A section of dialogue, looking for input on pace/understandability

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Tywin

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Sorry if it seems like I'm posting a lot recently for critique, I've just had the most productive two weeks of writing I've had in probably five years.

This is a part of a scene where the main character is having dinner with his love interest. I've tried to bring the story and their personalities out through dialogue, but still keep the pace going and keep it interesting. I'd like to know: is it readable? does it flow? can you tell who is saying what and what is going on?

Background that you'll need to know: They are passengers aboard a massive colony ship (31 years transit time). He is a member of the crew, and she is a passenger. They met 5 years previously, really hit it off, but then he sort of disappeared and stopped returning calls (she was running in a pretty wild partying/drug using crowd)

Oh, and the fishbowl is the nickname for the massive residential area of the ship.

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“This place is nice.” Adam commented as he sat down at a table across from Cindy at Babalou’s. Once known as Recreation Facility 11B, it was now one of the most popular restaurants in the fishbowl.

“You’ve never been here before?” he couldn’t get enough of the way her head tilted when she asked him a question.

“No, I usually cook, or just eat in the crew dining facility near my quarters.” It had been a long time since he had gone anywhere ‘popular’, and he was appreciative of the change. The restaurant was bustling with customers and waiters moving between the tables and a kitchen in the back. The décor on the walls reminded him of a classy restaurant back on earth. “They’ve put a lot of work into this place.”

“Greed is a good motivator,” she said.

“So much for the whole love-based economy.” He tried hard to make it sound like an off-hand comment.

“Yeah, I don’t know,” she sounded tired of the subject, “I don’t really want to talk politics.”

He dropped it, “So what have you been up to?”

“I’ve almost finished my degree, and I was thinking about starting grad school.”

“Really?” This is a pleasant surprise. “In what?”

“Civil Engineering. I took a couple of trade classes on plastiforming and metalworking and that kind of got me interested in it.”

“That’s great. I mean, really great. I never thought, well I didn’t really know you, but still I wouldn’t have guessed that.”

“Yeah,” she let the word trail off as though it was a conversation all to itself. “Well, you know that was like five years ago. A lot has changed.”

“Such as?”

“What’s with the interrogation? We just sat down. How about starting with, ‘You look nice tonight, Cindy’?”

“I’m sorry. You don’t look nice, you look great.” he laughed as he said it.

She smiled, “Nice recovery. You look good too, by the way, it looks like you’ve really been… taking care of yourself.”

“No girlfriend means I have a lot of time to work out.” he shrugged.

A waiter in a white coat and black slacks cut into their conversation, “Would Madame or Monsieur care for a drink, or perhaps an appetizer?”

“I’ll just have a water,” Cindy answered.

“Water sounds great for me, too,” Adam added.

“Merci, beaucoup. Absolutement parfait,” said the waiter before scurrying back off towards the kitchen.

“Madame or Monsieur?” Adam was utterly confused.

“Do you know how cute it is when you make that face?” Cindy ignored his question.

“Thanks, but what’s going on here?”

“They all taught themselves French off the ship’s database.”

“Just so they could sound snooty?”

“That’s it.”

“That’s…” he wanted to say Amazing, but it really wasn’t, “Interesting.”

“Yes it is. It seems to keep this place packed. That’s your capitalism at work.”

“Hey, hey, now. None of that ‘your’ capitalism stuff.”

“Ha, okay,” she laughed it off. “So, how come you don’t have a girlfriend? You don’t work in fabrications, do you?”


“No,” he laughed. “Although sometimes I think that might be easier. I don’t know, I meet a lot of girls in class, but it just never works out.”

“Why not?”

“I don’t know, everyone’s always really focused on the academics, and I never seem to have anything in common with the girls. They’re just…”

“Passengers?” there was that tilted head again, but this time it didn’t look as cute as before.

“That’s not true,” he recovered quickly. “There’s a female technician from the Agricultural department that I’ve had several classes with.”

“Is she pretty?” folded arms were added to the tilt and the eyebrow.

“Maybe not in a… conventional sense, but she has many redeeming qualities.”

“Such as?” at least she was smiling now.

“Well, she has a steady hand. Good posture. She always seems… punctual.”

“Punctual… well, I’ll have to get there a little early to tell her to keep her steady hands off of my man.”

“Your man?” Let’s see how you deal with the tilted head.

“Madame? Monsieur? Here are your drinks. Have you had the chance to look at the menu?”

“I’ll have the Nicoise salad.” Cindy said as she handed him her menu.

“Et pour Monsieur?”

“The Steak au Poivre sounds good.”

“And is there anything else that I can bring you?”

“I think I changed my mind on the drink,” Adam said, “How about a glass of wine?”

“Rouge or Blanche?”

“Red please.”

“Just a glass, or would monsieur like a bottle for the table?”

“Bring a bottle.” Cindy chimed in.

“Tres bien,” the waiter said and left with both their menus in hand.

“He even speaks English in a French accent.”

“I can’t make this kind of thing up,” Cindy apologized, “I’m not that smart. But the food is really good.”

“I hope so, I’m hungry.”

“You ordered the steak? Still holding out for meat?” Cindy asked.

“No, I far prefer tofu made to almost look like meat,” Adam answered. “I’ll be disappointed when we get to the other end and start raising actual cows to replace the tofu.”

“You know it’s going to be like twenty or thirty years after planetfall, at least, before they plan on having mature enough herds to start slaughtering for beef, right?”

“It’ll be worth the wait.”

“You’ll probably be dead by then.”

“Then I’ll have my kids burn some steaks on my grave.”

“Kids?” good, there’s the cute head tilt again. “You sound pretty certain that you’re going to have kids for a guy that doesn’t even have a girlfriend.”

“I figure it’s gotta happen. Hell, with all the guys in the fabrications department, chances are I might have to take two or even three girls under my wing.”

“What about all the girls that swing the other way?” Cindy asked, “Won’t that cut into your odds?”

“Well, the guys, you know, they can be replaced.” Adam talked expansively with his hands for dramatic effect, “But the women… They can swing the other way, but they still have a… a duty to help propagate the human race.”

“I think most of them are planning on using invitro, so they shouldn’t ever have to have sex with any man if they don’t want to.”

“Think of the amount of effort that takes. It would be so much simpler to do it the natural way.”

“And they’ll probably take the sperm donated by guys like your friends in the fabrications department. I think that’s the plan, actually.”

“Really?” Adam had been joking through the conversation up to this point, but he really hadn’t known that there was a plan for the gay guys to reproduce.

“Yeah, don’t you ever talk to any of those guys?”

“I play basketball with a couple of them,” Adam was trying to figure out how he himself didn’t know this. “They’ve kind of all transferred into the same departments, and we end up hanging out just with the guys in our own department.”

“What century are you living in?” she laughed as she asked.

“I don’t know,” Adam admitted. “I was talking with a couple of Dr. Martinez’s students, and they had me thinking I might be moving forward slower in time than the rest of you.”
 
Writing could be smoothed a little [was appreciative = appreciated, that sort of thing], but it's not a major issue.

great.” he - capitalise. [This occurs a few times].

Some of the dialogue could be more broken up with little descriptions between the speech. A few lines could be cut (about the food).

Just a suggestion, but you could have a small amount of footsie [her foot gets withdrawn when she says "Passengers?"]. Could an element of flirtiness, control and help break up dialogue.
 
There definitely should be flirtiness, I'll take the footsie idea into consideration. There's also a lot of pent up emotion over this, so maybe I could break it up with Adam's internal reactions to things. I tried to use the facial expressions (like the tilted head), but it seemed kinda cheesy and weak. Hmmm.... footsie perhaps.
 
Hair twirling? Running her finger around the rim of a glass?

Got to admit, flirtiness isn't my forte. I prefer killing people to flirting. Which is probably why I'm single, now I come to think of it...
 
Hair twirling and the finger around the rim of the glass would probably be better. He slept with her the first time they met in a drug-induced ecstasy, and that scared him off for 5 years, so she probably ought to take it slow.

I bet I out-do you for killing though: I bust the colony ship wide open at the year 8 mark. 39,000 folks meet the vacuum of space at just under the speed of light.
 
Come on, that's just a statistic. It's quality not quantity that counts. Killing people properly means writing nice characters the reader cares about, and then having them die suddenly (and, if possible, horribly).

Five years is a bloody long time to be scared off. Unless he thinks his drink was spiked, and/or he has some sort of medical issue (or personal issue, such as an addict sibling, or a sibling who ODed themselves to death) with drugs.
 
Tell you about my story? Did I read you imply that I should tell you about the story that I have poured countless hours of unanswered love into? Well sure :)

The population of the ship kind of goes crazy and has a civil war. One of the main reasons is one of the passengers (a musician) whose little society of followers pretty much turns into a cult. Adam goes to one of their parties early in their 30 year voyage, sees exactly how flippin wonderful life would be to hang out by a pool, listen to great music, do their drugs, and have sex with a super-hot woman all the time... and gets real scared that he will join them. So he keeps himself away. His friends rib him regularly for the entire time. His avoidance of Cindy (super-hot roadie/rockstar-cult-member) causes her to do some introspection, eventually distance herself from the cult... and they bump into each other later.

I'm currently writing the EVA where he has to go outside the ship to do a repair and has to navigate through the thousands of bodies drifting along out there. Fun stuff.
 
Don't have time for a full crit but the dialogue punctuation is out through the whole piece (stop rolling your eyes, everyone, yes here I go again...):

Only use a comma at the end of dialogue (or beginning) if you are using a saidism "Like this," she said. Or

She asked, "Do you see what I mean?"

Use a full stop when there is an action linked to the dialogue. "Like this." She waved dramatically at the computer. Or

She smiled. "Do you see what I mean?"

(I have your other piece to get to - if it's off in that, too, I'll pick out specific examples. :))
 
I just scrolled through the piece before reading, and noticed that almost everything is dialogue - there's barely any other prose in there.

This immediately suggests to me that the section is going to be very unbalanced, and that there are sections of this you can easily insert into internal exposition. Think about the character POV, and how to make it strong meaningful.

I did notice that you tried to in the second sentence:

he couldn’t get enough of the way her head tilted when she asked him a question.

but that comes across as someone already long smitten and in love, rather than someone flirting with an old acquaintance.
 
As per Springs, punctuation was off across the whole section of writing that I could see and needs fixing. Easily done and easily fixed, some homework for you.

The rest of it is a flat conversation, mostly ordering a meal, that did little to engage me. You could have mixed in character actions and background as well to break up your writing so it was not so samey all the time. Mostly however, very little happened and your asking a lot of a reader to read through a couple ordering a meal. Two lines could have replaced most of this section if I'm brutal in my honesty and freed you up to get on with your plot. You need to think about the reader and ask, would I read this?

Would you really be happy with this section if you paid money for it?
 
You asked for comment on dialogue and that's what I'm going to do. Springs covered your punctuation. And others mentioned that it could do with softening with some action and dialogue. I find if I close my eyes and imagine the scene before I write it then I write what they are doing with a bit of dialogue in between.

What your characters are doing as they speak can often be more important than what they actually say.

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“This place is nice.” Adam commented as he sat down at a table across from Cindy at Babalou’s. Once known as Recreation Facility 11B, it was now one of the most popular restaurants in the fishbowl.

This is a general rule of thumb and may not work for every character so feel to ignore but often trimming the words in speech can help it feel more natural. EG
"Nice place..." instead of "This place is nice." The latter usually feels overly polite whereas the former says the same thing in a more informal manner. You also don't need Adam commented.

This beat is again more of an info dump than what they are getting up to. This is a fish restaurant so there will be sights, sounds and smells for us to take in. Instead of saying it's the most popular restaurant mention how busy it is and how rushed off their feet the servers are. Where is their table? Then who the heck is Cindy? At this point we have a name give some of his feelings towards her as he sits down.


“You’ve never been here before?” he couldn’t get enough of the way her head tilted when she asked him a question.

The way you've done this beat it sounds like Adam is saying it and not Cindy.

"You've never been before?" Cindy tilted her head when she asked the question. No matter how many times you did that it drove him a little more wild.
This makes it clearer the words are Cindy's.

Adding more action, thoughts, feelings, observations will make your dialogue clearer and draw in the reader so it sounds like they are listening in.
 
I agree with what Jo and Anya are saying. The punctuation is a bit off, as are the tags/attribution. You could use more scene setting details and some minor actions to break up the dialogue. A restaurant is a rather dynamic setting. There's other diners eating and moving about, the wait staff rushing to and fro, the sounds of tinkling glasses and cutlery on plates, the smells from the kitchen and other diners' food, table conversation in the background, possibly some kind of view. Think back to a time you've gone to a crowded or busy restaurant and bring in some of those details. Someone bumps your arm, you have to squeeze by someone's elbow to get to your table, you're seated too close to the next table, you spot something appetizing on someone else's plate on the way to your table (or something that's off-putting), someone drops a dish in the kitchen, the waiter's rude... there's all kinds of details you can use to draw in the reader. You don't have to use them all, certainly. And if you use too many it will overload the reader and they'll skim. But you could use more. Any of these could be beats to break up the dialogue.

Also, where's the tension and conflict in the scenes? What's the purpose of this scene in the overall story? To show these two are rekindling their 'romance' from years ago? Show that. Bring that up. Have them hint at it and not-really talk about it. Dance around the subject. For example, he want straight answers and she's being coy. Or whatever. But without some kind of palpable tension or conflict the scene will fall flat. If they both want to be there and are both 100% comfortable with the situation, then that's kinda dull. But that's just me. Feel free to ignore everything I've said. If any of it's useful, go for it.
 
As a few others have said, it feels too heavy with dialogue, with not a lot of essential information getting put out there. I believe there's a bit too much emphasis on ordering the meal in detail, and not enough conversation directed at their relationship being rekindled. But I do like the back and forth between them, I could follow who was saying what, but the conversation is presented in a somewhat unusual format.
 
I feel the continuous mention of the head tilt gets a bit cheesy pretty soon. The food-ordering bit does nothing for the plot and the immediate situation, as others here have said. It could be summed up in a single phrase, like: "After ordering pretentious-sounding foods and a badly pronounced French wine, they..." and then get back to the important bits.

The pacing is bogged down by insubstantial talk and the significant content per word quantity ratio could be improved. Rather than adding interesting bits to make up for it, I would condense the whole thing and at some point link it to the main plot somehow, no matter how small the link.

It is a trying thing indeed to write a casual conversation while keeping clear of all the prosaic bits people usually say; to keep it significant through the banalities of small talk. I haven´t found the secret to successful casual conversation in writing, so I won´t pretend to know it, but it could help to have a definitive purpose for this scene, as I´m not sure what the ultimate purpose of this piece is: To get reacquainted and spark something? A talk about the future of the colony? To get a feel for civilian life? To info-dump technical details for world-building/ship building? To reveal something of interest to the plot about the people involved? Whatever the case, character and world-building (that are not directly linked to the main plot) could be done more organically through means other than a static vis-a-vis.

PS: I find flirtation works better in very contained bursts, as it gets cheesier the longer the conversation/scene stretches. It´s a personal taste though. God knows YA doesn´t shy away from it, to great success. So what do I know.
 
This is adequate as dialogue goes and there are a few problems with commas where periods should be as others have mentioned. What struck me above everything else is that from top to bottom I ended up with a sense of this only being dialogue for the sake of having some dialogue.

What I mean by that is that when I have people go off to lunch and nothing happens at lunch I just come back with a scene after lunch. If I do show lunch then it becomes important and it has elements that drive the story.

I don't see that here; but it might not be that it's not here it's just that this has been pulled out of the rest and, who knows, maybe the previous scene will explain why we're here at lunch with them.(or dinner)

A large piece of the problem is all the dialogue without any POV insights or expressions. There really needs to be more narrative to feed a bit of information to help the reader see why were watching these two people eat and talk small talk.

The whole point to this could be the decor and the use of French by the staff; but if that's so then we need more description of that.

When I get to the bottom I have only the thought that there was a lot of trite talk about nothing and they haven't even started eating. With a sense of oh god if it goes on much more like this....

The only important part here that comes to mind might be the notion of some specific groups of people having the intent of using invitro fertilization to begin the arduous task of colonization at the end of the destination. If that's the point of the dialogue I would suggest that everything above that should be reduced to as much narrative as you can in a quick group of paragraphs that get the reader to that point: before they leave the building.

You could take the decor and even the French speaking and put that into the POV's narrative without having to demonstrate the French more than a line or two. You could make the small talk much more brief by having internal thoughts of the POV touching on the reason for the meeting and the past he shares with this person and even the smells of the restaurant and his preferences in food without peppering the pages with so much banter back and forth. That all seems like small talk and maybe it would work better if it were smaller.

This is all just my own preference and might not work for you. Usually when I do a restaurant scene my characters come in with a full load of baggage that will move the story forward. So they are very busy doing this-the moving forward-that everything else just happens around them almost invisibly; though it all shows up so that the atmosphere of the restaurant is evident. But each time the setting begins to intrude the POV pushes it back and gets back to moving things forward in the story; unless there is something else there in the scene that is vital to the story, in which case that's allowed to have a slight bit more focus so the reader might guess it's important.

For all I know, though, all the dialogue you have might be vitally important to the story. It's just that out of context I can't put my finger on why it's important to moving the story forward. There is something to say that it might be using the mundane to help build the story and the scene; but if that's the case then I'd suggest some more narrative to bring the reader close to the character with the five senses to give the mundane that little punch it needs to be endured.
 
Good comments, and I'll post a bit of what I've been re-working on here when I have it settled. A lot of the banter back and forth is really important for the overall story as well as portraying life on the ship.

I've been reading a bit this weekend and paying attention to the dialogue (and yes, especially dinner scenes). I think where I've strayed a little bit here is that I was afraid that if I had too much narrative between the dialogue that the reader would lose track of the conversation. What I found when I paid attention to what I was reading (Ken Follett, btw) is that I didn't even perceive that there were several sentences or even paragraphs between lines of dialogue because the narrative was connected to it and kept the interaction moving along for the reader. I think I can do this.
 
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