A few months back, an author acquaintance read and reviewed one of my books. He enjoyed it, though he said I relied too much on dialogue. Or perhaps he didn’t say “rely” – but simply that it contained too much dialogue. Since then I’ve been paying closer attention to dialogue in novels. That one author is the only person I’ve ever received that particular critique from. Still, it makes me wonder. Is there a point when dialogue becomes too much? Is there also a point when there is not enough?
Or is it all more a matter of taste?
Of course, when I say dialogue, I’m not talking about two or more characters having a mundane conversation, such as:
“Hello,” said Harry.
“Hi, Harry,” replied Charlotte. “How are you?”
“Oh, fine. You?”
“I’m doing well. What’s new?”
That type of dialogue is boring and unnecessary. I’d put myself to sleep writing that kind of stuff. I’m talking about the kind of dialogue that moves a plot forward. Rather than paragraphs of narration informing the reader, a conversation between characters can do the same with a bit more flare. Such as this conversation from my novel No Justice
, the first in my Michael Sykora series:

Sean leaned back, sipping slowly on his beer. Then, his voice dropping to that low tone reserved for business, he said, “Word is that one of Lotto’s guys, a cousin, was executed.”
“That would be true,” Michael said.
“And left on their own turf,” Sean said with a smile. “Nice message. I’m impressed.”
“Damn. I must be getting good if I’m impressing you.”
“Talk is your girl hired a pro.”
“Hiring would imply getting paid, so I guess that’s false,” Michael said.
“Want me to correct that rumor?”
“I think we’ll let that one stand.”
“Pushed Lotto right to the edge,” Sean said. “He and his wanna-be bangers are out for blood. Now they want the girl as well as the guy who did the cousin.”
Michael nodded, sipped his drink. He watched out the window as he considered the situation. Taking out an entire group of people hadn’t exactly been in his plans. Yet it was looking like he didn’t have many options left.
“They’ve been asking around,” Sean said. “Looking for her. And info on the mystery hit man.”
“Are they learning anything?”
Sean chuckled. “Yeah. They’re learning why you’re called The Ghost.”
I could easily have put that information in narration form. However, I find overly long passages of narration dull. I like to see the characters, hear their voices and feel the emotion behind their words. That’s how I hear it in my head, so that’s how I write it.
Here’s another from my novel Beyond Salvation
, the second in my Michael Sykora series:

“What have you got on Tracy?” Michael asked Isaac. He adjusted the cell phone on his ear as he steered his Porsche through a snarl of traffic.
“So far just a blip,” Isaac said. “But it’s a start. Twenty-five years ago, she spent two days in Memorial Hospital in Jacksonville. The billing information was your mother’s name on Bennett Road in Jacksonville.”
“Jacksonville?” Michael said. What the hell were they doing there? He wouldn’t have expected them to remain in Florida. Then again, where had he expected them to go? “What was she hospitalized for?”
“Don’t know. Medical records are sealed.”
“Right,” Michael muttered. “Twenty-five years. I don’t suppose she still lives at that address.”
“Unfortunately, no. Not unless she’s renting a room from the Wongs.”
“Okay. Well at least it’s a start. She might still be somewhere in Jacksonville.”
“I’m looking into it.”
Again, this could be done with narration. Would it be better? Worse? Or just different?
Finally, here’s a snippet of dialogue from my novel Miami Snow
, the novel my author acquaintance felt had too much dialogue:

“So I’ve been thinking,” Brandy said. “Aaron hasn’t worked in over a year and the guy has all his bills paid and plenty of extra cash. Why can’t we do that, too?”
Nick opened his eyes, now fully awake. “I’m not selling drugs.”
“What’s the big deal?”
“The big deal is a six-by-nine jail cell.”
“We won’t get caught. Look at Aaron.”
“That’s Aaron.” Nick slid his arm out from beneath Brandy, then pushed up on his elbows. “I’m not that lucky.”
Brandy turned to face Nick. She said, “We’d only sell to people we know.”
“I don’t know anyone but you.”
“I know plenty of people. We could do it for six months and be totally out of debt.”
“You’d be out of debt. I’d be in jail.”
“Stop being such a pessimist. It’s easy money. Don’t you want some rights with your daughter? You need a lawyer.”
Nick groaned. “Thanks for reminding me.”
I have read few books in the mystery/suspense/thriller genre, which I write under, that rely more on narration than dialogue. Usually, it’s a pretty equal mix. However, I have read some with too much dialogue, in the sense that I don’t want to read the “Hello, how are you?” conversation with every character. I’ve also read books with not enough dialogue, in which I grew bored with the endless pages of narration.
Few books, particularly within this genre, jump out at me as being largely narrated. That’s a tricky feat for an author. The writing has to be spectacular. One author that stands out in my mind is Pablo D’Stair. He’s an indie author with amazing talent. His books have little, if any dialogue. Yet his words dance in my mind. They entertain and enthrall. I love to read his books as much for the individual sentences as the entire content. However, his talent with words is unique and rare, at least in my experience.
How do you feel about dialogue? If you write, do you use it moderately or extensively? Do you like to read dialogue within novels or do you prefer more narration?