It Ain’t Just Talk: 3 Crucial Elements of Great Dialog
Here’s some good stuff on dialogue! I have to say I’ve been reading a lot of dialogue recently that’s either way too generic or waaaaay too cute (the kind that goes on for pages because, it seems, the writer just likes hearing all that clever patter). And I confess, I struggle to stay within these parameters myself.
I think creating the best dialogue comes down to working with characters who are not generic themselves, who have something to say—and, as this article suggests, are in conflict in some way. For example, one wants something the other doesn’t want to give. The screenwriting books I’ve read called this “no” dialogue. Great stuff happens when “no” underlies the scene. Sound too negative? Next time you’re bored or stuck with your scene, try it.
One final thought: too much dialogue, and you’ve got a stage play, not a novel, not even a movie. This is one of my greatest challenges: making sure that conflict-filled dialogue scenes are tempered by scenes where characters do things instead of just talk.
What are your challenges, pet peeves, and strategies when it comes to dialogue?
She’s baaaaack. Well, sort of. Today I have an extra special treat. This is going to sound super conceited but whatever, it is MY blog
