I write o/h, for overheard, above the dialogue. And beside that, if I remember, a brief note of who. Two blokes, fifties.
In my notebooks — going back through a couple now, to compile this — there’s on average a chunk of eavesdropped speech every five or six pages.
It’s something I’m always listening out for and scribbling down. On buses, trains, whilst walking.
While I’d hate to be caught doing street photography, I’m quite happy to be observed writing. Though I usually wait until the speakers are out of view.
For example, o/h on a station platform. Two young women, 22/23.
‘Her type is men who spend a lot of time with her.’
‘Yeah, they don’t really have characters, do they?’
‘I like Omar.’
‘I like him, too — but he won’t last long.’
This is an example of what I ask people to do in My Favourite Creative Writing Exercise of All Time —
Write a dialogue in which characters A and B are talking about what C thinks of D.
I believe this structure is the basis of most conversations.
Mohamed and Nate are talking about what the England manager thinks of Jude Bellingham.
Maybe you could introduce a really.
Xanthe and Yolanda are talking about what Kate really thinks of Meghan.
A simpler dialogue is about how A and B get on, as with o/h, two women, park —
‘So basically Dad sets the standard, and Mum tries to meet it. I think she just rolls over…’
‘You’re right.’
And even simpler is A describing themselves (no identifying info for these, but I think they were the all same person). Sounds like it —
‘Though I might actually smoke today.’
And —
‘I made that mistake again.’
And —
‘If I have to say ‘Good morning’ instead of ‘Good afternoon,’ it’s too early.’
Then there’s B characterising someone else —
‘It got onto philosophy, Aristotle — that’s his thing.’
And —
‘She’s back, more annoying than ever.’
I’m sorting these into categories, which I don’t generally do. The wonderful thing about eavesdropping is that a single line can suggest a whole attitude, two women, park —
‘Shall we sit here so we can watch the children?’
Or a whole social class —
‘Wait, you’re on the building — oh, you own the building.’
Or occupation —
‘That’s one of those jobs where boring is good.’
And, if you’re lucky, a scribbled note could contain a whole short story, two young women, 24/25 train —
‘..together fourteen months. We met at the cashpoint.’
Two blokes, vaping and smoking, outside the Red Lion.
‘It’s the never ending cycle of shit we live in.’
The great one for this was playwright Joe Orton, who loved to earwig, and kept a diary —
I caught a seventy-three bus. Behind me two women were discussing ‘Dr Who and the Daleks’.
‘Very far-fetched,’ the first woman said. ‘I like something you can believe in.’
‘Yes,’ said the second. After a long pause she said, ‘You know where you are with human beings, don’t you.’
Among the things Orton learned, I think, is just how nakedly funny and revealing speech is. People are giving themselves away all the time. And it’s amazing how they say the outrageous things they say. Really exactly how they say them.
Recently, at a concert, I o/h man, 70s turned round to speak to the young woman in the seat behind him. He said —
You’re going to have to not do that.
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You ever been caught writing someone's conversation? I wonder what a mark'd make of it. I'm paranoid schizophrenic and if I weren't a writer, didn't know writers did this, I reckon it'd feed into me delusion of paranoiac persecution. Not sure what I'd make of it. I'd certainly ask a fella why they were writing me words down. But I wonder what a 'normal' person would think of it. I wonder if they'd be pleased or annoyed when you told them you're a writer and note down conversations. Some like the idea that they might be in a book. They might feel special.
I sometimes record me old man talking. He comes out with some funny things. He ain't aware I'm recording him. I think it's a good idea to take notes of conversations. I ought to do it more. I usually use me phone notes. But maybe I ought to do it your style, use a notebook. It's funny because I ain't into tech at all, but I rely on it for writing, as I'm dyslexic and find it hard to write with a pen. My handwriting is unintelligible.
I reckon I'm good at dialogue. I have a good memory for snips and snaps of conversation. I can remember whole conversations from years ago for some reason. But I probably lose a lot n'all. However, I'm good at making up dialogue. I can write it realistic. I mean realistic in a writing sense, of course. Realistic dialogue wouldn't work so well in fiction. A lot of people say they find dialogue hard, but I find it fairly easy to write. Even so, I reckon your suggestion to take notes is a good idea.