A Wish in the Dark (Candlewick Press, 2020) by Christina Soontornvat is my favorite read so far this year!
Pong was born in Nomwan Prison. He and his best friend and Somkit stare at the lights of Chattana–the city that one man, the Governor, brought light to after the great fire. If only they could escape there.
Nok is the daughter of the prison warder. She and her family are at Nomwan because the Governor is coming to visit. To her shock the young Pong approaches the Governor.
Pong thinks that such a good man as the Governor will see how unfair it is for children born to prisoners to be imprisoned. But when the Governor doesn’t agree, all that’s left to Pong is to escape, which he does.
Nok’s father is blamed for Pong’s escape and she wants to capture him to restore her family’s name. But secrets she discovers in her quest make her question everything she’s ever known.
Who will win in this unfair world?
The story has many surprising twists and turns. This Thai-inspired fantasy is a 2021 Newbery Honor book–I can’t believe I didn’t read it sooner. Plus, it has won other awards and been put on many lists. See those here.
Christina has written a number of award winning books in a variety of categories–read more about her here and see all her books here.
I’ve seen dialogue from new writers that was too realistic. It included every um, uh, and other fillers that we use when we speak. It rambled. Things were mentioned that no one cares about. It didn’t make sense. When I suggested cuts and tightening, the response was, “But that’s how people talk!” Yes, it is. When we talk we can all be pretty boring at times. Our thoughts aren’t always organized. We go off tangent. We use filler words. We see something that sidetracks us. Squirrel! We forget what we were talking about. We talk over others.
But writing fiction isn’t a record of the real world. In some ways, it is better as it leaves out the dull parts. In fiction, every piece of dialogue has a purpose. It might be character development or plot related. It moves the story forward. It’s intentional. It doesn’t bore the reader. We don’t need all the greetings and good-byes in a story. Nor simple pleasant chats. We want tension and disagreements. We want age-appropriate flirting and romance. We want questions and comments that make us laugh or think or worry. “The dialogue is generally the most agreeable part of a novel, but it is only so long as it tends in some way to the telling of the main story.” – Anthony Trollope
Does that mean a fictional character can never stumble or go off track? Of course not. Used judiciously these are all appropriate. Um, er, and other pauses can show a character’s nervousness or uncertainty. It might indicate lying. A character going off track might be changing the subject deliberately. A character might ramble due to tiredness, or drug or alcohol influence. One character might be extra chatty. Other characters may interrupt.
Readers will stick with characters they care about. Our job as writers is to make it easy to care. If we bog down dialogue with extraneous words, it’s easy for readers to give up on the story.
“Dialogue is like a rose bush–it often improves after pruning. I recommend you rewrite your dialogue until it is as brief as you can get it. This will mean making it quite unrealistically to the point. That is fine. Your readers don’t want realistic speech, they want talk which spins the story along.” – Nigel Watts