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Exploring Dialogue Techniques in Screenwriting
I think a lot of beginning writers are always looking for cheat codes or fast ways to improve their writing. When really, the best way to get better is just to write a lot. But dialogue is one of those tricky things that feels completely subjective to the person reading it. What I want to focus on today is a few techniques I think that can help you add layers to your dialogue and also will allow you to find the right beats in your writing. Let's dive in. SubtextWhen you sit down to write dialogue, you want to make sure characters are not just dictating how they feel at every moment. We call that on-the-nose dialogue, and it's what people flock to when they think of bad dialogue. Instead, you want to strive for subtext when your characters are speaking. That means talking about something without talking about the real thing behind it. As an exercise, have a couple of people sit down and talk about one thing while referring to another. Or read Hills Like White Elephants, by Ernest Hemingway. Le MenuI am a massive fan of Claudia Hunter Johnson's Le Menu. We made one for characters that we use in character development. When writing dialogue, you should refer back to this and see how this specific person's life would be reflected in their speech. For instance, in the Thailand season of White Lotus, I think about the rich southern family. They use very region-specific expressions and colloquialisms that deepen our understanding of them and where they came from. Dialogue and ActionDialogue should not just convey information but actively drive the plot forward. It should create conflict, reveal secrets, or influence decisions.So when you're writing it for people in scenes, think about how it can drive them to something. That could be a fight or breaking a plate, or initiating someone to go into the next scene and do something. It could be two lovers finally getting together, to someone finally summoning the courage to do something about their situation. What will these words lead them to do? Test your scenes and see how they transition into one another. If the transition doesn't feel natural or needs an extra push, consider changing what your characters say to hint at some action or directly challenge these people to act. PacingThe last thing I think about when I'm writing dialogue in a movie is what kind of pace the whole story is told at. Great dialogue ranges from a Gilmore Girl's pace to The Good, the Bad, and the Ugly. So that's rapid-fire and slow, but equally engaging. Plus everything in between. You sort of want your scenes to match throughout the story. So go back to the pacing of the idea and think about the rhythm in which your characters will speak. Craft your words around that beating heart of storytelling. Anything that feels out of pace, tweak and polish so it feels more natural to your idea. Summing Up Dialogue Techniques in ScreenwritingDialogue is so tricky. at the ned ofthe day, all these tips can help you, but the main lesson in a post like this is to just concentrate and listen to your characters. Put yourself in their shows. What would you say in those situations? Then work out what parts of you are reflected in them, and write accordingly. Let me know what you think in the comments.
I think a lot of beginning writers are always looking for cheat codes or fast ways to improve their writing. When really, the best way to get better is just to write a lot.
But dialogue is one of those tricky things that feels completely subjective to the person reading it.
What I want to focus on today is a few techniques I think that can help you add layers to your dialogue and also will allow you to find the right beats in your writing.
Let's dive in.
Subtext
When you sit down to write dialogue, you want to make sure characters are not just dictating how they feel at every moment. We call that on-the-nose dialogue, and it's what people flock to when they think of bad dialogue.
Instead, you want to strive for subtext when your characters are speaking.
That means talking about something without talking about the real thing behind it.
As an exercise, have a couple of people sit down and talk about one thing while referring to another. Or read Hills Like White Elephants, by Ernest Hemingway.
Le Menu
I am a massive fan of Claudia Hunter Johnson's Le Menu. We made one for characters that we use in character development.
When writing dialogue, you should refer back to this and see how this specific person's life would be reflected in their speech.
For instance, in the Thailand season of White Lotus, I think about the rich southern family. They use very region-specific expressions and colloquialisms that deepen our understanding of them and where they came from.
Dialogue and Action
Dialogue should not just convey information but actively drive the plot forward. It should create conflict, reveal secrets, or influence decisions.
So when you're writing it for people in scenes, think about how it can drive them to something. That could be a fight or breaking a plate, or initiating someone to go into the next scene and do something. It could be two lovers finally getting together, to someone finally summoning the courage to do something about their situation.
What will these words lead them to do?
Test your scenes and see how they transition into one another. If the transition doesn't feel natural or needs an extra push, consider changing what your characters say to hint at some action or directly challenge these people to act.
Pacing
The last thing I think about when I'm writing dialogue in a movie is what kind of pace the whole story is told at.
Great dialogue ranges from a Gilmore Girl's pace to The Good, the Bad, and the Ugly. So that's rapid-fire and slow, but equally engaging. Plus everything in between.
You sort of want your scenes to match throughout the story. So go back to the pacing of the idea and think about the rhythm in which your characters will speak.
Craft your words around that beating heart of storytelling. Anything that feels out of pace, tweak and polish so it feels more natural to your idea.
Summing Up Dialogue Techniques in Screenwriting
Dialogue is so tricky. at the ned ofthe day, all these tips can help you, but the main lesson in a post like this is to just concentrate and listen to your characters. Put yourself in their shows.
What would you say in those situations? Then work out what parts of you are reflected in them, and write accordingly.
Let me know what you think in the comments.
