The ManicaPost
Morris Mtisi
ONE aspect of composition writing which is critically important is organisation of Direct Speech in story writing.
How a candidate ropes in dialogue in story telling determines how the story ends up illustrating the narrator’s (writer’s) ability to conjure up interest in narration. A composition writer who incorporates, indulges, direct speech achieves thrilling dramatic effect. He or she captivates the reader or marker by sustaining a story full of action and life.
Consider the following craftsmanship:
“Tell me my dear wife, where do we go from here?”
That is a question. It is a captivating question in many ways. It arouses interest (other questions) at once. Who is who here? Who is the wife and who is the asking husband? What is the problem? Why is the husband asking? Where are the two and whereto from this question? What follows this pregnant question?
The next point (movement of story) does not come at once. Not until the writer tells us who asked the question…, asked Mr Dube.
Is that enough? No, it is not! Look at this:
…asked Mr Dube seemingly hopeless and furious.
…asked Mr Dube more hopeless than angry.
…asked Mr Dube looking straight into his wife’s pale face.
…asked Mr Dube his restraint clearly beginning to escape.
You could as you see add detail to your comment to show the reader what feeling or attitude accompanied the question. After the elaborated comment, is that enough for the wife to respond? Yes and No! Yes because you want the conversation to be tightly and smoothly flowing. You don’t want the conversation to be disrupted by the narrator’s comments. So she responds instantly.
No, because you want to avoid obvious gaps in thought, so you add one or two more details or comments, eg …asked Mr Dube, his restraint clearly beginning to escape. He took two quick steps towards his wife and suddenly made an about turn back into the chair he was sitting. Then he sat there quietly but breathing in and out heavily.
Now the wife can answer:
“Where do we go from here?” echoed Mrs Dube sarcastically. “You are the man of the house, are you not? You must tell me where to go from…” She did not complete her statement. Mr Dube quickly shut her mouth with a lightning slap. Before he could deliver a second thunder-clap, someone gripped his hand in a steel-muscled arm from behind.
“This is not how a gentleman argues Mr Iron-Age nincompoop!” a grumpy voice from behind interjected. It was a man’s voice.
The story moves on from here and please note, without being carried away by the drama in dialogue.
We have seen the drama and the action is enough.
The mood is vivid and now noted. A skilful story teller at this stage resorts to narrating (in reported speech) but without ‘killing’ the verve; without reducing the thrill. It is the narrative gear that changes, namely from top direct drama to narrative report. Look at the following:
The war at once shifted direction from the besieged wife to the unsuspecting Good Samaritan. Mr Razunga had been the Dube’s neighbour for ten long years. This was not the first time he had come to Mrs Dube’s rescue once the mad husband was in one of these lunatic eruptions of violence. This was not the second, third or fourth time.
All the time Mr Razunga intervened he knew the table would turn against him. Today was not different.
From here, please note, one would find it appropriate to reconnect, re-engage, the dialogue (direct speech).
Another student (writer) may find it suitable to sustain the report, the narration, a little further. Both are on point, very correct. It depends on which hand is the upper hand; the direct-speech or dialogue hand or the report hand.
What is important is to make sure none of the above (dialogue or reporting, narration) is overdone. There must just be enough of the two narratives styles. Too much of one is boring and will certainly blot the thrill and grip.
PRACTICE EXERCISES
Teachers! Guide your pupils/students to skilfully develop the following dialogue statements as learnt above.
1. “Now, march out of my house. I’m fed up with your tricks and lies,”…
2. “Please mom, I’ll not do it again,”…
3. “Is this what you call love? Check, consult your Dictionary again,”…
4. “Come on, just take your seat and maintain your size,”…“This is not laughing business. We are serious,”…
5. “Shami, if I were you I would melt into the ground beneath me. This is a shame, an abomination in our home and village at large,”…
