Why "No One Talks Like That" Is Unhelpful
Why "No One Talks Like That" Is Unhelpful
I've been thinking about some unhelpful critiques I have been given in the past and what made them so unhelpful, which lead me to sort of wanting to deconstruct why "no one talks like that" is such a bad critique.
So, things to consider before you give the critique "no one talks like that", which will likely reveal what you're actually trying to say:
Conversational conventions are often different in fictional worlds.
Just because something is normally "uncouth" or "strange" to say in reality, that does not mean the same can be said about fictional worlds. I personally got the "no one talks like that" critique because one of my characters was, supposedly, too blunt about their marriage proposal. This was in a fantasy world where marriage was treated in an extremely practical fashion, the same way someone would treat buying a new house. I got treated as the "person who constantly interrupts people giving critiques because they can't handle it" for simply trying to give my teacher some much needed context. This type of critique is not helpful to anyone, because it completely fails to understand or even attempt to understand author intent. "No one in real life talks like this", yes, and that is the point. To actually give helpful critiques to fantasy dialogue, you need to first understand how that fantasy culture differs from the ones you are accustomed to, and judge the dialogue based on it.
2. When you say "no one talks like that", who are you really referring to? The general population, or the people specifically within your social circle, area, or culture? Because you will likely find it is the latter.
I don't think it's necessarily bad for people to draw from their experiences when giving critiques, but I do think it's important to analyze one's biases in doing so. Before you say, "no one talks like that", always sit down to analyze why exactly you think that, and consider having a proper discussion with the writer about what experiences they are drawing from. As one examples, a straight person who is unfamiliar with queer culture may feel inclined to say "no one talks like that" about queer characters using terms or addressing topics like gender, sexuality, etc. in ways they are not accustomed to. It's not because no one truly talks like that, it's because they are completely unfamiliar with it.
3. Always, always, always consider context.
This ties into the fictional world idea, but goes beyond that. "No one talks like that" can feel extremely tone deaf as a critique if the person isn't properly engaging with the context of a scene or a character. "No one talks like that," okay, but this particular character is stressed and running on adrenaline, they're not exactly meant to be talking normally. "No one talks like that," this is a literal demon from Hell, why should they talk like we do? "No one talks like that," this character is neurodivergent, and it makes complete sense for them to talk like that. Also, keep in mind the genre and the style of the story. Not all stories are trying to have realistic dialogue. You wouldn't criticize a story set in wonderland for having unrealistic dialogue, as this is very much the point. Now, unrealistic does not mean meaningless, which is why considering the context of a story helps you give more specific and helpful critiques when it comes to dialogue.
4. Does nobody talk like that, or is it just socially unacceptable to talk like that? There is a difference.
I mentioned neurodivergent characters, so let me expand on that issue here. There's this attitude I think really needs to be squashed that characters must talk in a neurotypical fashion or else they are badly written, because neurotypical individuals find this easier to understand and see it as more "proper". And it expands to this general attitude I've seen that, if characters are not following certain social rules or etiquette, then the dialogue is badly written. This puts so many constraints on character dialogue that doesn't actually help with character writing.
Sure, not everyone is going to go out to a parking lot and scream profanities to see the shock and horror of those passing by, but this shit stain character I created absolutely would. "But characters need a good reason to break this etiquette", not everyone cares about social etiquette, and characters are absolutely the same way. So long as their character has been established as such, this is fine. Also, reactionary responses like, "no one would talk to their parents that way!", in response to a character severly breaking a social rule or greatly going against a certain social value, are not actually helpful critiques. It is an emotional reaction that reflects what you view as proper, not if the action is accurate to the character or not.
5. Is it true that nobody talks like that, or do you just not understand the dialogue?
If dialogue is confusing, you need to delve deeper into why that is, and consider whether this is intentional or not. Just because the dialogue does not personally resignate with you, that does not mean it is poorly written. Same goes for dialogue that is meant to be confusing at first, and is given further context later. Have a conversation with the writer to see if this dialogue is meant to be confusing, or if there's been a miscommunication. It's also important you reflect on whether a project is for you when critiquing. If you hate dialogue full of rhymes, then you probably shouldn't critique a story where everyone talks in rhymes.
6. Is the issue the way they are talking, or the way they are talking about something in the specific context of the story?
When analyzing why dialogue doesn't sit well with you, is it because the characters' reactions feel off or out of character? For instance, is the character that is well established to hate sweets now ranting and raving about how good milk chocolate is? The issue then isn't that "no one talks like that", the issue is, "it feels out of character for them to address (topic) like that". Yes, it could be argued no one hates sweets one second and then praises milk chocolate the next, but phrasing it as "no one talks like that" doesn't actually get to the meat of the issue. As a more serious example, is the character who hates all magic being oddly casual when actually confronted with a mage? Of course, some inconsistencies are done on purpose, and, as I said above, context matters.
Conclusion
Going through this, I think a lot of people will find "no on talks like that" is not actually what they want to say. Rather, they likely want more context, think a conversation needs better build up, believe the dialogue feels inconsistent with the characters/world, or may outright just be a bad fit for that particular project. So before you say, "no one talks like that," consider why you feel that way and find a way to word this critique that is more productive.
More Posts from Moremysteries and Others
To shake the impatience out of me, I tend to write my characters in the most unhinged scenarios I can think of. This doesn't take as much brain power, and you feel you have permission to just improvise as you go. Write your characters putting on an absurdist play, put them in a bizarro fantasy world, write the weirdest dialogue you can think of for each character, summarize your story/scene in funny anecdotes, or really anything you won't take too seriously that lets you make snap writing decisions. Most of the time, I tend to be inspired or feel more prepared to write whatever I was going to originally afterwards.
Hey so I need y’all’s (most unhinged) advice on what to do if you are excited by a story idea then you think about beginning to write it and you’re like uuuuggghhh. I was not writing for a hot minute because I lost the spark and I’m like maybe I’m halfway back to getting back on the horse but idk
It’s not the idea or the scene but just the thought of spending hours on this one scene in my brain that I wish I could write in less than an hour.
The symbolism in this one had me by a death grip. I could picture it so clearly in my head, and I like how it serves as a metaphor for unhealthy relationships. Ones where X takes too much and ends up hurting Y, which hurts X in turn. Or maybe a relationship where Y reacts poorly to love, and X is made to feel like a monster/guilty for it. But, that's just my intepretation.
I spit my teeth into your mouth
so I wouldn't bit your lip
and while your tongue led mine in an aggressive tango
all 28 of them slid down your throat
My canines catch
and rip holes in your esophagus
and my molars create a blockage
at the entrance of your stomach
When our lips leave each other
I grace you with a bloody smile
that stains my white blouse
and drips onto the tile
But my mouth closes when I see the fear on your face
and the pain in your breath
and as my hands meet your's at your throat
I am left with a mountain of regret
Reblog to give the person you reblogged from the ability to finish their WIPs
I love him already.
Hey there! 💌 Just swinging by to wish you a gentle, creative day. I hope these questions help you get back to it. :)
Here are your character-building questions, tailored to the emoji(s) you picked:
🗝️: How does your OC react when someone challenges their authority or beliefs in public?
🧠: What does your OC fear about themselves that they rarely, if ever, admit?
✨: What’s something your OC is surprisingly good at that has nothing to do with their main role in the story?
No pressure to answer quickly. Take your time and have fun with it.
Hello and thank you!
I'm gonna go with Henrik from Thief and Guard for these questions, since he's such an important character but has no pov.
🗝️Well you see he has a big glowing halberd. He will use it. He'll at least threaten to use it. ...okay most likely he'll fold his arms and look Big and Imposing until the other party is scared.
🧠He's honestly afraid he's never going to feel like he fits anywhere. He came from across the rift, got really good at fighting monsters, oh but he was too good and got reassigned so many times. Now he's aimless. He can't go home. If he did, he wouldn't fit there, either. He has no home where he is. He convinces himself that's what he wants.
✨knitting! Idk if that counts cause it does play a role in the story. He's a good cook when he has the time and ingredients
Thank you so much for the ask!
ME @ ALL THE WRITERS I FOLLOW.
For Storyteller Saturday, can you tell us something fun about your current WIP? :)
Thank you for the ask! 💚 /p
So, as the title suggests, in Every Hero needs a Villain, every hero in this has a villain counterpart that sort of serves as their opposite in some ways. I made it this way to help inspire more personality diversity in the cast. Heroes are inspired by the dreams and hopes of humanity, while villains are inspired by the nightmares and fears of humanity. My favorites so far are Mrs Robust, inspired by people's fears of two sided businessmen, Nurse Sanguine, inspired by fears of an overly chipper nurse, and Cuddlefort, inspired by hopes of having a good intimate relationship with a partner.
(Btw, if people want to send my worldbuilding questions for the hero and villain society I am working on for this, I will happily send some back in kind).
I might make a community for it where I share more bio stuff as I work on them, if people are interested.
I primarily write horror mysteries, so you night like some of my stuff. I also include a lot of queer characters.
Active writeblrs?
Yelling out into the writeblr void because I haven't been active on here in over a year and my dash is super empty, so if you're a writeblr please reblog this ♡
I especially love horror, mysteries, and really anything about queer characters!
My primary project is a southern gothic horror about a girl returning to hometown after more than a decade, which you read more about on my intro post.
Hunger's Bite is out!
A specter is haunting the Atlantic!
After growing up together on the luxurious SS Lark, Neeta Pandey and Emery Botwright are ready to start their lives. Emery wants to follow in his father’s footsteps and sail the Lark forever, while Neeta yearns to travel the world. But neither will have any future at all if the Lark’s new owner, Mr. Honeycutt, has his way.
Mr. Honeycutt... The first-class passengers adore him, while he makes the ship a nightmare for the crew. Twisted by unnatural appetites, the rich are actually transforming into something less than human, and their insatiable demands soon push the staff toward a—quite literal— burnout.
Something otherworldly is undeniably aboard the SS Lark, something horribly hungry. But it’s not Wick Farley: vampire, secret agent, and paranormal investigator. Alone and at sea, with only Neeta and Emery to help him, he must uncover the truth about Mr. Honeycutt. And fast—before a ravenous craving for power consumes them all.
Available in hardcover or paperback, and ebook from your favorite online retailers! Or ask your local librarian!
I like the description! It gives a good mental image of what it sounds like.
Man, trying to write a lisp is hard. I don't want to do it phonetically, since it can come off as ablist or what-have-you. Trying to mimic an interdental lisp
In a husky, throaty voice and plosive language gave her speech an aspect that she popped bubbles with her words. “I’m Kaylie King,” the young woman replied. “I’ve been in contact with Mrs. Hawke. She said that she wanted to meet me in person. At ten-thirty on the sixteenth. Today is the sixteenth, sir.”
No problem. I love your world so far!
I do not know if you do worldbilding wednesday, but I think your world is really cool so, in case you do: Any favorite animals who've created or modified for your story?
So sorry for the late reply I've been busy with uni.
Either way, no I don't do Worldbuilding Wednesday and I don't haven't really created any animals yet, honestly I've mainly focused on the civilizations of Stagiea rather than wild life and the natural environment.
Thanks for asking though I appreciate you taking the time in to ask :)
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