Distinct character voices

For authenticity you could sit in a youth chat room.

I agree that the slang will all shift and wander off in any number of years, but sitting in the chat room will recall your own youth to you, show how these young humans are not so different than the young humans of your own generation, and after a time give you a grasp on how to authentically express what your disseperate characters are thinking and feeling.


I remember when I was that age, that some of us got that other people don't think and/or feel and/or perceive the world as our innerselves did. Those of us who did were better at communicating to those outside our heads than those who didn't get it.

I love Anna's suggestion for writing what goes on from one perspective, then from the other. You might not use either perspective, because the narrator has the best view, but you'll know if the dialogue is right because the characters will have naturally said what they say when given their own perspective on a scene.

Acting it out would be the shorthand version of such a suggestion. (Shorthand because you don't have to stop and write everything out, nor do it twice.)

Awesome question, thanks for asking.
Thanks :)
I definitely find this the hardest part when writing...
I looked at Harry Potter to get inspiration since I am writing for the same age range. But somehow I felt that Ron's voice was more distinct than Harry's...? Harry seems to be more neutral somehow - and Hermoine the clever girl who always wants to do what's right..
Not sure what I'm saying here :rolleyes: other than there seems to be many ways to write dialogue...?!
 
Thanks :)
I definitely find this the hardest part when writing...
I looked at Harry Potter to get inspiration since I am writing for the same age range. But somehow I felt that Ron's voice was more distinct than Harry's...? Harry seems to be more neutral somehow - and Hermoine the clever girl who always wants to do what's right..
Not sure what I'm saying here :rolleyes: other than there seems to be many ways to write dialogue...?!

I often find what the character is doing around the dialogue is more important than what they actually. A lot of them have physical ticks etc
 
Yes!
Harry's dialogue is reticent, his upbringing with the Durslys didn't do anything for his self confidence so he is neutral in his mannerisms.
Ron contends with 7 older brothers for attention so his mannerisms are bolder.
Hermione is a bookworm and gains in confidence over the series as she hangs out with Harry and Ron. So her speeches reflect how she goes from just spouting off what she knows to prove that she can hold her own in a new and unexpected environment to bossy as she realizes these boys need what she knows, to survive what they are charging into.


I assumed that she listened and paid attention to her son and his friends to achieve authenticity.
 
Good idea - not sure how to relate that to children - will have to think about that! ;)

Children are people and move more than adults. They are even more on the go which makes it easier. Yours are 12 and 13 so starting to gain more grown up actions and movement.

My current MC is 14. Kit found his mother dead only a year before the story - his father is now in prison for her murder. He's now living with his gran who has given up on life since her daughter died. He's also mixed race and gay (it's 1989). So he's quite reticent with people, except his mate Gary and someone called The Hurdy-Gurdy Man, and he has a lot of actions that tend to make him smaller than he really is. He flinches a lot and is worried about people gossiping about him. He buys an old man's coat so he can pretend that's why they're looking at him and staring at him. Also he's big on keeping his anger under control because everyone seems to expect him to turn into his dad and he's not. He's wary and observant because he avoids school so during the day it's all about not getting caught whilst he makes money playing his fiddle.

It's at just past NaNo draft (got a long way to go):
“I would like the coat in the window, please.” He stood, uneasy, and looked round. A pretty vase caught his eye but he knew his gran would hate any tat brought into the house.

She sniffed and turned a page. A manicured, bright-pink polished finger, picked out a chocolate from the box on the counter. The chocolate disappeared with a satisfied grunt.

“Coat. Window.” This time he let a note of irritation enter his voice. He breathed deeply and closed his eyes. Losing his temper in public was what everyone was waiting to see, and she probably got the pink rinse at his gran’s salon. They won’t have the satisfaction. They won’t have the satisfaction. They won’t have the satisfaction. He breathed through his mantra.

The woman sniffed again. Folded the corner of her page down and closed the book. “Which one?”

There was only one coat in the window.

“The man's overcoat, please.” He pointed to it.

“Bit old for you ain’t it?” She eased herself out of her chair and pottered, in her carpet slippers, over to the window.

He looked out the window and checked the time on the town clock. School would be over shortly. He needed to be out of the town centre.

When eventually she returned, she threw the coat on the counter. “Have you got the five pounds?”

He handed her the ten pound note the man had given him, took the coat and put it on. It made him feel like the doctor – he’d need a scarf to go with it. It took all his effort not to girlishly twirl in front of the streaked mirror.

Once more she sniffed, and held the note up to the light. “Looks genuine.” She put it in the cash register and gave him his change. “My dad used to wear something like that. It’s too long on you.” She sat back down, helped herself to a chocolate and picked up her book.

“Thanks.”

The woman turned the page.
 
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