Screenwriting : Writing dialogue that doesn't suck by Nikita Simpson

I like to say it out loud and do the voices I imagine for the characters

Привет, Никита!

Read scripts, focusing on those with a lot of dialogue. I had the same problem, but only with action description. The more successful scripts you read (I usually pick ones that have won or been nominated for an Oscar, Golden Globe, etc.), the better.

Yan Ju Zeng That's a good idea. I might even ask someone to help me with it

Mila Nova Привет)) большое спасибо

Would you recommend any to read? I also had problems with action for a while, without going into too much prose

Nikita Simpson Absolutely! Here is the translation and a slightly adapted version of your text to sound natural in English:

"Same story here. After writing books, it was incredibly difficult for me to switch to screenplay description.

Regarding what to read, it really depends on what you're working on. You should look for comparable scripts. For example, right now I'm writing a script based on a unique interpretation of a Biblical story. So of course, I need to read 'Mother!' by Darren Aronofsky, or for instance, the script for the new film 'HIM'."

Nikita Simpson Also, a master of brilliant dialogues is, in my opinion, Quentin Tarantino (Pulp Fiction, Inglourious Basterds).

Other scripts with excellent dialogues include:

The Social Network , Steve Jobs, When Harry Met Sally , Julie & Julia , Little Women.

I base dialogue off a character's personality, Nikita Simpson.

I have dealt with the same issue in early drafts, so my first step was to read as many successful scripts with dialogue tone I wanted for mine and then made adjustments. Once I got my script to a place I was happy with, I found people in my network (preferably actors) to do a table read. it’s super cringy for the writer but an invaluable process to hear others say your words out loud. you’ll quickly identify the problem areas and most likely get great feedback in the process. hope that helps!

"Believable" is really dependent on context. Take this speech by Stellan Skarsgard in Andor. On paper, I wouldn't call this natural dialogue because no one talks like this. He's asked, "And what do you sacrifice?"

"Calm. Kindness. Kinship. Love. I’ve given up all chance at inner peace. I’ve made my mind a sunless space. I share my dreams with ghosts. I wake up every day to an equation I wrote 15 years ago from which there’s only one conclusion, I’m damned for what I do. My anger, my ego, my unwillingness to yield, my eagerness to fight, they’ve set me on a path from which there is no escape. I yearned to be a savior against injustice without contemplating the cost and by the time I looked down there was no longer any ground beneath my feet. I'm condemned to use the tools of my enemy to defeat them. I burn my decency for someone else's future. I burn my life to make a sunrise that I know I'll never see. And the ego started this fight will never have a mirror or an audience or the light of gratitude. So, what do I sacrifice? Everything!"

On paper it's a mouthful. But on screen...

https://www.youtube.com/watch?v=-3RCme2zZRY

Ask two actors to read your dialogue while you film them. Or if you don't want to direct, use AI to create the dialogue. Then ask others to listen. Study the faces of the listeners.

Here are some tips for dialogue: https://scriptrevolution.com/guide/better-dialogue

Vocal table reads aid dialogue. If live actors unavailable, zoom or even the read aloud button on writing software. Sometimes, after reads I substitute some dialogue for subtext. A scowl, or action etc says a million words. Dialogue is obviously not meant to be an “Info Dump” & may seem okay, with an eye scan. However the audible version, may not be as perfect, as was first perceived. Also, I always try to inject unique personality into words. If the names were hidden, we still know who’s speaking. Silence too is a powerful tool.

Writing good dialogue begins with listening.

I find subtext (the opposite of on-the-nose dialogue) adds depth and meaning…what a character isn’t saying, but is below the surface. Two scripts that make great use of subtext: Michael Clayton and Sideways (which won the Oscar for Best Adapted Screenplay).

Table reads are a great way to hear your dialogue and you can also get feedback from the readers (they don't have to be professional actors). Plus it's a fun way to see if your writing works in real time. I also talk to myself a lot while I'm driving, and sometimes I talk to myself (which may be strange for people passing by), but it also helps me.

Dialogue’s a muscle, not magic.

Most writers get stuck trying to “sound like a writer” instead of letting two real people talk. Reading scenes out loud helps you hear where the rhythm stumbles or a line feels too polished to be honest.

If you ever want another set of eyes, I’m around.

The best advice I can give is simply to know who your characters are, know their background, their lifestyle, their mannerisms, know the relationships between the characters talking, their motivations, and know what the situation is your characters are currently engaged in. And, for me most importantly, know the emotions. And once you do, ask yourself, would these characters really talk like that?

When crafting dialogue, less is often more. Strive to use the fewest words possible, avoiding unnecessary elaboration. Instead of lengthy exchanges or complete sentences, focus on brevity. This approach not only keeps the dialogue sharp but also increases its impact. Allow your characters to speak authentically, mirroring real-life interactions. To achieve this realism, spend time in places like coffee shops, stores, or public events, and observe how people naturally converse. Notice that everyday speech is rarely polished or direct; people often leave thoughts unfinished or speak in fragments. Bring this authenticity into your dialogue.

Dialogue should not always directly reveal a character’s true thoughts or intentions. In reality, people frequently withhold their feelings or mask their true emotions. Consider how rarely we fully “wear our heart on our sleeve.” When writing, let these subtleties inform your characters’ conversations, allowing for layers of meaning and intrigue. Embrace white space on the page. The more open space you see in your script, the more concise and effective your dialogue is likely to be, resulting in a more engaging story for the reader.

Study other scripts to understand how minimal dialogue can still drive a compelling story. For instance, the script for Alien is notable for its sparse dialogue, yet it remains a powerful and memorable narrative. Use such examples as inspiration in your own writing journey.

My advice on dialogue - Listen to people.

Most writers have the rules of grammar and sentence structure so ingrained into their systems that their dialogue sounds like an insurance contract or college dissertation.

My solution, go out. Go to a bar, a party, restaurant, or anywhere there are a lot of people. Take a notebook and write down what you hear. You'll find that people DO NOT speak in grammatically correct sentences. They use slang, contractions, verbal short cuts, inside jokes, accents, and stuff that makes identifying the speaker easier. Your dialogue on the page should be just like that. Characters should not speak with proper grammar. They should have a "verbal tick" or way of talking that makes them easy to pick out on the page. A catchphrase for the main character is a great way to make their dialogue unique.

There are a lot of options here to work from. Not all us will be able to table read. Some script software doesn't have a test to speech options. But a simple way to write dialogue is to think about it as a goal. What is the goal of the character when they say "X"? Each character will have a push and pull (A goal) or a shorthand if they've known each other a long time. There was a mention for subtext. Some people don't always say exactly what they mean. But we understand the context. Dialogue should be messy. Short. Convey several meanings. Specific to character. Another post talked about Quintin Tarantino. Sometimes his dialogue runs about topics not even related to the story but tell us everything about character. Watch the first conversation with Jules and VIncent in Pulp Fiction ask What do you learn about them just from that conversation? One is travelled. One probably has never left the valley. One is reckless. One is cautious. One has boundaries. One doesn't and what are they talking about? Burgers, Foot Massages, TV pilots, and a guy thrown off a roof. Only a couple lines tossed in about shotguns actually tells you what they are about to do. The best way to write dialogue is to be observant. When you're out with people today. Observe. Think about how each person is trying to interject their own perspective. Or convey their goal. So ask what do they want? And what do they need?

Hi Nikita Simpson ! This is a really good topic. Honestly, writing dialogue is my favorite part of the process. I often write it in a kind of freestyle, but only after I have clearly pictured the scene and described it. Many times ideas for the characters' conversation come to me even before I write the scene itself, as if the characters show me where their dialogue wants to go. Of course, the genre and the tone of the script can be delicate and influence how you shape the lines. In my opinion, a writer needs a solid dose of confidence. For me, even the so called silly or simple dialogue can sound much better once it is read out loud. So keep going, you are on the right track!

I might have a different approach because I usually direct the stuff I write. What I usually do is write the dialog that I think works, but then once I've cast the actors we obviously rehearse and that's when the real dialog comes out and we just change it. Sometimes it changes and sometimes things get cut because they're unnecessary, but the original intention si there so that the needed information still gets carried on.

I like to act out the characters' roles - that makes it easier for me to write what they would actually say, according to their personalities.

This is simple, I know, but just reading your pages out loud really helps you excavate the dung and mine the gold. If it sounds painful coming out of your own mouth, rewrite it until it actually sounds like a human would say it. Just my two cents.

Reading it out loud as you write can be helpful. Table reads are always a good use of time. You don't need professional actors, but watching your script being performed in front of you is a great way to give yourself a different perspective on your own work.

I think the first step is to watch movies and be on the lookout for dialogue you think is good. Rewatch those scenes over and over and ask yourself why you think the dialogue is good. Then copy!

I can recommend you Shane Black. Read his scripts, you gonna be surprised with the dialogues. Nice guys and Lethal weapon are his scripts.

There's a theory language was invented to hide what people were thinking instead of communicating it. It's an effective starting point for dialogue.

Here's a tip from the venerable Paul Schrader, In dialogue of a few sentences, move them around. What was last to first, etc.

Hi Nikita Simpson ! If you want, I can read a few of your scenes and give you some outside feedback. It’s possible you’re just being too hard on your own work.