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How to Write Good Dialogue — We look at what makes good dialogue good, and bad dialogue bad.

How to Write Dialogue ►►
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Chapters:
00:00 - Introduction to Great Dialogue in Film
01:49 - Great Dialogue Defined
02:21 - Chapter 1: Distinct Voice
09:43 - Chapter 2: Deliver Information
15:39 - Chapter 3: Dynamic Conversation
22:47 - Takeaways

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ANATOMY OF GREAT DIALOGUE

Movie audiences have a great ear for dialogue. They know when it's good, and they know when it's bad. This means that for screenwriters, the ability to write believable and compelling conversations is a must. And while it's easy to recognize dialogue as good or bad, it's much harder to understand why and how. Let's take a look at how to write dialogue.

VOICE IN DIALOGUE

First and foremost, each character should have a distinct voice. This distinctiveness ensures that viewers can easily differentiate between characters and understand their personalities and motivations. A distinct voice is crafted through individual speech patterns, vocabulary, and tone. For example, a character might speak in a formal, elaborate manner to reflect their education or background, while another might use colloquial language and slang to indicate a more casual, street-smart demeanor. This differentiation not only adds authenticity but also deepens character development, allowing audiences to engage more fully with the story.

BEST DIALOGUE EXPOSITION

Effective dialogue must also serve the purpose of delivering information in a way that feels natural and engaging. It’s essential that exposition is woven seamlessly into conversations rather than dumped in large, awkward chunks. Dialogue that doesn't push story forward, or deliver new information, should be examined by the screenwriter– is it totally necessary?

CONVERSATIONAL DIALOGUE TIPS

Most dialogue is in conversation, not just a monologue. Conversation means debates, disagreements, and varied perspectives that drive the narrative forward and highlight character development. A heated argument between characters can reveal their underlying values and conflicts, enriching the story and enhancing dramatic tension. By incorporating conflict and contrasting viewpoints, dialogue becomes a powerful tool for revealing deeper layers of character.

Great dialogue is essential for (most) great movies. But remember: great dialogue doesn't look or sound one way. It can be arched and over-the-top, or understated and realistic. It's hard to say what makes dialogue great. But you know it when you hear it.


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♬ SONGS USED:

Rumble - Link Wray
Gia Ena Tango - Haris Alexiou
Camp Ivanhoe Medley - Peter Jarvis
Able-Bodied Seaman - Jonny Greenwood
Spotlight Main Theme - Howard Shore
Out of Limits - The Marketts
Rose Garden - Jon Brion
Open Spaces - Jonny Greenwood
The Verdict - Ennio Morricone
Casino End Theme - Grorges Delerue
The Ballad of Howie Bling - Daniel Lopatin
Hand Covers Bruise - Trent Reznor & Atticus Ross
Main Titles (Top Gun Maverick) - Harold Faltermeyer
Theme for The Irishman - Robbie Robertson
The Room Main Theme - Tommy Wiseau & Mladen Milicevic
Journalistic Instinct - Kyle Dixon
The Nature of People - Daniel Pemberton
Sonofabitch - Mark Korven
Shallow - Lady Gaga & Bradley Cooper
Coconut - Harry Nilsson
Pueblo Cafe - Nuevos Tiempos
What Went We - Mark Korven
Last Critique - Randy Newman
Its Only A Matter of Time - Tyler Bates
The Power of Love - Huey Lewis and the News
Hell On Earth - Zilgi
Hardest Geometry Problem in the World - Mark Mothersbaugh
Forrest Gump Suite - Alan Silvestri
Back to the Future III Theme
Vampire - Antsy Pants
Aegeus - Makeup and Vanity Set
Ace of Hearts - Ira Newborn
Intrigue on the Dirigible - John Williams
Arkham Asylum - Steven Price
Hiro Hamada - Henry Jackman
Casablanca (Suite) - The Westminster Philharmonic
Twilight Zone - Ben Salisbury
The Batman - Michael Giacchino
End Titles (Get Out) - Michael Abels
Guantanamo Bay - Marc Shaiman

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Music by MusicBed ►

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