How To Write Good Dialogue (Part 1)
I'm gonna start this by saying I'm not trying to sound like a know-it-all. I am just tired of posts like these being absolutely fucking useless. I am aware this is basically me screaming into a void and I’m more than okay with that.
This guide is meant for intermediate screenwriters, but beginners are also absolutely welcome. :)
(about me)
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I've noticed a rise in film students who want to make films that have no dialogue. Probably after your professor showed you Doodlebug, right? Fuck that.
I'll make another post about writing a short film, but all you need to know is: Don't waste the audience’s time. Most of these no-dialogue shorts have very little substance and take way too long to tell the shortest possible story. Not a good idea.
Plain and simple, don't write useless dialogue. Useless dialogue is dialogue that just doesn't fucking matter. Dialogue matters by having ✨subtext.✨
What is subtext? Subtext is the meaning behind the action. That's it.
If I tell you that I love you and I got big doe eyes while I say it, it means I love you. If I tell you I love you through a clenched jaw without looking at you, I don't necessarily love you right now.
Simple, right? Great.
Now think about the subtext behind every line. Does your character mean what they're saying? Are they doing it to get what they want? What is going through their mind as they say it? As long as you know your character, you’ll have these answers ready to go. If you don’t, you’ll figure it out eventually. Just keep writing.
When you write your character walking into a Starbucks and saying, "One venti iced coffee," does that do something? Why do I need to see someone's boring Starbucks order? Do I need to know that your character's boring? Why are you writing a boring character? [Of course, in the rare situation where this is some revealing clue to the massive crime investigation, then it makes sense.]
Useless dialogue is any dialogue that has no meaning or purpose in your script. Delete and move on. You don't need to write entire conversations or scenes that bore us, just write what we care about.
I took a class once where my professor called a version of this "trimming the fat." Get us into your scene and out of your scene in as little time as it takes to have it achieve its full purpose in the script.
[P.S. You don’t “inject” subtext into your lines. Idk who started that vernacular in subtext teachings but I hate it.]
I remember a glorious fight I got into with a Redditor last year about show vs. tell… TL;DR: Dialogue is “show” if you write it with intention and subtext. If someone says that dialogue is inherently “tell,” they’re wrong and can go fuck themselves.
Dialogue that is “tell” is expositional dialogue. But, hot take: Exposition isn't just in dialogue. It’s also those annoying clichés that make you roll your eyes in the theater (which we just call clichés and not exposition). I’m sure every professor I’ve had will disagree with this and then get me into a long conversation about it, but let’s ignore that for right now.
Have you ever seen a movie where a character rubs an old, worn-out photo of a young girl while looking depressed? That's exposition. That character has a dead daughter. No shit.
Clichés are incredibly annoying. We all know that. Assume that any cliché you see - in this context - is exposition and try your best not to write it. (Tropes are different and sometimes necessary, so I’m not talking about that.)
Point blank: When you have subtext in your lines, they are "show,” not “tell.”
Before moving on, I'll bring up that while technically the dead daughter photo is subtextual, it is as close to the character saying “My daughter is dead,” as you can get. Don't treat the audience like we're fucking stupid.
If you don’t know what the Inciting Incident is, please look up “3 Act Structure” before reading this.
The first 15 pages of your script is the part that comes before the Inciting Incident. This is the part you want to get right because, although people probably won’t leave the theater, they will absolutely find something else on the streaming service they’re using. The people making said movie will also just toss your script in the trash before it’s even produced, so it's best to get it right.
Dialogue in the first 15 generally follows the same rules, but carries a heftier additional rule. All dialogue in the first 15 minutes must, must, must tell us something about your character.
Remember when I talked about that boring Starbucks order? Why is your character boring? Don’t write that. Don’t write nice characters. Or pleasant characters. Or friendly characters. No one cares.
You want empathy. This does not mean “relatable.” It means “empathetic.” There is a difference.
I personally relate to Vi in Arcane, but I empathize with Theo in Children of Men. Both are excellent, but one personally resonates a bit more with me. You cannot write a character that deeply resonates with every single person, it is impossible.
With each line of dialogue, you must be saying something about your character that generates the empathy. Instead of telling you how to do this, I’ll direct you to a movie that will do better than an explanation: Casablanca.
Watch how Rick interacts with the world. What kind of man is Rick? Watch what he does, what he says, and how he treats people and himself. Watch that empty glass on the table. Watch his contradictions. Everything. Those things matter and it’s what makes you want to watch Rick for the entire duration of Casablanca.
This is maybe more directorial, but make your characters human enough, not too human.
Too human is when you’ve tried your best to capture all those little life-like speech patterns. You know, the ones that no one fucking cares about.
If your character coughs, they’re sick. If they clear they’re throat, they’re uncomfortable. If a bruise isn’t going away, they’re going to die. Simple.
Every moment on screen matters. Everything the audience sees is meant to lead them to a conclusion. Not the conclusion, just a conclusion.
The realism you want is in the choices your character makes, not how many times they say “Uh,” in a sentence.
Dialogue matters and should not be treated lightly or without care. Once you have this all engrained in your mind, dialogue should become effortless.
If you want an excellent way to think about this, Robert McKee's Story has an excellent chapter that helped clarify this all for me. Here's an excerpt and the context.
Warning, spoilers for Chinatown.
"If I were Gittes at this moment, what would I do?"
Letting your imagination roam, the answer comes:
"Rehearse. I always rehearse in my head before taking on life's big confrontations."
Now work deeper into Gittes's emotions and psyche:
Hands white-knuckled on the steering wheel, thoughts racing: "She killed him, then used me. She lied to me, came on to me. Man, I fell for her. My guts are in a knot, but I'll be cool. I'll stroll to the door, step in and accuse her. She lies. I send for the cops. She plays innocent, a few tears. But I stay ice cold, show her Mulwray's glasses, then lay out how she did it, step by step, as if I was there. She con-fesses. I turn her over to Escobar; I'm off the hook."
EXT. BUNGALOW-SANTA MONICA
Gittes' car speeds into the driveway.
You continue working from inside Gittes' pov, thinking:
"I'll be cool, I'll be cool ..." Suddenly, with the sight of her house, an image of Evelyn flashes in your imagination. A rush of anger. A gap cracks open between your cool resolve and your fury.
The Buick SCREECHES to a halt. Gittes jumps out.
"To hell with her!"
Gittes SLAMS the car door and bolts up the steps.
Story by Robert McKee, pg 156
The context of this page is McKee's way of explaining how to write characters. I found it very helpful.
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Thanks for reading! I probably forgot something, so I made this a “part 1.”
I hope this helps someone since I’m really tired of finding short films on YouTube that are all fucking silent. The few who have done it well have been copied to death, so please write some dialogue. I promise you it’s so much better if you do.
Asks are open! :)
Posting a horror movie I made with some friends at Toronto Film School!
I was the Director of Photography on this project as well as the editor. If you enjoy John Wick and The Joker go watch
Trans clue memory unlocked:
My whole 7th grade had to learn how to Swing dance. We all had opposite gendered partners to dance with, and kept the same partner as each Gym Class went by. The girls got these sweet coloured poodle print skirts to wear during the dance routines. I was jealous of them. I loved the poodle skirts. I didn't understand why I enjoyed them so much because wearing them was for girls, so they weren't for me. Clearly.
Setup: many in the castle will attest to the existence of a ghost in the catacombs beneath the foundations, if not from their own experience, but from generations of tales going back to the days of the petty, tribal kings, when the realm was divided up into a patchwork of little territories ruled over by whatever warlord could martial enough blades to hold them.
While most stories tell of the ghost stalking out of its crypt to drag the living down to the shadows with it, or attempted exorcisms of blade and blessed book, a few hold the whisper of truth: those that venture down to the catacombs when the moon is right and sit in silent meditation with the peaceful phantom can gain great insights into themselves, or secret truths known only to the dead.
Adventure Hooks:
While staying in the castle of their patron, the party hears the rumor of the ghost and its vigil, particularly from a harrowed young page who was thrown into the catacombs by his youthful tormentors and developed several nervous quirks from the experience. They tell the party that it wasn’t the ghost itself that traumatized them so, but the fact that they were trapped in the catacombs so long with noone but the dead for company. Chief among the page’s new eccentricities is a fascination with the macabre, and they gently try to coax the party down into the catacombs so they can share in the page’s experience.
By Feudal grant, a newly risen knight has taken up residence in the castle, and is more than a little put out by the fact that her new home has such an infamous reputation among the surrounding populace. Seeking to show her new prestige and authority, she puts out a call for brave warriors willing and capable of removing this unwelcome spirit from her domicile.
A member of the clergy has gone missing while attempting the Silent King’s vigil, locking themselves inside the tombs for several days while attempting to communicate with and permanently put the spirit to rest. A mentor to the party’s cleric, or important for one of thier ongoing adventures, the party must search the catacombs for the missing vicar, or attempt his abandoned ritual and ask the ghost where the holyman might have wandered off to.
Keep reading
I bought a pretty circlet today. My husband says it makes me look like an elf :)) I love it!
I also bought a Jester's cap. It is Black&White and has annoying bells and I will be wearing it to Dungeons & Dragons sessions!
Been reading a book over the last few days called 'How To Think Like A Woman' by Regan Penaluna. I've never been so inspired and also angered by someone else's writing before. I feel so inspired by Penaluna's writing and memoir, as well as the stories of the women she's recounted so far as I've read. What upsets me is how blind I've been to 2000+ years of nearly every major philosopher you've ever heard of being a massively misogynistic prick, and how that's affected civilization as a whole. No matter how much good they may have done for philosophy, politics, etc, what's been hidden from history classes are their vitriol-saturated opinions of women. Despite being hidden from modern eyes in order to keep the good moral image of these philosophers in proper condition, they still had massive impacts on the culture of their day and decades or centuries into their future. For my whole life I had this kind of blasé attitude to Philosphy like it was just a bunch of dudes theorizing about the nature of life, and while it is that (simplified), it is also very dangerous because these philosophers (VERY OFTEN MALE) would hold wide influence over many and their ideas became the basis for communities and civilization moving forward. Their grand plans for humanity and their ideals that humanity should strive for were really only meant to prop up the egos of men, and to keep women subservient.
One of the things that stuck with me and bothered me most was this notion that seemed to be a commonality between many of these "great thinkers", which was - "It is virtuous for a woman to be silent, but not for a man, a man should always speak his mind."
That one kinda killed me a bit. To shared that near carbon-copied sentiment over the course of centuries, misogynist philosopher begeting misogynist philosopher for 2 millenia and some change. It kills me a bit inside. It makes me angry.
What does it mean to become radicalized?
It’s been a while since I’ve posted video stuff here but later today is my Oceanus Dragon video so check out my channel if you’d like to see that.
Channel: https://www.youtube.com/channel/UCPcFsxfrenLv_Nx0oxSmBhA
Funeralopolis is a dread-filled apocalyptic body horror game where you discover a strange crack in your kitchen wall!
Read More & Play The Full Game, Free (Windows)
Gameplay Video:
Progress continues!
Nothing too new here, but I finished some more Mark III marines from the Burning of Prospero box for my pre-Heresy Emperor’s Children. I did magnetize all of these ones except for the legionary with the vexillum. I figured I would keep the vexilla for marines that will only be carrying bolt guns to give some of them a little more interest.
I think the custom Emperor’s Children pieces still work alright for the sergeant in Mark III armour even though the torso and helmet are technically Mark IV variants. the left shoulder, however is still a custom Mark III piece so no problem there.
You may also notice that I added a sculpted “III” to the sergeant’s right pauldron. I picked some of these up 3D printed from Shapeways. There’s a lot of things on that site that you can use to customize an army. This was a nice way for me to avoid a little more freehanding and instead use something that looks a little nicer :). Unfortunately I could have used one for the Mark IV sergeant I already painted but all well. That one’s done now! I figure I’ll save them for special characters anyways rather than use them on everyone. That way characters stand out more if they don’t already have a custom shoulder piece.
I also painted and magnetized a bunch of weapon options for the sergeant including a thunder hammer, but I didn’t add all those pictures to this post. All those weapons are compatible with the other sergeant as well which is really cool! The only difference between the Mark III and Mark IV hands is a couple tiny rivets anyway so it doesn’t really look like they don’t belong together.
With these 5 finished I now have an even number of Mark IV and Mark III tactical marines painted at 10 each. That’s 20 of an overall 60 marines to paint. Not too bad but still a long ways to go! I might switch focus now to the Betrayal at Calth box exclusively before doing anything else from the Burning of Prospero Box. We’ll see if I can keep my stamina up for painting purple :).
I think next however will be the Contemptor dreadnought from Betrayal at Calth since it will be a little different and it means I would have finished all the Emperor’s Children I need to in order to use as proxies for the Word Bearers and be able to finally give the game a try!
I’ll probably post a teaser picture of that relatively soon, but until then I just wanted to add one more picture of the power sword I painted for the sergeant in this photo set because I think the lightning effect came out a little better than last time.
(At least my headcanon on how they look like? Aside from Phosis T'Kar, no one really have any official physical appearance described in the lore.)
Update: I am a fraud, turns out H.M was blonde. But let that slide...
Khalopis (Pyrae) & Ahzek Ahriman (Corvidae)
Phosis T'Kar (Raptora) & Hathor Maat (Pavoni)
Aqhet Hakoris (Aquilae) & Baleq Uthizzar (Athanaean)
Did you know? Aquilae cult was never formally formed because they specifically dwell into Warp research, and the members was scattered through the legion by Magnus because the research was deemed too dangerous.
Lastly...
The babygirl Crimson King himself -`♡´-, smiling gently at you.
Q: Hey MsFlora, why are they shirtless? A: I like sexy men.