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The subway was two blocks away. I stashed my phone in my pocket as I perched precariously on the escalator steps, pressed to the railing to leave space for the strangers around me. I attempted to drown out the turmoil of echoing voices, which bounced off the tile and found purchase in the crevices of my mind, flies to sweet syrup, clawing at chunks of brain matter and monopolising the remains of my focus - hurry up, we're going to miss the train - as I scrambled to pay attention to each of the parasitic pseudo-entities that seemed to occupy my senses. My mood shifted with the crowd, leaving me disoriented as I stepped onto the platform. For a moment, my head cleared, but soon my headphones surged in with a new track, flooding my ears as though to make me forget the eyes following me, the fellow passengers sure to extort good will.

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[Chorus]

She's lost in a manmade hellscape

She's trying to find a way out

She can't even whisper, much less shout

She's lost in a manmade hellscape
With no way out

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"It was just lying around, right there, on the floor!" Peggy pointed in between two shelves in the biography section.The librarian looked incredulous while squinting at the boy through her half-moon glasses. "This book isn't cataloged in our files, doesn't have a call number, title, author, nor an ISBN. Therefore it is not our possession. Besides, it's clearly a journal, look at it," she leafed through the mysterious book before saying, "Just keep it, alright?"Peggy didn't know what to do with the mahogany "journal" now that Mrs. Kilggard hadn't believed in him, so he took it to his dorm. As he opened the bedroom door a black neon light shone in the room, illuminating everything within a two-meter distance of its source. Perry had his dark wings out, setting them free after a long school day of keeping them in, thus brightening the room with his light.

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How to make the beginning more interesting ?

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How to make the beginning more interesting ?

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6'0 foot tall, with golden hair, and brown eyes, this was Steve Smith the CEO of one of the finest advertisement companies in the world. He was young, wealthy, had a beautiful family and, well, as far as he knew, he was happy. Giovanna, an Italian woman who he met and married while backpacking across Europe, was bitter but not in an unbearable way, more like the bitterness of lemonade without sugar. However, if you drink a lot of lemon juice, canker sores start to pop in your mouth. Not saying that she was the

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You managed to sum up some of the most powerful things in human experience, in my opinion: music, friends, and the joy of fiction. The middle choice falls a little flat in comparison to the others, my favorite was your description: warm, sad songs. Very evocative!

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This is such a great collection of images! I found it beautifully written, quite a successful activity. Maybe worth coming back to: It is intriguing, delightful... Filled with potential.

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I think that occasionally the descriptions went on for longer than they were supposed to, but otherwise it was a very engaging read! :)

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This presents interesting ideas! I do have two things to note: Would you like to come back to the text and play with the parallel ideas of bitter conversations and bitter coffee? (I thought it clever, though not quite there yet, you know?) Secondly, you mention conversations twice in this short text, would you like to change that? Semantic variety is something all readers appreciate.

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I like that reference to classical music and past lives... I wonder, could it be even more evocative if you choose a specific composer or musical piece? The last line intrigues me... What makes a soul ancient?

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The music that's been around for 15 summers? This is a clever way to get the reader to ponder what you pose... The last image raises questions... A student of life? How could this idea be more accessible to the reader, without giving it away easily?

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I like how specific you are with your descriptions, it makes the writing feel very genuine

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I like the way you specify the nostalgic series, the type of music you like, and every aspect of your quote.

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1. Think of dialogue as action, not narrative. Dialogue should do what great actions scenes do—move the story along and engage the reader. Even if your scene is a quiet one set at the kitchen table, good dialogue should be just as exciting as an action-pack fighting scene.
2. Let your dialogue reveal character. As a writer, you have many different writing tools in your arsenal to reveal character. The reader can delve into flashbacks or even break the 4th wall and talk directly to the reader. Still, the primary tool is the voice of your character as it comes across in dialogue. Revealing dialogue is also critical for non-POV, supporting characters for whom dialogue may be the only way to distinguish them.

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The Narrative ARC | Learn the Secrets of the World's Best Writers

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In his book, How to Write Dazzling Dialogue, James Scott Bell writes, "Dialogue isn't real-life speech. It is stylized speech for which the author, through the characters, has a purpose....What we do is render something that feels real."

The other form of bad dialogue is just as fatal to your manuscript. This form of dialogue sacrifices any claims to reality in favor of exposition or sermonizing. Let's look at my conversation in the grocery store again:

"Because of COVID, I've had to work overtime every day, and I'm so tired. I've been on my feet for twelve hours straight," the cashier said, her voice muffled through her mask. "At least I'm not a stocker. Everyone keeps asking them for toilet paper, meat, eggs, and Lysol, but the whole store is out of these items."

"I'm sorry," I said. "But I salute you as an essential worker who has to work in person so that our city of 650,000 can keep functioning. This pandemic is a disaster. The United States, where we live, has had the worst response in the world to this issue. Hundred of thousands of people are dead. Why weren't we more prepared for this pandemic?"

"In all my 58 years of life, I never thought I'd live to see a day like this," the cashier replied. "Even the oldest person I know, Bertha, my 109-year-old great-great-grandmother, barely remembers the Spanish Flu of 1918. That was the last time we had a situation like this."

"Yes, to think that here, in Memphis, Tennessee, in the year 2020, everyone around us would be wearing masks and talking about a contagious disease," I replied.

Let's break down what doesn't work about the above dialogue exchange. First, this conversation feels unnatural because it is trying to explain to the reader everything very quickly. Explanations like this one are generally considered "telling" in the show, don't tell rule writers love to spout. Usually, I think this concept is a bit overrated, but I would have to agree in this example. Good dialogue is the ultimate way a writer can show and not tell what a character thinks and believes.

While exposition is an essential part of storytelling, you cannot dump it into the reader's lap. Think about your story as your favorite pizza. The toppings are evenly distributed and cooked to perfection. Then you take a bite, and underneath the bubbling cheese or caramelized onions or tangy tomato sauce, there is a pocket of dry, tongue-numbing salt. It coats your mouth and ruins the whole meal. That's what an exposition dump does to your story. Instead, exposition should be sprinkled-revealed naturally and reasonably-throughout your novel.

How can you avoid this? It's important to remember that the characters should have a semblance of reality. Characters shouldn't exist solely as a vehicle for conveying information. They should have goals and motivations of their own. In the above example, both the cashier and I know where we live and the date. Characters shouldn't explain things to each other that both of them should already know.

Second, to write exciting dialogue, the characters involve should- ideally-have opposing motivations. It's sad, but writing about two people who agree about everything tends to fall flat. In How to Write Dazzling Dialogue, Bell calls this the character's agenda.

So that's the foundation for dazzling dialogue. It comes from a character who has an agenda, and is directed toward another character who has an agenda. No matter how small or large the objectives, if they are in conflict, the dialogue will work.

Features of Natural Dialogue

So, we know that natural dialogue should occur between two characters with opposing motivations and shouldn't contain information both characters already know. Are there other facets of good, natural dialogue?

1. Think of dialogue as action, not narrative. Dialogue should do what great actions scenes do-move the story along and engage the reader. Even if your scene is a quiet one set at the kitchen table, good dialogue should be just as exciting as an action-pack fighting scene.

2. Let your dialogue reveal character. As a writer, you have many different writing tools in your arsenal to reveal character. The reader can delve into flashbacks or even break the 4th wall and talk directly to the reader. Still, the primary tool is the voice of your character as it comes across in dialogue. Revealing dialogue is also critical for non-POV, supporting characters for whom dialogue may be the only way to distinguish them.

3. Don't reveal everything in your dialogue. Real people lie, evade questions, and change the subject to avoid difficult conversations. Your characters should do this, too. Just like real conversations, fictional dialogue is often uneven-experiment with one character acting as the interrogator and the other running interference.

4. Let your dialogue have natural starts and stops. Almost no one speaks in complete sentences all the time; most people have a particular rhythm to their speech. Choose language that reflects the character's demographics and setting. Some people stutter or lose their thought in the middle of talking. Others are quick to interrupt their fellow speakers. Use em-dashes and ellipses to break up dialogue and make it flow more naturally.

Okay, let's go back to our grocery store example and try to employ some of the features of natural dialogue:

The cashier-her name tag says Sonya-sighs for the tenth time before typing in the barcode again.

"Um...excuse me," I start. "Do you know when you'll get in some more toilet paper-"

"No, ma'am. I'm sorry. We don't know when anything will be back in stock." Her answer is automatic like she's said the same thing a thousand times.

"Look, I get there's a shortage, but is there some kind of raincheck? Can I put my name on a list so when it does come in-"

She cut me off again. "We don't have a list."

"What am I supposed to do, then? I've got three children-all out from school-and I don't have any way for them to wipe their tails."

"Having kids don't make you special. I've got kids, too. And I'm taking care of my mama. Lord knows I wouldn't be here, working during the plague, if I didn't."

I inhale slowly, then exhale. "I understand that, but-"

"I bet where you work is closed for safety. I bet you stay home in front of a cute little computer and work. I bet half your co-workers aren't out sick with COVID."

I think it might still be a little too expositional, but a draft or two could probably fix that. It's more natural than the two that preceded it. Let me know what you think. Is this dialogue better than the previous two? Did I miss any tricks for creating natural dialogue?

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How Do I Write Natural Dialogue? - The Narrative ARC | Learn the Secrets of the World's Best Writers

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In his book, How to Write Dazzling Dialogue, James Scott Bell writes, "Dialogue isn't real-life speech. It is stylized speech for which the author, through the characters, has a purpose....What we do is render something that feels real." The other form of bad dialogue is just as fatal to your manuscript.

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- Skip the pleasantries and focus on writing purposeful dialogue.
- Dialogue should not go over three beats (short phrases) before pausing for tags or action.

- Action beats are just as useful as dialogue tags in contextualising who is speaking and how.

- Avoid exposition in dialogue unless it fits - and even then, be cautious about info-dumping.

- Characters can lie or omit information from others in dialogue, so use actions to demonstrate their true intentions.

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No matter what your genre, learning how to write dialogue effectively is a vital part of any writer's education. Poor dialogue can make readers put your book down in disgust - but great dialogue can transform your characters into truly believable people, and your readers into satisfied customers.

Of course, the best kind of dialogue isn't just believable. It also provides exposition, involves distinct language depending on who's speaking, and - perhaps most crucially - moves the story along. Without dialogue, you'd just have pages and pages of description with barely any character dynamics or interpersonal drama. How boring would that be?

Because dialogue is one of the essential components of strong writing, we want to help you get it exactly right. To that end, we've put together this list of rules that will have you writing sparkling conversation in no time! We'll also cover how to format and punctuate dialogue, for those who aren't sure exactly what goes where.

If you're especially curious about formatting, go ahead and skip to #10 using the table of contents on the left - otherwise, let's jump right in with dialogue rule #1.

1. Enter the conversation late

Alfred Hitchcock once said that "drama is life with all the boring bits cut out." Comparably, we could say that good dialogue is like a real conversation without all the fluff. And one of the best ways to cut out that boring fluff is to enter the conversation as late as possible.

Think about it: few "classic" scenes start with characters going, "Hey buddy! How are you doing? Wow, long time no see." This is because people enjoy making inferences based on details in action and speech - and the last thing you want to do is insult their intelligence by spelling everything out for them.

For a more tangible taste of this technique, check out the dialogue-driven opening to Barbara Kingsolver's novel, Unsheltered.

Dialogue tags are the phrases in your writing that indicate who's saying what. For example: "I can't wait to read this article," Rita said. In this case, "Rita said" is the dialogue tag. It identifies the speaker and clarifies the action.

Of course, there are plenty of other dialogue tags besides "said": stated, declared, proclaimed, the list goes on and on. But when writing dialogue, you generally want to keep these elaborate tags to a minimum.

As American novelist and screenwriter Elmore Leonard put it:

"Never use a verb other than 'said' to carry dialogue. The line of dialogue belongs to the character; the verb is the writer sticking his nose in. But 'said' is far less intrusive than 'grumbled,' 'gasped,' 'cautioned,' 'lied.'"

The key word that Leonard uses here is "intrusive." You want to bring readers into your scene and make them feel like firsthand observers, without drawing attention to the fact that they're actually not. When you raid your thesaurus for fancy dialogue tags, you risk taking readers out of the scene for a brief display of your verbal virtuosity.

Want to see this in practice? Check out this scene from Daphne du Maurier's bestselling Gothic novel, Rebeccca.

3. Use descriptive action beats

An action beat is a description of the expressions, movements, or even internal thoughts that accompany the speaker's words. It is included in the same paragraph as the dialogue to indicate that the person acting is also the person speaking.

Action beats help illustrate what's going on in a scene, and can even replace dialogue tags, avoiding the need for a long list of lines ending in "he said," or "she said." Kazuo Ishiguro's Never Let Me Go is an example of action beats used well!

4. Make each character sound distinct

Another key aspect of writing realistic dialogue is making each character sound distinctly "themselves." This incorporates a number of elements: syntax and diction, levels of energy and formality, humor, confidence, and any speech-related quirks (such as stuttering, lisping, or ending every sentence like it's a question).

Some of these may change depending on the circumstances of the conversation, especially to whom each person is speaking. But no matter what, there should be an underlying current of personality that identifies each speaker.

Jane Austen's Mr. and Mrs. Bennet in Pride and Prejudice are a great example of distinct character voices.

5. Develop character relationships

Jumping off that, dialogue is an excellent tool to display and develop character relationships overall. Remember, good dialogue establishes relationships, and great dialogue adds to them even more.

One of the best ways to ensure your dialogue augments your characters' relationships is to complete some dialogue writing exercises! In all likelihood, these conversations won't actually end up in your story, so they're a nice, low-pressure way to practice developing your characters and the relationships between them.

For this kind of practice, exercises like "What Did You Say?" are particularly helpful. We've copied this one for you below:

Pretend three of your characters have won the lottery. How does each character reveal the big news to their closest friend? Write out their dialogue with unique word choice, tone, and body language in mind.

This is a great opportunity to work on both voice and character relationships. In this specific scenario, a number of qualities will affect how a character perceives and delivers the news that they've won the lottery. These qualities might include whether a character:

Is reserved and shy vs. confident and outgoing;

Takes things seriously vs. in a lighthearted manner;

Has lofty personal aspirations or doesn't;

Wants to help others or couldn't care less;

Thinks they deserve good fortune or not.

Think about each of your characters and which of these categories they fall into - it should help you determine how they relate and react to each other in the context of such news.

6. Show, don't tell as much as possible

In terms of how you phrase your dialogue, you don't want to just lay everything out on the table. Again, readers enjoy making inferences based on the clues you provide! This is where our next tip comes into play, as ironic as it might sound when applied to dialogue: show, don't tell as much as possible.

The post linked above will give you a thorough overview of this strategy, but in the context of writing dialogue, it basically means that you should imply information rather than outright stating it.

For example, say two characters meet in a bar and have the following exchange:

"Hey, Jake. Long time no see."

"Tell me about it, Ted. The precinct isn't the same without you."

"Well, you know I had good reason for leaving."

"I do. But I also thought you might change your mind."

Even if this is the first time we're meeting Jake and Ted, we can deduce that they are police officers who used to work together, and that Jake misses Ted - and possibly wants him to come back, despite Ted's resolve to stay away.

However, cloaking this information in dialogue is a lot more interesting than the narrator simply saying, "Jake and Ted used to work together on the force. Ted left after a grisly murder case, but now Jake needs his help to solve another."

Of course, sometimes dialogue is a good vehicle for literally telling - for instance, at the beginning or end of a story, it can be used for exposition or to reveal something dramatic, such as a villain's scheme. But for the most part, dialogue should show rather than tell in order to keep readers intrigued, constantly working to figure out what it means.

7. Bounce quickly back and forth

When writing dialogue, it's also good to bounce quickly back and forth between speakers, like a tennis match. Just take a look at the ping-pong pace of this conversation between an unnamed man and a girl named Jig, from Hemingway's short story, "Hills Like White Elephants".

This rule might seem obvious, but it can be easy to forget when one speaker is saying something important - you forget that the other person still needs to respond!

To avoid this, take a close look at your dialogue to ensure there aren't any long, unbroken blocks of text; these typically indicate lengthy monologues. Fortunately, they're easily fixed by inserting questions, comments, and other brief interludes from fellow speakers.

Alternately, if there's a scene wherein you feel a lengthy monologue is warranted, you can always break it up using small bits of action and description, or with standard paragraph breaks.

8. Read your dialogue out loud

Most of us know bad dialogue when we hear it, so what better way to check your own dialogue than by reading it out loud? Though it might not be what you want to hear (literally), this tactic will help you get down to brass tacks and fix the real problems with your dialogue.

For instance, is it clunky or awkward? Do your jokes not quite land? Does one of your characters speak for an unusually long amount of time that you hadn't noticed before, or does their distinct "voice" sound inconsistent in one scene? All of these problems and more can be addressed by simply speaking your dialogue out loud.

And if you don't believe us, believe John Steinbeck! He once recommended this very strategy in a letter to actor Robert Wallston: "If you are using dialogue, say it aloud as you write it. Only then will it have the sound of speech."

9. Remove unnecessary dialogue

It's worth remembering that dialogue is merely one part of your writer's toolbox, and that you don't have to keep all the dialogue you write. Indeed, you need to pick and choose which techniques best tell your story and present the interior life of your characters.

That might mean using a great deal of dialogue, or it might not. Sometimes, having your characters speak might not be your best option at all; perhaps your scene is better off told through narration, or in a letter written by the protagonist. Just because dialogue can be brilliant, doesn't mean it's always paramount to a scene - so don't be afraid to cut it where necessary.

10. Format and punctuate your dialogue properly

Punctuating and formatting your dialogue correctly makes your story clear and understandable, so readers can enjoy it. Not to mention that knowing when to use quotation marks and where to put commas, full stops, question marks, and dashes will make your text look polished and professional to agents and publishers.

The standard formatting and punctuation for dialogue is pretty simple, and you've probably seen in innumerable times before. But let's break down the most important rules, just in case.

How to format dialogue

1. Indent each new line of dialogue.

2. Put quotation marks around the speech itself.

3. Punctuation that affects the speech's tone goes inside the quotation marks.

4. If you quote within a quote, use single rather than double quotation marks.

5. If you break up a line of dialogue with a tag (e.g. "she said"), put a comma after the tag:
However, if you put a tag in between two complete sentences, use a period:

6. Speaking of tags, you don't always need them, as long as the speaker is implied.

7. If you start with a tag, capitalize the first word of dialogue.

Now that you know exactly what to do when it comes to writing dialogue, let's talk about what not to do - with these five critical mistakes to avoid.

11. Check your dialogue for these major mistakes

Before you move on to the next scene, look over your dialogue to make sure you're not making any of these faux pas:

As you may have already gathered, one of the most egregious errors you can make when writing dialogue is using too many dialogue tags. Constantly repeating "he said," "she said," and so on is boring and repetitive for your readers, as you can see here:

So keep in mind that you can often eschew dialogue tags if you've already established the speakers, like so:

One can tell from the action beats, as well as the fact that it's a two-person back-and-forth conversation, which lines are Billy's and which are Ann's. Dialogue tags just distract from the conversation - although if you did want to use them, "said" would still be better than fancy tags like "announced" or "effused."

❌ Lack of structural variety

Similar to the "too many tags" issue is the lack of structural variety that can sometimes arise in dialogue. Not sure what we're talking about? Take a look at this:

Now, action beats are great, but here they're used repeatedly in exactly the same way - first the dialogue, then the beat - which looks odd and unnatural on the page. Indeed, any recurrent structure like this (which also includes putting dialogue tags in the same place every time) should be vehemently avoided.

Luckily, it's easy to rework repetitive structure into something much more lively and organic, just by shifting around some of the action beats and tags:

❌ Restating the obvious

Another common dialogue mistake is restating the obvious - i.e. information that either the characters themselves or the reader already knows. For example, say you want to introduce two brothers, so you write the following exchange:

This is clearly awkward and a bit ridiculous, as the characters obviously know how old they are. It also insults the reader's intelligence - even if they didn't already know that Barry and Gary were thirty-five-year-old brothers, they wouldn't appreciate being spoon-fed like this.

If you wanted to convey the same information in a subtler way, you might write it into a different conversation, like:

This makes the dialogue more about Indiana Jones than the brothers' age, sneaking in the info so readers can figure it out for themselves.

❌ Unrealistic smooth-talking and clichés

Though you want your dialogue to flow, you don't want it to flow so smoothly that it sounds fake. Unfortunately, there's a fine line between enthralling dialogue and unrealistic smooth-talking, so be careful!

Saying your dialogue out loud, as we mentioned in rule #8, should help with this problem. It can also be helpful to record dialogue (with the participants' permission, of course) and study it for natural speech patterns and phrases. Of course, we're not saying you should include every "um" and "er" that people say in real life - only that authentic-sounding written dialogue reflects real life.

In a similar vein, you want to watch out for clichés in your dialogue as much as in the rest of your writing. While it's certainly true that people sometimes speak in clichés (though this is often tongue-in-cheek), if you find yourself writing the phrase "Are you thinking what I'm thinking?" or "Shut up and kiss me," you may need a reality check.

For a full roster of dialogue clichés, check out this super-helpful list from Scott Myers.

❌ Disregarding dialogue entirely

Finally, the last mistake you can make when writing dialogue is... well, not writing it! Circling back to one of the very first points we made in this article, dialogue is a super-important element in almost any story - it provides exposition, indicates personality and character relationships, and may even reveal a major plot twist during the climax. Suffice to say, if your story doesn't have enough dialogue, it's not going to have many readers either.

We know that writing dialogue can be intimidating, especially if you don't have much experience with it. But that should never keep you from including it in your work! Just remember that the more you practice, the better you'll get. And with the help of the tips and in this article, you should already be a little bit (if not a lot!) closer to writing dialogue that captivates your readers just as much as their real-life conversations. 🗣
We hope you enjoyed this post on how to write dialogue! If you'd like to learn even more, check out our post sharing 15 dialogue examples, analyzed.

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How to Write Natural Dialogue in 11 Steps!

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No matter what your genre, learning how to write dialogue effectively is a vital part of any writer's education. Poor dialogue can make readers put your book down in disgust - but great dialogue can transform your characters into truly believable people, and your readers into satisfied customers.

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1. Be realistic, but not too realistic

Don't write exactly how people talk, because that's not entertaining, but don't be too theatrical, because that feels forced and unengaging.

2. People talk in different ways, represent that

People are different, and have different speech patterns and little habits when they speak, try to represent that in your dialogue

3. Avoid infodumping

Show, don't tell. Don't present all the information at once, put it here and there in the dialogue.

4. Be awkward

People don't take turns patiently to talk, they interrupt each other, forget what they're saying, etc. do that when necessary, it helps establish your characters as actual humans.

5. Be brief

Very rarely do people ever go into a long, interrupted monologue when talking to another person. That doesn't mean characters can't go on for a while, but show that the other character is listening. Include a "mhm" or "yeah", or questions, just like you would in real life.

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Avoid long speeches
Avoid small talk
Avoid info dump
Give your characters a unique way of speaking which differentiates them from other characters

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Dialogue should stay on topic

Use dialogue as you would actual speech

Opt for the speaker attribution said over all others

Avoid long speeches

Be grammatically correct

Show what the characters are doing while they're talking

Keep characters' speech consistent

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AVOID ADVERBS:

Although this appears harmless enough at first look, the reader actually grows increasingly irritated with the use of adverbs.

Give yourself and your readers some credit by not feeding them with an excessive quantity of information in your dialogue, just as you wouldn't in your narrative.

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Mix dialogue with narration: as your characters talk, interpolate some descriptions of their physical postures or other activity taking place in the room.

Give your main character a secret: you can build dynamic three-dimensionality by having your character withhold a key bit of information from their speech.

Use a layperson character to clarify technical language: The expert character can speak at a technical level, and the uninformed one can stop them, asking questions for clarification.

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How are voices unique? How can this uniqueness be reflected in our dialogues?

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Do's and Don'ts of developing voices in dialogues

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Do's and Don'ts of developing voices in dialogues

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Use this opportunity to collect your learnings through your own experience developing unique voices through dialogue.

Write:

1. What worked really well?

2. What was extremely challenging?

3. Which specific dialogue elements helped you develop unique voices?

4. Which specific dialogue elements hindered the development of unique voices?

5. From listening to/reading your partner's dialogue, what elements would you like to try out the next time you are writing a dialogue?

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1- It was really fun to read it our loud the dialogues, it certainly changes your view of the essay.
2- It will be challenging to act on the feedback.