Every once in a while, I stumble upon a dead scene. One where, technically, nothing happens. It usually involves either an author who is brimming with information or really loves writing witty banter.
In two manuscripts I’ve read recently, I’ve encountered dead scenes. These dead scenes occurred for two completely different reasons. For one, the author felt compelled to outline the bulk of a fantasy world in the form of a more-experienced person filling a newbie in. The second MS, the author had established some good tension and a compelling plot with potential danger, then spent about 40 or 50 pages writing: witty banter at a family dinner, a witty scene at the best friend’s house, witty banter at another family dinner, witty banter at the coffee house, witty banter by the lockers at school.
Are you getting my drift? What do the two above mss. have in common? What’s that? Did you say “lot’s o’ blabbing”? Ding, ding, ding! We have a winner!
When you find large places in your MS with nothing but dialogue, you’re most likely in trouble. *cue wails of distress, cries of “but my MS is different!”* That very well might be, but editors and agents are looking for story, they’re looking for plot. In most cases, even a literary, character-driven masterpiece will only be half the package.
I’ve never met a publishing professional who wouldn’t also want to know: “What happens next?”
Authors usually either write long conversation scenes to serve as a) an info-dump (about a world, a situation, a threat, a character, etc.), or b) to bask in their own wit/wordplay/writing.
Both of these pose huge revision problems. Huge. Make-you-want-to-eat-a-sheet-of-tiramisu-from-Costco huge (I know from experience… I can still taste the powdered chocolate dusting my tear-stained cheeks). The first author wails: “But how else do I introduce all that information??? It’s the crux of my story!!!”
The answer is: you layer it. Introduce one thing. Then add another layer to it. Add some backstory in another conversation. Better yet, make your explanation triggered by something. Your characters find something and it starts a story. Or something happens and a character explains something. Instead of having a conversation triggered by your urge to world-build and spill the framework of your concept, have it be triggered by action. And don’t give it to us all at once. Put the pieces together as they arise naturally through plot.
The second writer will balk at this advice: “But this is hilarious. It’s so fun to read!” Sure, you wrote some funny stuff. And I’ll probably enjoy reading it. But most writers can’t keep a book in suspended plot animation for long before a reader gets antsy. If you want to showcase your wit, punctuate it with action. Have a witty moment discussing something that happened. De-stress after a long day of ACTION by hanging out with your BFF and bantering. Don’t let the witty banter be the entire book, though. That’s the grave mistake.
As you can see, the answer to both situations is action. Something happening. Plot. Every scene and every chapter must not only develop character and story and world, they must also move the plot forward. Another reason to avoid long dialogue scenes without plot is that dialogue leads toward telling, not showing.
Are you worried about this? Good. If you’re the fantasy writer in my examples, start with the chapters you loathe re-reading the most. The ones dense with info you already know, the ones you tend to skim in revisions. That’s where your problem lies. If you’re the second writer, start with the chapters you love the most. The ones that make you feel the most satisfied. The ones where you’re showing off. My guess is that they’re the witty banter ones.
Neither is easy. But when you’re revising, ask yourself about every scene, every chapter: “What happens here?”
Honesty is important. If your honest answer is: “Two characters walk into a room, sit down at the table and talk,” that’s trouble.