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YOUR STORY
III
How can you record extemporaneous dialogue? Obviously, in only one of two ways. You may engage a high-speed stenographer to take down everything you say, as you talk it off. Or you may speak into a dictating machine. Nobody can tell you which way is better. Some of us are stricken dumb in the presence of a stenographer, while others of us feel blank, empty, and foolish when we talk at a machine. On the whole, the dictating machine is more efficient. It is easier to check up on the effects of extemporaneous dialogue with it. Here is one writer’s report of its use.
“I begin with a fairly complete silent continuity. This I study carefully before I begin inventing dialogue. Various possibilities occur to me through this study, and I jot them down at appropriate places on the script. Now I am ready to begin. I place the continuity script before me and begin talking the various parts into the dictating machine. I dispense entirely with the mechanical form of a stage play, in that I do not mention the names of the characters. If, for example, there are two men and a woman present in a scene, I adopt three different voices to represent them, so that I do not have to stop and call off the name of each as I talk. These voices need not be dramatically correct at all. They are merely key signals to indicate which character it is. Thus it is possible to make the talk run right along without any artificial breaks. Should there be any other noises, such as a pistol shot, a thunder storm, somebody breaking a window, or whatnot, I invent a noise for these, usually a crude faking of the sound.
“As soon as this first extemporizing has been finished, I turn back to the beginning of the script and listen to