Don’t get me wrong, when my friends and I do it, I find sitting around and talking fascinating. But I don’t like too much of it in my fiction. You may have heard several writing teachers saying that kitchens, dining rooms, living rooms, airplanes, and cars are especially dangerous settings in fiction. Why? Because they limit action to one of very few things. Mainly, people in these settings tend to…sit around and talk.
Talking in fiction SHOULD accomplish many things. Good dialogue reveals character objective and motivation, characterizes our fictional people and deepens our understanding of them, and it pits them against one another, creating conflict. In the hands of lesser scribes, though, lots of dialogue tends to be one giant info-dump. The writer has realized that their reader doesn’t have all the information necessary to continue the story, so they play catch-up and rationalize to themselves that, just because there are quotation marks around it, it’s not an info-dump or blatant backstory.
“Well, as you know, son, your mother was very ill last year and, at that time, she left you a box of belongings. I know you have been longing to get in there, but…”
Blah blah blah. And I’m putting the manuscript down.
Writing great dialogue is a whole other blog post (or ten). But for this brief reminder, take the following to heart: Dialogue is not a dumping ground for backstory. Scenes where people are sitting around and talking are a minefield for the pacing and action stopping cold. If you have a lot of these scenes, break them up with action in between. If you have an entire plot that is based on an environment conducive to sitting around and talking (the course of the story takes place on an overnight flight to London), I don’t envy you. Find a way to break up the constant conversation with action (think Snakes on a Plane).
Think about it like this: there’s talk, and then there’s action. That’s an old and familiar adage. We tend to want to see action, not just hear talk about it or promises or apologies. Same for your fiction. Find a way to inject action and things actually happening in any plot, but especially one that might be set primarily in a static environment.