10 Tips for Writing Strong Dialogue

Dialogue can feel like the life of a story, since it's how we see the characters speaking in an active way. Dialogue can build personality, further character relationships, add subtext, and control the pacing of a scene. But, it can take a lot of practice to master the skill! Here are ten simple tips for writing strong dialogue.

RELATED VIDEOS:

TIMESTAMPS:
0:00 - Intro
0:37 - Skip the small talk
1:20 - The 3 beat rule
2:24 - Use action beats
3:34 - Don't be afraid of said
4:47 - Add variety
5:49 - Be careful with exposition
6:49 - Use quirks in moderation
7:30 - Integrate subtext
8:19 - Less is more

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[ignacioleikis]

"Dialogue" by Gloria Kempton (Writer's Digest) is easily the best starting point for any novice writer regarding dialogue.
Cheers

[rachelthompson]

in every scene there should be underlying tension, or conflict and different agendas between characters even when they are on the same side. Themes are often the undercurrent that put pressures on characters to make bad choices which enhances the story.

[Avionne_Parris]

Oh gosh, this was so helpful! I'm one of those writers who puts an action beat for every SINGLE line of dialogue.

What I didn't realise was that it drags down the pacing and that "so-and-so said" at the end of a dialogue sentence is okay to use sometimes.

Especially if I've already established what my characters are doing at the start of the scene and grounded my readers.

Thanks, Shaelin :-)

[HeadHunterSix]

These are super useful tips. I've been writing a story on a blog, where I'm doing a short chapter (1500-2000 words) a day. So many of these tips have been helpful. I hadn't realized I was even doing some of these, but it helps to make dialogue lean, useful, and interesting, while continuing to effectively convey the message.

[paulachapman]

Dialogue is stronger when brief and necessary—great tips Shaelin. Well stated. Thanks!

[simonblake]

Do Emotional Preparation then put yourself in your 'characters POV', then see what is the first thing is sparked in you . I like your videos there cool.

[WilliamReginaldLucas]

Thankyou for this, I'm 30, 000 words into the first draft of my first book and I've just hit the first chapter with several characters exchanging dialogue in a tense scene, I've been feeling like the overuse of dialogue tags is weighing the sentences down but your advice about being clear of each character's goal going into a scene is great! As are these tips :)

[upinvermont]

I've been editing my novel, completed January of last year, after a year of zero interest from agents (probably not because of the MS since none have requested it). Having been at this since the end of December (off and on) I've edited down almost 110000 words to 102000 (2/3rds of the way through) and by the time I'm finished the goal is to be under a 100, 000. I'd estimate that over 90% of this has been the result of paring down dialog in all the ways you've listed: small talk, reduction of exposition, paring three sentences down to one— less is more. There are a good many "action beats" that either add nothing or add more information than is necessary to convey a subtext. In short, my 10, 000 word reduction hasn't come from excising anything from the novel, but by trimming the gratuitous and the excess. It's also greatly helped to have a year between myself and myself. I can more easily read the MS like an editor rather than as the author. The hope is that a "more trim" novel length might tempt agents to actually read the book.

[johnhaggerty]

John O'Hara said he would hear two characters talking (as if he were eavesdropping) and from transcribing their words the story just flowed.
His trilogy *Sermons and Soda Water* demonstrate his faultless ear. In his last years he worked all through the night on a soundless Remington.
Harold Bloom said the greatness of Shakespeare is that you can hear his characters changing their mind AS they are speaking.
Really listen to people and you will assign each character his/her own voice. Playwrights concentrate on what's NOT being said, Pinter's silences.
J.M. Barrie taught Daphne du Maurier to go into a mild trance when she wrote. Stevenson's unfinished *The Weir of Hermiston* holds me in a spell.

[chailattenebula]

Thank you so much for all of these helpful tips, as I also am not so great with dialogue, and need to work on the subtext and exposition thing, I feel.

[kamenjojo]

So, tips that work for comic books.
Tip 1, Skip the small talk.
Tip 2, Add variety.
Tip 3, Avoid exposition.
Tip 4, Maybe use quirks in moderation.
Tip 5, Integrate subtext.
Tip 6, Less is more at times.
Tip 7,

[apollomoon]

Lots of things I already do, just because they seemed to make sense along the path of learning and self-editing. Having confirmation that I’m on track is helpful. Thanks!

[noahvandenberg]

If you haven't made that one yet, could you please make a video about how to write the passing of time in a novel? Would really appreciate it 🙏

[futurestoryteller]

My first instinct is to say nobody should give advice from their weakpoints. My best advice would be to become a listener, an eavesdropper, really take in the way people talk and think about what you find interesting. But that's just telling people to think more like I do on the subject, and while that _might_ be helpful it's not really the way the human brain works. It's probably more valuable for a person - or at least a person who's struggling - to get advice from someone who succeeds in spite of a struggle than someone who recognizes no sign of trouble in the first place. It's like:
"How'd you get through the landmines?"
"Wait... there were landmines back there?"
For a person who keeps stumbling over them it's more valuable to be told how to disarm them, I imagine, than to be told skipping through the minefield is a piece of cake, actually.

[amyraab]

What a joy to come across your channel 😃
REALLY good advice
Thank you 😊
Cheers and happy writing!

[H.L._DyerisWriting]

My current writer's block scene involves dialogue. The protagonist is going through flashbacks into his past and a person he hates is talking to him. The protagonist points out the rival's lack of empathy, and the rival responds with a retort along the lines of "You think of yourself as so empathetic? How do you justify ignoring the people around you for the sake of your own selfish pursuits?" I have my protagonist narratively react to the hard blow, but I'm at a loss as to what he should say in response.

As a personal exercise I wish to improve on the example at 6:32
"How was work?" I asked, my voice faded when I saw Natalie. Paints of various colors were splotched all over her blouse and jeans. A streak of blue paint stuck to her forehead and a mixture of sparkly glue and sweat matted parts of her hair down. The kids at the daycare clearly had more fun than she did.
She glared at me with annoyance, "It was exhausting! It's going to take an hour just to get this glitter and glue out of my hair."

[rachelthompson]

Very well done and informative, thanks.

[HeadHunterSix]

The best advice I can give on dialogue tags is this: If you looked at the conversation like a script, would there be some kind of "Stage direction" that would imply a different way to express it? For instance DAVE: _ (shouting )_ Get off my lawn! That would be a case where a different tag than "said" would be appropriate. "Get off my lawn!" Dave shouted.

[MartinMMeiss-mjli]

Some good points here, but this type of information is really better given in written form. Especially for WRITERS!

[adamjscholte]

Totally cool video.
I have written a fantasy series and thought I was all set, but you showed me a few things