Chris Womersley (2011) uses dialogue in ‘A Lovely and Terrible Thing’ as a tool of characterisation and as a catalyst for the plot. The story follows Daniel, a father struggling with losing the love for his paraplegic and brain-dead daughter, who works for Ripley’s Believe It or Not, as he runs into Angola, a mysterious and dangerous man who has a daughter with a “trick”. The use of dialogue in the story highlights the differences between the characters and incites internal monologue in the narrator that progresses the plot of the story.

Avoiding Speech Tags

‘A Lovely and Terrible Thing’ avoids speech tags, keeping the dialogue smooth and leaving room for reader interpretation based on character actions. The over-use of speech tags can disrupt the flow of a narrative and often the tags could be removed completely (Davidow & Williams, 2010). The dialogue in ‘A Lovely and Terrible Thing’ flows smoothly in between action and internal dialogue, and the only speech tags used are those needed for clarity or emphasis. Womersley often uses action to accompany dialogue, showing the interaction between characters or using their body language to imply the delivery of the dialogue. “Angola picked something from his teeth. ‘And do people make, you know, money out of these things?’” (Womersley, 2011, para. 68). This style of writing allows readers to interpret actions and dialogue in different ways, without being explicitly told how the character is speaking.

The contrasting dialogue styles of Angola and Daniel juxtapose their characters and highlight both their differences and their similarities. Davidow & Williams (2010) discuss how the juxtaposition of characters impacts the way characteristics, personalities, and traits are interpreted by readers.

In ‘A Lovely and Terrible Thing’, the narrator, Daniel, consistently manages to respond to Angola’s dialogue by internally connecting it to his feelings, emotions, or thoughts about his own family. The two characters juxtapose against one another, yet their defining connection is based on one thing: daughters.

“‘Then you know what a lovely and terrible thing it is’” (Womersley, 2011, para. 24).

Daniel calls the line “curiously poetic” and “incongruous” (Womersley, 2011, para. 25), particularly coming from Angola—a gap-toothed, ex-con. The juxtaposition of Angola and Daniel through the use of dialogue and internal monologue highlights their differences and the way they connect as characters—through their daughters.

Character Souls Develop Through Dialogue

The dialogue throughout ‘A Lovely and Terrible Thing’ acts as a catalyst for the narrator, Daniel, to reflect on his family and reveal aspects of his character. Readers need to identify with the inner ‘soul’ of different characters in order to view the world through their eyes (Davidow & Williams, 2010).

Womersley uses the dialogue of Angola to incite internal monologue within Daniel that exposes his inner ‘soul’ and the fears, worries, and hopes he holds for his wife and daughter.

“He said this in a mildly lascivious manner I didn’t care for, but, as usual, that word pricked my heart, deflating it ever further. Daughter. I thought again of poor Elaine, poor Therese” (Womersley, 2011, para. 21).

As dialogue progresses, readers get to experience the inner workings of Daniel’s mind. They begin to understand his ‘soul’ and the hopes and worries he holds for his daughter. As Angola speaks, Daniel reacts and applies these lines to himself. The dialogue throughout the story is often what progresses the story forward through Daniel’s inner monologue and to the next scene.

Conclusion

In conclusion, Womersley cleverly uses action, rather than speech tags, to accompany dialogue in ‘A Lovely and Terrible Thing’, implying the delivery of lines without explicitly telling a reader. Additionally, the contrasting nature of Angola and Daniel is exposed through dialogue, and the dialogue incites the story as the narrator reacts and ponders over what has been said.

Works Cited

Davidow, S., & Williams, P. (2016). Those who speak: Avatars, characters, selves. Playing with words: an introduction to creative writing craft (pp.121-137). Palgrave.

Womersley, C. (2011, October 1). A Lovely and Terrible Thing. Granta. https://granta.com/a-lovely-and-terrible-thing/