                     VINCENT

                         No.

               Jules holds out the Big Kahuna.

                                     JULES

                         You wanna bite, they’re real good.

                                     VINCENT

                         I ain’t hungry.

                                     JULES

                         Well, if you like hamburgers give

                         ’em a try sometime. Me, I can’t

                         usually eat ’em ’cause my girlfriend’s

                         a vegetarian. Which more or less

                         makes me a vegetarian, but I sure

                         love the taste of a good burger.

                              (to Brett)

                         You know what they call a Quarter

                         Pounder with Cheese in France?

                                     BRETT

                         No.

                                     JULES

                         Tell ’em, Vincent.

                                     VINCENT

                         Royale with Cheese.

                                     JULES

                         Royale with Cheese, you know why

                         they call it that?

                                     BRETT

                         Because of the metric system?

                                     JULES

                         Check out the big brain on Brett.

                         You’a smart motherfucker, that’s

                         right. The metric system.

                              (he points to a fast

                              food drink cup)

                         What’s in this?

                                     BRETT

                         Sprite.

                                     JULES

                         Sprite, good, mind if I have some of

                         your tasty beverage to wash this

                         down with?

                                     BRETT

                         Sure.

               Jules grabs the cup and takes a sip.

                                     JULES

                         Uuuuummmm, hit’s the spot!

                              (to Roger)

                         You, Flock of Seagulls, you know

                         what we’re here for?

               Roger nods his head: “Yes.”

                                     JULES

                         Then why don’t you tell my boy here

                         Vince, where you got the shit hid.

                                     MARVIN

                         It’s under the be –

                                    JULES

                         – I don’t remember askin’ you a

                         goddamn thing.

                              (to Roger)

                         You were sayin’?

 

Jules is scary even on the page; he swings from calm burger gourmet to dangerous aggressor and back again in two sentences. Everyone is caught off-guard, which is great for story-telling tension. Why does Tarantino write this dialogue? Why doesn’t he just have Vincent and Jules come in, blow the boys away and search for the drugs? We all know; Vince, Jules, the unfortunate college kids, and us the audience, we all know this isn’t going to end well and the everyday subject of the dialogue draws out the moment until all hell breaks loose.

Tarantino Pulp Fiction

“Uuummmm, that’s a tasty burger.”

Looking to the dialogue of film-makers, directors and producers and analysing what they have written, why they have written it and the effect it has on the audience, can help revitalise a novelists approach.

And let’s not forget comic/graphic novel writers. They have to get that dialogue to lift off the page as much as the artwork. They often bring controversial ideas to the page, dialogue that can be poetic, or both as is the case with Alan Moore’s,  V For Vendetta.

v for vendetta

V: Voilà! In view, a humble vaudevillian veteran, cast vicariously as both victim and villain by the vicissitudes of Fate. This visage, no mere veneer of vanity, is a vestige of the vox populi, now vacant, vanished. However, this valorous visitation of a by-gone vexation, stands vivified and has vowed to vanquish these venal and virulent vermin vanguarding vice and vouchsafing the violently vicious and voracious violation of volition.

In this scene where V introduces himself to Evey, we learn a lot about V – he is poetic, an actor, misunderstood and a freedom fighter, all V’s dialogue.

The comic book writer is a subversive creature, lurking in the darkening corners of publishing houses and saying the things we wish we had said ourselves. Frank Miller takes us into the dark with the likes of Sin City and Batman: The dark Knight Returns. Other comic book writers with snappy dialogue are the ‘cast’ of 2000AD writers, including John Wagner, Pat Mills, Alan Grant, Garth Ennis; some of the writers for Judge Dredd;

Chief Judge: Sink or swim. Chuck her in the deep end.
Dredd: It’s ALL the deep end.

Even without any images, we know that Dredd is a hard-nosed, Lawful, humourless son-of-a-bitch, and he kicks criminal ass big time. Forget what you may have heard about kids and comics, if you have never read one, go and buy one or two and read them  and study that dialogue.

2000ad-is-the-black-mirror-of-british-comics-body-image-1449762931-size_1000

Some quick tips –

  • INSTEAD OF SAID. I know, it’s a bitch isn’t it? You have a section of long-running dialogue and you get tired of writing he said, she said. Find an alternative to express their tone, emotions and attitude. A helpful site I like to use is – Over 200 Words to use Instead of Said – http://www.spwickstrom.com/said/#demurred
  • LISTEN to how people speak to each other in real life – BUT – do not copy it, because in real life, we um and ah, and er and pause and repeat and so on and so on… put yourself in the head of your character, BE the serial killer with a penchant for growing prize-winning roses, BE the put upon clerk who adores his/her boss regardless of how they’re treated.
  • “MORNING DORIS.” “Hi Doris.” “Yo bitch!” Use colloquialisms to tell the reader about the relationship between characters. After all, you do not all speak the same as each other, the way you speak to your mother is quite different from how you chat with your friends/homies/home girls/pals.
  • SPEAK UP. Read your dialogue out loud (you should do this with all your work anyway, you can hear the mistakes!) Act the parts of your protagonists; does it sound ‘real’?
  • RESEARCH – especially if your setting is alien to you, or historical. In the 17th century, Doris’ neighbour would never have said “Yo bitch!” or even “Hi, Doris.” More like, “Good morning to you Mistress Doris.” Keep it real – for the world you’re writing for.
  • KEEP A NOTEBOOK to hand, ALWAYS. Listen to people talking at bus stops, on trains, at work/school. You can pick up some juicy titbits. I once heard someone say of Alan Bennet (British playwright, screenwriter, author), that he noted down what a fellow actor said, then had her repeat it in his plays. Sounds true, possibly is, but he did not regurgitate directly what she said, he adapted it for the viewing audience so that we came to know the character.
  • KNOW YOUR CHARACTERS. Would our lovely Doris really say “I don’t give a crap about waitresses!”?  You don’t need to, but you might want to write biographies for your characters, it will help you to determine, not only where they come from and what accents they have, but also how they speak; their specific word choices such as slang, speech patterns, and rhythms.

 

Authors who I think give good dialogue!

Douglas Adams

The author of The Hitchhiker’s Guide to the Galaxy series marries the fantastical with the prosaic –

‘Drink up,’ said Ford, ‘you’ve got three pints to get through.’

‘Three pints?” said Arthur. ‘At lunchtime?’ 

The man next to Ford grinned and nodded happily. Ford ignored him. He said, ‘Time is an illusion. Lunchtime doubly so.’

‘Very deep,’ said Arthur, ‘you should send that in to the Reader’s Digest. They’ve got a page for people like you.’

‘Drink up.’

 

Elmore Leonard

The crime novelist’s dialogue is catchy and snappy, many of his novels have been made into films – Get Shorty, Jackie Brown and  3:10 to Yuma

‘You sure have a lot of shit in here. What’s all this stuff? Handcuffs, chains…What’s this can?’

‘For your breath,’ Karen said. ‘You could use it. Squirt some in your mouth.’

‘You devil, it’s Mace, huh? What’ve you got here, a billy? Use it on poor unfortunate offenders…Where’s your gun, your pistol?’

‘In my bag, in the car.’ She felt his hand slip from her arm to her hip and rest there and she said, ‘You know you don’t have a chance of making it. Guards are out here already, they’ll stop the car.’

‘They’re off in the cane by now chasing Cubans.’

His tone quiet, unhurried, and it surprised her.

John Steinbeck

Worlds peopled with memorable characters with dialogue that a reader can hear it as if spoken aloud.

‘I forgot,’ Lennie said softly. ‘I tried not to forget. Honest to God I did, George.’

‘O.K.—O.K. I’ll tell ya again. I ain’t got nothing to do. Might jus’ as well spen’ all my time tell’n you things and then you forget ‘em, and I tell you again.’

‘Tried and tried,’ said Lennie, ‘but it didn’t do no good. I remember about the rabbits, George.’

‘The hell with the rabbits. That’s all you ever can remember is them rabbits. O.K.! Now you listen and this time you got to remember so we don’t get in no trouble. You remember settin’ in that gutter on Howard street and watchin’ that blackboard?’

Lennies’s face broke into a delighted smile. ‘Why sure, George, I remember that…but…what’d we do then? I remember some girls come by and you says…you say…’

Hope you enjoyed today’s post. Now go and write some wonderful dialogue people!