the definition of dialogue in creative writing

Dialogue Definition

What is dialogue? Here’s a quick and simple definition:

Dialogue is the exchange of spoken words between two or more characters in a book, play, or other written work. In prose writing, lines of dialogue are typically identified by the use of quotation marks and a dialogue tag, such as "she said." In plays, lines of dialogue are preceded by the name of the person speaking. Here's a bit of dialogue from Alice's Adventures in Wonderland : "Oh, you can't help that,' said the Cat: 'we're all mad here. I'm mad. You're mad." "How do you know I'm mad?" said Alice. "You must be,' said the Cat, 'or you wouldn't have come here."

Some additional key details about dialogue:

• Dialogue is defined in contrast to monologue , when only one person is speaking.
• Dialogue is often critical for moving the plot of a story forward, and can be a great way of conveying key information about characters and the plot.
• Dialogue is also a specific and ancient genre of writing, which often takes the form of a philosophical investigation carried out by two people in conversation, as in the works of Plato. This entry, however, deals with dialogue as a narrative element, not as a genre.

How to Pronounce Dialogue

Here's how to pronounce dialogue: dye -uh-log

Dialogue in Depth

Dialogue is used in all forms of writing, from novels to news articles to plays—and even in some poetry. It's a useful tool for exposition (i.e., conveying the key details and background information of a story) as well as characterization (i.e., fleshing out characters to make them seem lifelike and unique).

Dialogue as an Expository Tool

Dialogue is often a crucial expository tool for writers—which is just another way of saying that dialogue can help convey important information to the reader about the characters or the plot without requiring the narrator to state the information directly. For instance:

• In a book with a first person narrator, the narrator might identify themselves outright (as in Kazuo Ishiguro's Never Let Me Go , which begins "My name is Kathy H. I am thirty-one years old, and I've been a carer now for over eleven years.").
• Tom Buchanan, who had been hovering restlessly about the room, stopped and rested his hand on my shoulder. "What you doing, Nick?”

The above example is just one scenario in which important information might be conveyed indirectly through dialogue, allowing writers to show rather than tell their readers the most important details of the plot.

Expository Dialogue in Plays and Films

Dialogue is an especially important tool for playwrights and screenwriters, because most plays and films rely primarily on a combination of visual storytelling and dialogue to introduce the world of the story and its characters. In plays especially, the most basic information (like time of day) often needs to be conveyed through dialogue, as in the following exchange from Romeo and Juliet :

BENVOLIO Good-morrow, cousin. ROMEO Is the day so young? BENVOLIO But new struck nine. ROMEO Ay me! sad hours seem long.

Here you can see that what in prose writing might have been conveyed with a simple introductory clause like "Early the next morning..." instead has to be conveyed through dialogue.

Dialogue as a Tool for Characterization

In all forms of writing, dialogue can help writers flesh out their characters to make them more lifelike, and give readers a stronger sense of who each character is and where they come from. This can be achieved using a combination of:

• Colloquialisms and slang: Colloquialism is the use of informal words or phrases in writing or speech. This can be used in dialogue to establish that a character is from a particular time, place, or class background. Similarly, slang can be used to associate a character with a particular social group or age group.
• The form the dialogue takes: for instance, multiple books have now been written in the form of text messages between characters—a form which immediately gives readers some hint as to the demographic of the characters in the "dialogue."
• The subject matter: This is the obvious one. What characters talk about can tell readers more about them than how the characters speak. What characters talk about reveals their fears and desires, their virtues and vices, their strengths and their flaws.

For example, in Pride and Prejudice, Jane Austen's narrator uses dialogue to introduce Mrs. and Mr. Bennet, their relationship, and their differing attitudes towards arranging marriages for their daughters:

"A single man of large fortune; four or five thousand a year. What a fine thing for our girls!” “How so? How can it affect them?” “My dear Mr. Bennet,” replied his wife, “how can you be so tiresome! You must know that I am thinking of his marrying one of them.” “Is that his design in settling here?” “Design! Nonsense, how can you talk so! But it is very likely that he may fall in love with one of them, and therefore you must visit him as soon as he comes.”

This conversation is an example of the use of dialogue as a tool of characterization , showing readers—without explaining it directly—that Mrs. Bennet is preoccupied with arranging marriages for her daughters, and that Mr. Bennet has a deadpan sense of humor and enjoys teasing his wife.

Recognizing Dialogue in Different Types of Writing

It's important to note that how a writer uses dialogue changes depending on the form in which they're writing, so it's useful to have a basic understanding of the form dialogue takes in prose writing (i.e., fiction and nonfiction) versus the form it takes in plays and screenplays—as well as the different functions it can serve in each. We'll cover that in greater depth in the sections that follow.

Dialogue in Prose

In prose writing, which includes fiction and nonfiction, there are certain grammatical and stylistic conventions governing the use of dialogue within a text. We won't cover all of them in detail here (we'll skip over the placement of commas and such), but here are some of the basic rules for organizing dialogue in prose:

• Punctuation : Generally speaking, lines of dialogue are encased in double quotation marks "such as this," but they may also be encased in single quotation marks, 'such as this.' However, single quotation marks are generally reserved for quotations within a quotation, e.g., "Even when I dared him he said 'No way,' so I dropped the subject."
• "Where did you go?" she asked .
• I said , "Leave me alone."
• "Answer my question," said Monica , "or I'm leaving."
• Line breaks : Lines of dialogue spoken by different speakers are generally separated by line breaks. This is helpful for determining who is speaking when dialogue tags have been omitted.

Of course, some writers ignore these conventions entirely, choosing instead to italicize lines of dialogue, for example, or not to use quotation marks, leaving lines of dialogue undifferentiated from other text except for the occasional use of a dialogue tag. Writers that use nonstandard ways of conveying dialogue, however, usually do so in a consistent way, so it's not hard to figure out when someone is speaking, even if it doesn't look like normal dialogue.

Indirect vs. Direct Dialogue

In prose, there are two main ways for writers to convey the content of a conversation between two characters: directly, and indirectly. Here's an overview of the difference between direct and indirect dialogue:

• This type of dialogue can often help lend credibility or verisimilitude to dialogue in a story narrated in the first-person, since it's unlikely that a real person would remember every line of dialogue that they had overheard or spoken.
• Direct Dialogue: This is what most people are referring to when they talk about dialogue. In contrast to indirect dialogue, direct dialogue is when two people are speaking and their words are in quotations.

Of these two types of dialogue, direct dialogue is the only one that counts as dialogue strictly speaking. Indirect dialogue, by contrast, is technically considered to be part of a story's narration.

A Note on Dialogue Tags and "Said Bookisms"

It is pretty common for writers to use verbs other than "said" and "asked"  to attribute a line of dialogue to a speaker in a text. For instance, it's perfectly acceptable for someone to write:

• Robert was beginning to get worried. "Hurry!" he shouted.
• "I am hurrying," Nick replied.

However, depending on how it's done, substituting different verbs for "said" can be quite distracting, since it shifts the reader's attention away from the dialogue and onto the dialogue tag itself. Here's an example where the use of  non-standard dialogue tags begins to feel a bit clumsy:

• Helen was thrilled. "Nice to meet you," she beamed .
• "Nice to meet you, too," Wendy chimed .

Dialogue tags that use verbs other than the standard set (which is generally thought to include "said," "asked," "replied," and "shouted") are known as "said bookisms," and are generally ill-advised. But these "bookisms" can be easily avoided by using adverbs or simple descriptions in conjunction with one of the more standard dialogue tags, as in:

• Helen was thrilled. "Nice to meet you," she said, beaming.
• "Nice to meet you, too," Wendy replied brightly.

In the earlier version, the irregular verbs (or "said bookisms") draw attention to themselves, distracting the reader from the dialogue. By comparison, this second version reads much more smoothly.

Dialogue in Plays

Dialogue in plays (and screenplays) is easy to identify because, aside from the stage directions, dialogue is the only thing a play is made of. Here's a quick rundown of the basic rules governing dialogue in plays:

• Names: Every line of dialogue is preceded by the name of the person speaking.
• Mama (outraged)  : What kind of way is that to talk about your brother?
• Line breaks: Each time someone new begins speaking, just as in prose, the new line of dialogue is separated from the previous one by a line break.

Rolling all that together, here's an example of what dialogue looks like in plays, from Edward Albee's Zoo Story:

JERRY: And what is that cross street there; that one, to the right? PETER: That? Oh, that's Seventy-fourth Street. JERRY: And the zoo is around Sixty-5th Street; so, I've been walking north. PETER: [anxious to get back to his reading] Yes; it would seem so. JERRY: Good old north. PETER: [lightly, by reflex] Ha, ha.

Dialogue Examples

The following examples are taken from all types of literature, from ancient philosophical texts to contemporary novels, showing that dialogue has always been an integral feature of many different types of writing.

Dialogue in Shakespeare's Othello

In this scene from Othello , the dialogue serves an expository purpose, as the messenger enters to deliver news about the unfolding military campaign by the Ottomites against the city of Rhodes.

First Officer Here is more news. Enter a Messenger Messenger The Ottomites, reverend and gracious, Steering with due course towards the isle of Rhodes, Have there injointed them with an after fleet. First Senator Ay, so I thought. How many, as you guess? Messenger Of thirty sail: and now they do restem Their backward course, bearing with frank appearance Their purposes toward Cyprus. Signior Montano, Your trusty and most valiant servitor, With his free duty recommends you thus, And prays you to believe him.

Dialogue in Madeleine L'Engel's A Wrinkle in Time

From the classic children's book  A Wrinkle in Time , here's a good example of dialogue that uses a description of a character's tone of voice instead of using unconventional verbiage to tag the line of dialogue. In other words, L'Engel doesn't follow Calvin's line of dialogue with a distracting tag like "Calvin barked." Rather, she simply states that his voice was unnaturally loud.

"I'm different, and I like being different." Calvin's voice was unnaturally loud. "Maybe I don't like being different," Meg said, "but I don't want to be like everybody else, either."

It's also worth noting that this dialogue helps characterize Calvin as a misfit who embraces his difference from others, and Meg as someone who is concerned with fitting in.

Dialogue in A Visit From the Good Squad

This passage from Jennifer Egan's A Visit From the Good Squad doesn't use dialogue tags at all. In this exchange between Alex and the unnamed woman, it's always clear who's speaking even though most of the lines of dialogue are not explicitly attributed to a speaker using tags like "he said."

Alex turns to the woman. “Where did this happen?” “In the ladies’ room. I think.” “Who else was there?” “No one.” “It was empty?” “There might have been someone, but I didn’t see her.” Alex swung around to Sasha. “You were just in the bathroom,” he said. “Did you see anyone?”

Elsewhere in the book, Egan peppers her dialogue with colloquialisms and slang to help with characterization . Here, the washed-up, alcoholic rock star Bosco says:

"I want interviews, features, you name it," Bosco went on. "Fill up my life with that shit. Let's document every fucking humiliation. This is reality, right? You don't look good anymore twenty years later, especially when you've had half your guts removed. Time's a goon, right? Isn't that the expression?"

In this passage, Bosco's speech is littered with colloquialisms, including profanity and his use of the word "guts" to describe his liver, establishing him as a character with a unique way of speaking.

Dialogue in Plato's Meno

The following passage is excerpted from a dialogue by Plato titled Meno.  This text is one of the more well-known Socratic dialogues. The two characters speaking are Socrates (abbreviated, "Soc.") and Meno (abbreviated, "Men."). They're exploring the subject of virtue together.

Soc. Now, if there be any sort-of good which is distinct from knowledge, virtue may be that good; but if knowledge embraces all good, then we shall be right in think in that virtue is knowledge? Men. True. Soc. And virtue makes us good? Men. Yes. Soc. And if we are good, then we are profitable; for all good things are profitable? Men. Yes. Soc. Then virtue is profitable? Men. That is the only inference.

Indirect Dialogue in Tim O'Brien's The Things They Carried

This passage from O'Brien's The Things They Carried exemplifies the use of indirect dialogue to summarize a conversation. Here, the third-person narrator tells how Kiowa recounts the death of a soldier named Ted Lavender. Notice how the summary of the dialogue is interwoven with the rest of the narrative.

They marched until dusk, then dug their holes, and that night Kiowa kept explaining how you had to be there, how fast it was, how the poor guy just dropped like so much concrete. Boom-down, he said. Like cement.

O'Brien takes liberties in his use of quotation marks and dialogue tags, making it difficult at times to distinguish between the voices of different speakers and the voice of the narrator. In the following passage, for instance, it's unclear who is the speaker of the final sentence:

The cheekbone was gone. Oh shit, Rat Kiley said, the guy's dead. The guy's dead, he kept saying, which seemed profound—the guy's dead. I mean really.

Why Do Writers Use Dialogue in Literature?

Most writers use dialogue simply because there is more than one character in their story, and dialogue is a major part of how the plot progresses and characters interact. But in addition to the fact that dialogue is virtually a necessary component of fiction, theater, and film, writers use dialogue in their work because:

• It aids in characterization , helping to flesh out the various characters and make them feel lifelike and individual.
• It is a useful tool of exposition , since it can help convey key information abut the world of the story and its characters.
• It moves the plot along. Whether it takes the form of an argument, an admission of love, or the delivery of an important piece of news, the information conveyed through dialogue is often essential not only to readers' understanding of what's going on, but to generating the action that furthers the story's plot line.

Other Helpful Dialogue Resources

• The Wikipedia Page on Dialogue: A bare-bones explanation of dialogue in writing, with one or two examples.
• The Dictionary Definition of Dialogue: A basic definition, with a bit on the etymology of the word (it comes from the Greek meaning "through discourse."
• Cinefix's video with their take on the 14 best dialogues of all time : A smart overview of what dialogue can accomplish in film.

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People usually have a doubt what is dialogue? Dialogue is an artful expression in the literature that brings characters to life through spoken words. It serves as a medium of communication, unveiling their deepest thoughts, emotions, and motivations. With its power to advance the plot, establish relationships, and create tension, dialogue adds a dimension of reality to the narrative. 

Dialogue can be written in several styles, including direct speech, indirect speech, or free indirect speech, and can be a mixture of them. It also varies in the form of the speech given by the characters, such as monologue, soliloquy, dialect, interior dialogue, and subtextual dialogue.

There are several types of dialogues that can be used in creative writing. Here are some examples:

• Direct dialogue : This is the most common type of dialogue, in which characters speak directly to each other, usually using quotation marks. For example: “I can’t believe you did that,” she said.
• Indirect dialogue : In this type of dialogue, the writer summarizes what was said instead of using direct quotes. For example: She told him that she couldn’t believe he did that.
• Interior dialogue : This is also known as internal monologue, where a character’s thoughts are revealed to the reader. For example: “I can’t believe I did that,” she thought.
• Monologue : In a monologue, one character speaks at length, usually to an audience within the story or to themselves. For example: “To be or not to be, that is the question,” said Hamlet.
• Soliloquy : Similar to a monologue, a soliloquy is a speech given by a character alone on stage, revealing their innermost thoughts and feelings. For example: “Oh Romeo, Romeo, wherefore art thou Romeo?” said Juliet.
• Dialect : This is a type of dialogue in which characters speak in a particular regional or cultural accent or dialect. For example: “Y’all come back now, ya hear?” said the Southern farmer.
• Subtextual dialogue : This type of dialogue implies meaning beneath the surface and often has a hidden agenda. For example: “I’m sure you didn’t mean to hurt my feelings,” she said, with a sharp edge to her voice.

Writing effective dialogue is crucial to creating engaging and memorable characters and stories. Here are some tips for writing effective dialogue:

• Make it sound natural : Dialogue should sound like a real conversation, with pauses, interruptions, and changes in tone and tempo. Use contractions, sentence fragments, and filler words to make it sound natural.
• Show, don’t tell : Use dialogue to show the reader what is happening and how the characters are feeling instead of telling them. For example, instead of saying “he was angry,” show the character’s anger through their words and actions.
• Use subtext : Effective dialogue often has a deeper meaning beneath the surface. Use subtext to create tension and conflict between characters and to reveal their true motivations and emotions.
• Avoid exposition : Dialogue should not be used as a way to provide backstory or exposition. Instead, find other ways to reveal important information to the reader.
• Use tags sparingly : Dialogue tags like “he said” or “she replied” can become repetitive and distracting. Use them sparingly and opt for actions or gestures to indicate who is speaking.
• Vary sentence length and structure : Mix up the length and structure of your dialogue to keep it interesting and avoid monotony.
• Read it out loud : Reading your dialogue out loud can help you identify areas that sound awkward or unnatural and make necessary revisions.

By following these tips, you can write dialogue that is engaging, and realistic, and advances the plot and characterization of your story. Here are a few examples of well-written dialogues:

"Here's looking at you, kid." - Casablanca (1942)

This iconic line, spoken by Humphrey Bogart’s character Rick Blaine to Ingrid Bergman’s character Ilsa Lund in the classic film Casablanca, is an example of how dialogue can convey emotion and meaning through simple, memorable phrases. The line has become a cultural touchstone, representing the romantic tension between the two characters and the bittersweet nostalgia of the film’s wartime setting.

"You can't handle the truth!" - A Few Good Men (1992)

This famous line, spoken by Jack Nicholson’s character Colonel Nathan Jessup in the courtroom drama A Few Good Men, is an example of how dialogue can create tension and conflict. The line represents the character’s stubborn refusal to admit wrongdoing, and the confrontation that follows becomes a pivotal moment in the film’s plot.

"I'm gonna make him an offer he can't refuse." - The Godfather (1972)

This line, spoken by Renee Zellweger’s character Dorothy Boyd to Tom Cruise’s character Jerry Maguire in the romantic comedy-drama Jerry Maguire, is an example of how dialogue can create emotional connection and vulnerability. The line represents the character’s openness and willingness to take a chance on love, and it becomes a turning point in the film’s central relationship.

"You had me at hello." - Jerry Maguire (1996)

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In conclusion, these examples show how effective dialogue can contribute to a film or story’s themes, tone, and characterization. They demonstrate the importance of using dialogue to convey emotion, meaning, and conflict, and how memorable phrases can become cultural touchstones.

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Definition of Dialogue

Plato initially used the term “dialogue” to describe Socratic dialectic works. These works feature dialogues with Socrates, and they were intended to communicate philosophical ideas. As a current literary device, dialogue refers to spoken lines by characters in a story that serve many functions such as adding context to a narrative , establishing voice and tone , or setting forth conflict .

Writers utilize dialogue as a means to demonstrate communication between two characters. Most dialogue is spoken aloud in a narrative, though there are exceptions in terms of inner dialogue. Writers denote dialogue by the use of quotation marks (indicating spoken words) and dialogue tags (words such as “said” or “asked” indicating which character in the narrative is speaking). For example, Charles Dickens utilizes dialogue, quotation marks, and dialogue tags effectively in his work Great Expectations :

“Oh! Don’t cut my throat, sir,” I pleaded in terror. “Pray don’t do it, sir.” “Tell us your name!” said the man. “Quick!” “Pip, sir.” “Once more,” said the man, staring at me. “Give it mouth!”

The reader is able to understand which words are spoken and by which characters. This passage demonstrates the way dialogue is used to convey the thoughts and actions of characters in addition to creating dramatic conflict that moves the plot along.

Examples of Why Writers Use Dialogue

Dialogue, when used effectively in a literary work, is an important literary device. Dialogue allows writers to pause in their third-person description of a story’s action, characters, setting, etc., which can often feel detached to the reader if prolonged. Instead, when characters are “speaking” in first-person in a narrative, the story can become more dynamic.

Here are some examples of why writers use dialogue in literary works:

• reveal conflict in a story
• move story forward
• present different points of view
• provide exposition , background, or contextual information
• efficient means of conveying aspects and traits of characters
• convey subtext (inner feelings and intentions of a character beyond their surface words of communication)
• establish deeper meaning and understanding of a story for the reader
• set character’s voice, point of view , and patterns of expression
• allow characters to engage in conflict
• create authenticity for reader

Famous Lines of Dialogue from Well-Known Movies

Well-known movies often feature memorable lines of dialogue that allow the audience to connect with characters and have a greater understanding of the plot as well as enjoyment of the film. Here are some famous lines of dialogue from well-known movies:

• Casablanca:   “But what about us?” “We’ll always have Paris.”
• The Wizard of Oz: “Lions? And Tigers? And Bears?” “Oh my!”
• Star Wars (A New Hope): “He’s almost in range.” “That’s no moon; it’s a space station.”
• Love Story: “Jenny, I’m sorry.” “Don’t. Love means never having to say you’re sorry.”
• No Country for Old Men:   “Look, I need to know what I stand to win.” “Everything.”
• Forrest Gump: “I thought I’d try out my sea legs.” “But you ain’t got no legs, Lieutenant Dan.”
• Toy Story: “Buzz, you’re flying!” “This isn’t flying; this is falling with style .”

Writing Effective Dialogue

Writers often find it difficult to utilize dialogue as a literary device. This is understandable considering that most of the daily dialogue exchanged between people in reality is often insignificant. In addition to being meaningful, it’s also difficult to write dialogue that “sounds” authentic to a reader. This poses a danger of taking a reader’s attention away from the story due to distracting dialogue.

However, writers shouldn’t avoid dialogue. This literary device, when written well, accomplishes many things for the narrative overall. Dialogue that sounds natural, authentic, and lifelike will advance the plot of a story, establish characters, and provide exposition. Therefore, writers should understand their purpose in using this literary device effectively as a means of creating a compelling story and entertaining experience for the reader.

Examples of Dialogue in Literature

As a literary device, dialogue can be utilized in almost any form of literature. This allows readers to better understand characters, plot, and even the theme of a literary work. Here are some examples of dialogue in well-known literature:

Example 1:  Up-Hill  (Christina Rossetti)

Does the road wind up-hill all the way?    Yes, to the very end. Will the day’s journey take the whole long day?    From morn to night , my friend . But is there for the night a resting-place?    A roof for when the slow dark hours begin. May not the darkness hide it from my face?    You cannot miss that inn. Shall I meet other wayfarers at night?    Those who have gone before. Then must I knock, or call when just in sight?    They will not keep you standing at that door. Shall I find comfort, travel-sore and weak?    Of labour you shall find the sum. Will there be beds for me and all who seek?    Yea, beds for all who come.

It can be rare in poetry to find dialogue as a literary device due to a poem ’s typical nature of not featuring characters. However, in Rossetti’s literary work, the structure of the poem is in dialogue form. The poet asks questions of an unknown speaker and receives answers in return. This dialogue structure is effective in the poem in that the poet’s questions can be understood in a literal as well as symbolic manner. The poet is, on the literal surface, asking about the direction of the road, how long the journey will take, and what they may find once they reach the top of the hill. The unknown speaker replies with logical answers to these questions at a literal level.

However, Rossetti’s poem can also be interpreted as symbolic dialogue. The poet’s questions can be understood as those that humans would ask about the path of life and expectations in death and the afterlife. In this way, the dialogue, or conversation, is between the poet who represents human curiosity and an unknown speaker with the authority to reassure and confirm “answers” to these symbolic questions. Readers are left to wonder if the symbolic dialogue in the poem is between the poet and perhaps God.

Example 2:  The Importance of Being Earnest (Oscar Wilde)

ALGERNON. I’m afraid I’m not that. That is why I want you to reform me. You might make that your mission, if you don’t mind, cousin Cecily. CECILY. I’m afraid I’ve no time, this afternoon. ALGERNON. Well, would you mind my reforming myself this afternoon? CECILY. It is rather Quixotic of you. But I think you should try. ALGERNON. I will. I feel better already. CECILY. You are looking a little worse. ALGERNON. That is because I am hungry. CECILY. How thoughtless of me. I should have remembered that when one is going to lead an entirely new life, one requires regular and wholesome meals. Won’t you come in ?

Since plays are dramatic literary works to be performed, they often rely almost exclusively on dialogue between characters as a means of presenting the narrative. When plays are performed on stage, the audience can see and hear which character is speaking in addition to their physical attitude , vocal tone, inflection, etc. When reading a dramatic work such as Wilde’s famous play , the reader understands who is speaking as a result of the character’s name associated with specific lines of dialogue.

Wilde was known for using dialogue as a literary device to create witty conversations between his characters for the audience’s entertainment. However, Wilde’s word play and unexpected exchanges between characters often didn’t serve to create much dramatic action in terms of plot in his literary works. Instead, Wilde’s use of dialogue and patterns of expression convey the voice and traits of his characters in addition to setting forth some dramatic conflict in the narrative.

Example 3:  Hills Like White Elephants  (Ernest Hemingway)

“And you think then we’ll be all right and be happy.” “I know we will. You don’t have to be afraid. I’ve known lots of people that have done it.” “So have I,” said the girl. “And afterward they were all so happy.” “Well,” the man said, “if you don’t want to you don’t have to. I wouldn’t have you do it if you didn’t want to. But I know it’s perfectly simple.” “And you really want to?” ” I think it’s the best thing to do. But I don’t want you to do it if you don’t really want to.” “And if I do it you’ll be happy and things will be like they were and you’ll love me?” “ I love you now . You know I love you.”

In this short story , Hemingway utilizes dialogue as a literary device to allow his characters to “talk” about a subject , though the actual subject itself is not directly named or expressed by either the man or the girl. This poses a challenge to readers in terms of determining what the couple is actually discussing. This is an effective strategy considering the couple is discussing whether the girl should terminate her pregnancy–a subject that would have been taboo to mention outright. Instead, Hemingway constructs dialogue such that the reader must interpret the difference between what the two characters are saying and what they truly mean.

Therefore, to understand the story, readers must pay close attention not to what is being said but who is speaking and the manner in which they speak. The dialogue becomes much more about the nature of the characters than the words they are speaking. This allows the reader to notice subtleties such as the plaintive tone of the girl, her ambiguous feelings, and her need for reassurance. In turn, the reader is able to notice the pressuring and insistent tone of the man. Hemingway’s use of dialogue, in a sense, offers a story in which the words “tell” less about the narrative than the attitudes of the characters do.

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How to Write Dialogue: Rules, Examples, and 8 Tips for Engaging Dialogue

by Fija Callaghan

You’ll often hear fiction writers talking about “character-driven stories”—stories where the strengths, weaknesses, and aspirations of the central cast of characters stay with us long after the book is closed. But what drives character, and how do we create characters that leave long-lasting impressions?

The answer lies in dialogue : the device used by our characters to communicate with each other. Powerful dialogue can elevate a story and subtly reveal important information, but poorly written dialogue can send your work straight to the slush bin. Let’s look at what dialogue is in writing, how to properly format dialogue, and how to make your characters’ dialogue the best it can be.

What is dialogue in a story?

Dialogue is the verbal exchange between two or more characters. In most fiction, the exchange is in the form of a spoken conversation. However, conversations in a story can also be things like letters, text messages, telepathy, or even sign language. Any moment where two characters speak or connect with each other through their choice of words, they’re engaging in dialogue.

Why does dialogue matter in a story?

We use dialogue in a story to reveal new information about the plot, characters, and story world. Great dialogue is essential to character development and helps move the plot forward in a story.

Writing good dialogue is a great way to sneak exposition into your story without stating it overtly to the reader; you can also use tools like dialect and diction in your dialogue to communicate more detail about your characters.

Through a character’s dialogue, we can learn about their motivations, relationships, and understanding of the world around them.

A character won’t always say what they mean (more on dialogue subtext below), but everything they say will serve some larger purpose in the story. If your dialogue is well-written, the reader will absorb this information without even realizing it. If your dialogue is clunky, however, it will stand out and pull your reader away from your story.

Rules for writing dialogue

Before we get into how to make your dialogue realistic and engaging, let’s make sure you’ve got the basics down: how to properly format dialogue in a story. We’ll look at how to punctuate dialogue, how to write dialogue correctly when using a question mark or exclamation point, and some helpful dialogue writing examples.

Here are the need-to-know rules for formatting dialogue in writing.

Enclose lines of dialogue in double quotation marks

This is the most essential rule in basic dialogue punctuation. When you write dialogue in North American English, a spoken line will have a set of double quotation marks around it. Here’s a simple dialogue example:

“Were you at the party last night?”

Any punctuation such as periods, question marks, and exclamation marks will also go inside the quotation marks. The quotation marks give a visual clue to the reader that this line is spoken out loud.

In European or British English, however, you’ll often see single quotation marks being used instead of double quotation marks. All the other rules stay the same.

Enclose nested dialogue in single quotation marks

Nested dialogue is when one line of dialogue happens inside another line of dialogue—when someone is verbally quoting someone else. In North American English, you’d use single quotation marks to identify where the new dialogue line starts and stops, like this:

“And then, do you know what he said to me? Right to my face, he said, ‘I stayed home all night.’ As if I didn’t even see him.”

The double and single quotation marks give the reader clues as to who’s speaking. In European or British English, the quotation marks would be reversed; you’d use single quotation marks on the outside, and double quotation marks on the inside.

Every speaker gets a new paragraph

Every time you switch to a new speaker, you end the line where it is and start a new line. Here are some dialogue examples to show you how it looks:

“Were you at the party last night?” “No, I stayed home all night.”

The same is true if the new “speaker” is only in focus because of their action. You can think of the paragraphs like camera angles, each one focusing on a different person:

“Were you at the party last night?” “No, I stayed home all night.” She raised a single, threatening eyebrow. “Yeah, I wasn’t feeling that well, so I just stayed in and watched Netflix instead.”

If you kept the action on the same line as the dialogue, it would get confusing and make it look like she was the one saying it. Giving each character a new paragraph keeps the speakers clear and distinct.

Use em-dashes when dialogue gets cut short

If your character begins to speak but is interrupted, you’ll break off their line of dialogue with an em-dash, like this:

“Yeah, I wasn’t feeling that well, so I just stayed in and—” “Is that really what happened?”

Be careful with this one, because many word processors will treat your em-dash like the beginning of a new sentence and attach your closing quotation marks backwards:

“Yeah, I wasn’t feeling that well, so I just stayed in and—“

You may need to keep an eye out and adjust as you go along.

In this dialogue example, the new speaker doesn’t lead with an em-dash; they just start speaking like normal. The only time you’ll ever open a line of dialogue with an em-dash is if the speaker who’s been cut off continues with what they were saying:

“Yeah, I wasn’t feeling that well, so I just stayed in and—” “Is that really what happened?” “—watched Netflix instead. Yes, that’s what happened.”

This shows the reader that there’s actually only one line of dialogue, but it’s been cut in the middle by another speaker.

Each line of dialogue is indented

Every time you give your speaker a new paragraph, it’s indented from the left-hand side. Many word processors will do this automatically. The only exception is if your dialogue is opening your story or a new section of your story, such as a chapter; these will always start at the far left margin of the page, whether they’re dialogue or narration.

Long speeches don’t use use closing quotation marks until the end

Most writers favor shorter lines of dialogue in their writing, but sometimes you might need to give your character a longer one—for instance, if the character speaking is giving a speech or telling a story. In these cases, you might choose to break up their speech into shorter paragraphs the way you would if you were writing regular narrative.

However, here the punctuation gets a bit weird. You’ll begin the character’s dialogue with a double quotation mark, like normal. But you won’t use a double quotation mark at the end of the paragraph, because they haven’t finished speaking yet. But! You’ll use another opening quotation mark at the beginning of the subsequent paragraph. This means that you may use several opening double quotation marks for your character’s speech, but only ever one closing quotation mark.

If your character is telling a story that involves people talking, remember to use single quotation marks for your dialogue-within-dialogue as we looked at above.

Sometimes these dialogue formatting rules are easier to catch later on, during the editing process. When you’re writing, worry less about using the exact dialogue punctuation and more about writing great dialogue that supports your character development and moves the story forward.

How to use dialogue tags

Dialogue tags help identify the speaker. They’re especially important if you have a group of people all talking together, and it can get pretty confusing for the reader trying to keep everybody straight. If you’re using a speech tag after your line of dialogue—he said, she said, and so forth—you’ll end your sentence with a comma, like this:

“No, I stayed home all night,” he said.

But if you’re using an action to identify the person speaking instead, you’ll punctuate the sentence like normal and start a new sentence to describe the action taking place:

“No, I stayed home all night.” He looked down at his feet.

The dialogue tags and action tags always follow in the same paragraph. When you move your story lens to a new person, you’ll switch to a new paragraph. Each line where a new person speaks propels the story forward.

When to use capitals in dialogue tags

You may have noticed in the two examples above that one dialogue tag begins with a lowercase letter, and one—which is technically called an action tag—begins with a capital letter. Confusing? The rules are simple once you get a little practice.

When you use a dialogue tag like “he said,” “she said,” “he whispered,” or “she shouted,” you’re using these as modifiers to your sentence—dressing it up with a little clarity. They’re an extension of the sentence the person was speaking. That’s why you separate them with a comma and keep going.

With an action tag , you’re ending one sentence and beginning a whole new one. Each sentence represents two distinct moments in the story. That’s why you end the first sentence with a period, and then open the next one with a capital letter.

If you’re not sure, try reading them out loud:

“No, I stayed home all night,” he said. “No, I stayed home all night.” He looked down at his feet.

Since you can’t hear quotation marks out loud, the way you say them will show you if they’re one sentence or two. In the first example, you can hear how the sentence keeps going after the dialogue ends. In the second example, you can hear how one sentence comes to a full stop and another one begins.

But what if your dialogue tag comes before the dialogue, instead of after? In this case, the dialogue is always capitalized because the speaker is beginning a new sentence:

He said, “No, I stayed home all night.” He looked down at his feet. “No, I stayed home all night.”

You’ll still use a comma after the dialogue tag and a period after the action tag, just like if you’d separate them if you were putting your tag at the end.

If you’re not sure, ask yourself if your leading tag sounds like a full sentence or a partial sentence. If it sounds like a partial sentence, it gets a comma. If it reads like a full sentence that stands on its own, it gets a period.

External vs. internal dialogue

All of the dialogue we’ve looked at so far is external dialogue, which is directed from one character to another. The other type of dialogue is internal dialogue, or inner dialogue, where a character is talking to themselves. You’ll use this when you want to show what a character is thinking, but other characters can’t hear.

Usually, internal dialogue will be written in italics to distinguish it from the rest of the text. That shows the reader that the line is happening inside the character’s head. For example:

It’s not a big deal, she thought. It’s just a new school. It’ll be fine. I’ll be fine.

Here you can see that the dialogue tag is used in the same way, just as if it was a line of external dialogue. However, “she thought” is written in regular text because it’s not a part of what the character is thinking. This helps keep everything clear for the reader.

In your story, you can play with using contrasting internal and external dialogue to show that what your characters say isn’t always what they mean. You may also choose to use this internal dialogue formatting if you’re writing dialogue between two or more characters that isn’t spoken out loud—for instance, telepathically or by sign language.

8 tips for creating engaging dialogue in a story

Now that you’ve mastered the mechanics of how to write dialogue, let’s look at how to create convincing, compelling dialogue that will elevate your story.

1. Listen to people talk

To write convincingly about people, you’ll first need to know something about them. The work of great writers is often characterized by their insight into humanity; you read them and think, “Yes, this is exactly what people are like.” You can begin accumulating your own insight by listening to what real people say to each other.

You can go to any public place where people are likely to gather and converse: cafés, art galleries, political events, dimly lit pubs, bookshops. Record snippets of conversation, pay attention to how people’s voices change as they move from speaking to one person to another, try to imagine what it is they’re not saying, the words simmering just under the surface.

By listening to stories unfold in real time, you’ll have a better idea of how to recreate them in your writing—and inspiration for some new stories, too.

2. Give each spoken line a purpose

Here is something that actors have drilled into their heads from their first day at drama school, and writers would do well to remember it too: every single line of dialogue has a hidden motivation. Every time your character speaks, they’re trying to achieve something, either overtly or covertly.

Small talk is rare in fiction, because it doesn’t advance the plot or reveal something about your characters. The exception is when your characters are using their small talk for a specific purpose, such as to put off talking about the real issue, to disarm someone, or to pretend they belong somewhere they don’t.

When writing your own dialogue, ask yourself what the line accomplishes in the story. If you come up blank, it probably doesn’t need to be there. Words need to earn their place on the page.

3. Embrace subtext

In real life, we rarely say exactly what we really mean. The reality of polite society is that we’ve evolved to speak in circles around our true intentions, afraid of the consequences of speaking our mind. Your characters will be no different. If your protagonist is trying to tell their best friend they’re in love with them, for instance, they’ll come up with about fifty different ways to say it before speaking the deceptively simple words themselves.

To write better dialogue, try exploring different ways of moving your characters around what’s really being said, layering text and subtext side by side. The reader will love picking apart the conversation between your characters and deducing what’s really happening underneath (incidentally, this is also the place where fan fiction is born).

4. Keep names to a minimum

You may notice that on television, in moments of great upheaval, the characters will communicate exactly how important the moment is by saying each other’s names in dramatic bursts of anger/passion/fear/heartbreak/shock. In real life, we say each other’s names very rarely; saying someone’s name out loud can actually be a surprisingly intimate experience.

Names may be a necessary evil right at the beginning of your story so your reader knows who’s who, but after you’ve established your cast, try to include names in dialogue only when it makes sense to do so. If you’re not sure, try reading the dialogue out loud to see if it sounds like something someone would actually say (we’ll talk more about reading out loud below).

5. Prune unnecessary words

This is one area where reality and story differ. In life, dialogue is full of filler words: “Um, uh, well, so yeah, then I was like, erm, huh?” You may have noticed this when you practiced listening to dialogue, above. We won’t say there’s never a place for these words in fiction, but like all words in storytelling, they need to earn their place. You might find filler words an effective tool for showing something about one particular character, or about one particular moment, but you’ll generally find that you use them a lot less than people really do in everyday speech.

When you’re reviewing your characters’ dialogue, remember the hint above: each line needs a purpose. It’s the same for each word. Keep only the ones that contribute something to the story.

6. Vary word choices and rhythms

The greatest dialogue examples in writing use distinctive character voices; each character sounds a little bit different, because they have their own personality.

This can be tricky to master, but an easy way to get started is to look at the word choice and rhythm for each character. You might have one character use longer words and run-on sentences, while another uses smaller words and simple, single-clause sentences. You might have one lean on colloquial regional dialect, where another sounds more cosmopolitan. Play around with different ways to develop characters and give each one their own voice.

7. Be consistent for each character

When you do find a solid, believable voice for your character, make sure that it stays consistent throughout your entire story. It’s easy to set a story aside for a while, then return to it and forget some of the work you did in distinguishing your characters’ dialogue. You might find it helpful to write down some notes about the way each character speaks so you can refer back to it later.

The exception, of course, is if your character’s speech pattern goes through a transformation over the course of the story, like Audrey Hepburn in My Fair Lady . In this case, you can use your character’s distinctive voice to communicate a major change. But as with all things in writing, make sure that it comes from intention and not from forgetfulness.

8. Read your dialogue out loud

After you’ve written a scene between two or more characters, you can take the dialogue for a trial run by speaking it out loud. Ask yourself, does the dialogue sound realistic? Are there any moments where it drags or feels forced? Does the voice feel natural for each character? You’ll often find there are snags you miss in your writing that only become apparent when read out loud. Bonus: this is great practice for when you become rich and famous and do live readings at bookshops.

3 mistakes to avoid when writing dialogue

Easy, right? But there are also a few pitfalls that new writers often encounter when writing dialogue that can drag down an otherwise compelling story. Here are the things to watch out for when crafting your story dialogue.

1. Too much exposition

Exposition is one of the more demanding literary devices , and one of the ones most likely to trip up new writers. Dialogue is a good place to sneak in some information about your story—but subtlety is essential. This is one place where the adage “show, don’t tell” really shines.

Consider these dialogue examples:

“How is she, Doctor?” “Well Mr. Stuffington, I don’t have to remind you that your daughter, the sole heiress to your estate and currently engaged to the Baron of Flippingshire, has suffered a grievous injury when she fell from her horse last Sunday. We don’t need to discuss right now whether or not you think her jealous maid was responsible; what matters is your daughter’s well being. As to your question, I’m afraid it’s very unlikely that she’ll ever walk again.” Can’t you just feel your arm aching to throw the poor book across the room? There’s a lot of important information here, but you can find subtler ways to work it into your story. Let’s try again: “How is she, Doctor?” “Well Mr. Stuffington, your daughter took quite a blow from that horse—worse than we initially thought. I’m afraid it’s very unlikely that she’ll ever walk again.” “And what am I supposed to say to Flippingshire?” “The Baron? I suppose you’ll have to tell him that his future wife has lost the use of her legs.”

And so forth. To create good dialogue exposition, look for little ways to work in the details of your story, instead of piling it up in one great clump.

2. Too much small talk

We looked at how each line of dialogue needs a specific purpose above. Very often small talk in a story happens because the writer doesn’t know what the scene is about. Small talk doesn’t move the scene along unless it’s there for a reason. If you’re not sure, ask yourself what each character wants in this moment.

For example, imagine you’re in an office, and two characters are talking by the water cooler. How was your weekend, what did you think of the game, how’s your wife doing, are those new shoes, etc etc. Can’t you just feel the reader’s will to live slipping away?

But what about this: your characters are talking by the water cooler—Character A and Character B. Character A knows that his friend is inside Character B’s office looking for evidence of corporate espionage, so A is doing everything he can to stop B from going in. How was your weekend, what did you think of the game, how’s your wife doing, are those new shoes, literally anything just to keep him talking. Suddenly these benign little phrases have a purpose.

If you find your characters slipping into small talk, double check that it’s there for a purpose, and not just a crutch to keep you from moving forward in your scene. When writing dialogue, Make each line of dialogue earn its place.

3. Too much repetition

Variation is the spice of a good story. To keep your readers engaged, avoid using the same sentence structure and the same dialogue tags over and over again. Using “he said” and “she said” is effective and clear cut, but only for about three beats. After that, try switching to an action tag instead or letting the line of dialogue stand on its own.

You can also experiment with varying the length of your sentences or groupings of sentences. By changing up the rhythm of your story regularly, you’ll keep it feeling fresh and present for the reader.

Effective dialogue examples from literature

With all of these tips and tricks in mind, let’s look at how other writers have used good dialogue to elevate their stories.

Eleanor Oliphant is Completely Fine , by Gail Honeyman

“I’m going to pick up a carryout and head round to my mate Andy’s. A few of us usually hang out there on Saturday nights, fire up the playstation, have a smoke and a few beers.” “Sounds utterly delightful,” I said. “What about you?” he asked. I was going home, of course, to watch a television program or read a book. What else would I be doing? “I shall return to my flat,” I said. “I think there might be a documentary about komodo dragons on BBC4 later this evening.”

In this dialogue example, the author gives her characters two very distinctive voices. From just a few words we can begin to see these people very clearly in our minds—and with this distinction comes the tension that drives the story. Dialogue is an excellent place to show your character dynamics using speech patterns and word choices.

Pride and Prejudice , by Jane Austen

“My dear Mr. Bennet,” said his lady to him one day, “have you heard that Netherfield Park is let at last?” Mr. Bennet replied that he had not. “But it is,” returned she; “for Mrs. Long has just been here, and she told me all about it.” Mr. Bennet made no answer. “Do you not want to know who has taken it?” cried his wife impatiently. “You want to tell me, and I have no objection to hearing it.” This was invitation enough. “Why, my dear, you must know, Mrs. Long says that Netherfield is taken by a young man of large fortune from the north of England; that he came down on Monday in a chaise and four to see the place, and was so much delighted with it, that he agreed with Mr. Morris immediately; that he is to take possession before Michaelmas, and some of his servants are to be in the house by the end of next week.”

In this famous dialogue example, the author illustrates the relationship between these two characters clearly and succinctly. Their dialogue shows Mr. B’s stalwart, tolerant love for his wife and Mrs. B’s excitement and propensity for gossip. The author shows us everything we need to know about these people in just a few lines.

Dinner in Donnybrook , by Maeve Binchy

“Look, I thought you ought to know, we’ve had a very odd letter from Carmel.” “A what… from Carmel?” “A letter. Yes, I know it’s sort of out of character, I thought maybe something might be wrong and you’d need to know…” “Yes, well, what did she say, what’s the matter with her?” “Nothing, that’s the problem, she’s inviting us to dinner.” “To dinner?” “Yes, it’s sort of funny, isn’t it? As if she wasn’t well or something. I thought you should know in case she got in touch with you.” “Did you really drag me all the way down here, third years are at the top of the house you know, I thought the house had burned down! God, wait till I come home to you. I’ll murder you.” “The dinner’s in a month’s time, and she says she’s invited Ruth O’Donnell.” “Oh, Jesus Christ.”

This dialogue example is a telephone conversation between two people. The lack of dialogue tags or action tags allows the words to come to the forefront and immerses us in their back-and-forth conversation. Even though there are no tags to indicate the speakers, the language is simple and straightforward enough that the reader always knows who’s talking. Through this conversation the author slowly builds the tension from the benign to the catastrophic within a domestic setting.

Compelling dialogue is the key to a good story

A writer has a lot riding on their characters’ dialogue, and learning how to write dialogue is a critical skill for any writer. When done well, it can leaves a lasting impact on the reader. But when dialogue is clumsy and awkward, it can drag your story down and make your reader feel like they’re wasting their time.

But if you keep these tips in mind, listen to dialogue in your everyday life, and practice , you’ll be sure to create realistic dialogue that brings your story to life.

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A Complete Guide To Writing Dialogue

One of the writer’s most effective tools is dialogue. A story with little or no conversation between characters can sometimes make the eyelids flicker. Too much may leave the reader breathless. Writing dialogue is tough and a skill that takes time to master. 

However, there are plenty of useful tips, tools and methods to help you learn how to write dialogue in a story and how to format it too.

And for your benefit, you can find them all in this comprehensive guide.

Below, you can find the definition of dialogue, tags and formatting guidelines and a discussion on the different ways characters speak and converse.

And you can also find plenty of illuminating dialogue examples to help you gain a clear understanding of the mechanics and how you can apply it to our own writing.

You can jump through this guide by clicking below:

Choose A Chapter

What is dialogue, how to format dialogue.

• Should I Use ‘Said’ And Asked?

How To Write Dialogue Between Two Characters

How to write dialogue readers love, how to write internal dialogue, an exercise on how to write dialogue in a story, good dialogue examples from fiction, technical writing tip – how does dialogue impact the pacing of a story, how do you edit dialogue, more guides on creative writing.

Dialogue is defined as a conversation between two or more characters , particularly in the context of a book, film or play.

Specific to writing, dialogue is the conversation between characters.

A n author may use dialogue to provide the reader with new information about characters or the plot, delivered in a more natural way. They may also utilise it to speed up the pace of the story.

As we’ll see below, there seems to be one pervading guideline when it comes to writing great dialogue and that is clarity reigns supreme.

What Is Internal Dialogue?

Internal dialogue is that which happens within a character’s mind . This can sometimes be reflected in fiction with the use of italics. For example:

I hope they don’t come down here, Mycah thought.

Internal dialogue is a great way of delving deeper into a character’s mind and perspective and is a powerful weapon when it comes to characterization. We explore it in more detail below.

Writers have different stylistic preferences when it comes to dialogue. Below, we’ll take a look at some of the best practices and common literary conventions, such as the use of a dialogue tag and quotation marks. 

Using Quotation Marks

If sticking to the principle of clarity reigns supreme, then for me, using double quotation marks is the most effective way of communicating dialogue.

They’re universally recognised as a means of conveying dialogue, and they stand out more on the page in contrast to single quotation marks. There are more reasons for using them, however, and that involves a criqute of the single quotation mark.

Writing Dialogue With Single Quotation Marks

This does come down to a matter of style.

The best format I’ve found, and by best I mean the approach readers find clearest, is to use speech marks (“) as opposed to a single apostrophe (‘).

If, for instance, a character is speaking and quotes someone else, single quotation marks can be used within the speech marks, therefore avoiding any confusion, for example:

  “I can’t believe she called me ‘an ungrateful cow.’ She’s got some nerve.”

Format Dialogue On A Single Line

Another helpful approach to help maintain clarity is to begin a piece of dialogue on a new line whenever a new character speaks. For instance:

“Who was at the door?” Nick asked. “A couple of Mormons,” Sarah said.

Adding Dialogue Tags

Dialogue tags are simply a piece of prose that follows a piece of speech that identifies who spoke. You can see it in the example above featuring Nick and Sarah.

You can use a dialogue tag in lots of useful ways. For example body language.

If a character reacts to something another character says or does, to maintain clarity, pop the reaction on a new line, followed by dialogue. So for example:

“We’re all sold out,” Dan said. Jim sighed. “Have you not got any in the back?”

Do You Always Need To Use Dialogue Tags?

Something I’ve noticed some of my favourite writers doing—James Barclay and George R.R. Martin, in particular—is, when possible, avoid using an attribution altogether. Less is more, as they say. If just a couple of people are talking, it may already be clear from the voices and language of the characters who exactly is speaking.

Again, to aid clarity, if there are a number of people involved in a conversation, it helps to use an attribution whenever a different character speaks. Nobody wants to waste time re-reading passages to check who’s speaking. I don’t enjoy it and I’m sure others don’t either.

Repetitive use of attribution may grate on a reader. It can suggest a lack of trust in them to follow the story. It helps when editing to look for moments where it’s unclear who’s speaking and if necessary add an attribution.

A brief point on the styles of attribution. If you read a lot, you may notice some writers prefer the order “John said,” and some prefer “said John”. Sanderson is of the view that the character’s name should come first because that’s the most important bit of information to the reader. But the likes of Tolkien adopted the latter version. It’s all personal preference. Why not mix and match?

Should I Use “Said” And “Asked”?

When it comes to the questions I often see asked on how to write dialogue, this is perhaps the most common.

An attribution, also known as an identifier or tag, is the part of the sentence that follows a piece of dialogue. For example: “John said.” In his creative writing lectures, Brandon Sanderson shares a few useful tips.

• Try to place the attribution as early as possible to help make it clear in the reader’s mind who is speaking. This can be done mid-sentence, such as: “I don’t fancy that,” Milo said. “What else do you have?” Breaking away like this works well if a character is going to be speaking for a few lines or paragraphs. You can also use an attribution before the dialogue, though there’s something about this that I find jarring. Used sparingly it works well, but too often just seems annoying and archaic. It’s all personal preference though.
• Try using beats, but not too many. What’s a beat? A beat is a reaction to something said or done. So for example facial expressions like frowning, smiling, narrowing of the eyes, biting of the lip, and hand gestures such as pointing, clenching fists, and fidgeting. And then you’ve got physical movements, like pacing up and down, smashing a glass, punching a wall.
• Don’t worry about using ‘said’ and ‘asked’. To the reader, these words are almost invisible. What they care about is who exactly is speaking.
• When a character first speaks refer to them by name, but after that, it’s fine to refer to them as he or she, provided they’re still the one speaking. It’s even desirable to use the pronoun; repeating a name over and over can irritate a reader.

Remember the overarching principle for when it comes to writing dialogue: clarity reigns supreme. Using ‘said’ and ‘asked’ is often the clearest way of getting your point across.

What To Use Instead Of Said In Dialogue

Remember, there’s no problem with using the word ‘said’ after a piece of dialogue. But if you find when reading your piece aloud that the repeated use jars, especially in a dialogue-rich scene, you may want to mix things up.

Using words other than ‘said’ can help to characterize too—everybody reacts differently to things and those reactions reveal a lot about a person.

So, here’s a list of twenty words that you can use instead of ‘said’ when writing dialogue:

• Pointed out
• Interrupted

So, let’s take a look at how to write dialogue between two characters. If you’d rather have a visual explainer, check out this informative video below.

A useful distinction to make is between everyday dialogue and the dialogue we find in fiction.

The chatter we hear in real life is full of rambling, repetitive sentences, grumbles, grunts, ‘erms’ and ‘ahs’, with answers to questions filled with echoes (repeating a part of the question posed, e.g. “How are you?” asked A. “How am I?” B answered).

When we think of the dialogue we read in books, it contains little of the things we find in these everyday exchanges. According to Sol Stein, there’s a reason for this—it’s boring to read.

If it holds no relevance to the story, we don’t care if a character’s cat prefers to eat at your neighbour’s house instead of your own, or if they think their nail job isn’t worth the money they paid, or if they think the window cleaner isn’t cleaning their windows. There are some snippets we overhear on the street that are interesting—an unusual name, a section of a story we want to know more about. Rare diamonds in a mine miles deep. I’ve fallen into the trap of trying to achieve realistic dialogue and it makes for drawn-out scenes and boring exchanges.

According to Stein, dialogue ought not to be a recording of actual speech, but rather a semblance of it.

What is this semblance of dialogue why should we try and achieve it?

So, how do we write  good  dialogue?

When we scrutinise a person as they’re talking (all the boring stuff aside) we discover a lot about their character: who they are, what they believe in, and sometimes, if they reveal them, their motives. We glean all this from word choice, sentence structure, choice of topic, their behaviour as they say something.

It’s these little details we as writers must dig for, so when it comes to writing our own dialogue, we can use them to help characterise our own characters and, if possible, develop the plot. The key to mastering dialogue , according to Stein, is to factor in both characterisation and plot.

How do we do it? Let’s look at some dialogue writing examples:

Milford:                       How are you? Belle:                            How am I? I’m fine. How are you? Milford:                       Well thanks. And the family? Belle:                            Great

I had to stop myself from stabbing my eyes out with my pen. This example is mundane, riddled with echoes, and gives us no imagery about the characters involved. How about this version?

Milford:                        How are you? Belle:                            Oh, I’m sorry, didn’t see you there. Milford:                        Is this a bad time? Belle:                            No, no. Absolutely not.

See the difference? Milford asks Belle a question, which Belle doesn’t answer. This is an example of oblique dialogue . It’s indirect, evasive, and creates conflict.

It’s a great tool for when it comes to looking at how to write dialogue in a story using different approaches. Our character is not getting answers. Oblique language helps to reveal a bit about the characters and the plot, namely that Belle could be a bit shifty and up to something unsavoury.

Writing Realistic Dialogue

When it comes to knowing how to write natural dialogue, the question to ask yourself is whether or not this style is going to fit your story.

Natural dialogue suits some stories wonderfully. However, it can also work against your story, maybe confusing things for your readers or making it too difficult to read.

When it comes to writing natural dialogue, it’s important to bear in mind the principles discussed here. Give your conversations purpose, make them oblique or intriguing, and don’t give information up cheaply.

You can achieve this in a natural or more casual or informal style.

If you’re looking for more visual tips and advice on writing dialogue, check out this excellent video below:

Say It Aloud

When you’ve written a piece of dialogue, one of the best and simplest techniques to check how it works is to say it out loud.

In doing so you’ll get a sense of how natural it is or whether it jars, or even if it’s cringy or cliche—we’ve all been there.

If you don’t feel comfortable speaking it aloud, you can use a Text to Voice function, like on a website like Natural Readers which allows you to paste in text and then have it read it back to you (it’s free).

Add Slang From Your World

An effective way to write good dialogue that not only characterizes and drives the plot but adds to your world, is to use slang or world-specific references. This can be particularly useful in the fantasy and sci-fi genres .

For example, in my novel  Pariah’s Lament , I refer to the world in place of phrases that refer to our own. So instead of “What in the world was that?” I’d say something like “What in Tervia was that?”

Small Talk And Hellos And Goodbyes

As a general rule, there’s no need to include small talk, hellos and goodbyes. The reader isn’t really too bothered about these niceties. They just want to get to the action, the conflict.

You can brush over things like small talk and hellos with short descriptions in your prose writing . For instance:

Stef and John stepped into the room. A sea of smiling faces welcomed them and before they knew it, they were shaking hands and embracing. “I wasn’t expecting such a warm welcome,” Stef said. “It’s like they have no idea what we’ve done,” John replied. “Maybe they don’t.” “Or maybe they do, and it’s all a ruse.” Stef looked at him a moment, thoughtful. “You’re getting paranoid.”

See here how the hellos were glided by and we’re straight into more interesting dialogue? You can also cut back on the odd superfluous dialogue tag too if it doesn’t add to your story.

Give Your Characters Their Own Voice

A character’s voice is an important factor in dialogue. Nobody speaks in the same way. Some people have lisps, some people say their ‘r’s’ like ‘w’s’, some people don’t enunciate properly, say words differently, speak in accents, and have a nasal twang. There are so many variables.

Introducing these features to some or all of your characters can help to make them more memorable and distinct.

How To Write Dialogue For A Drunk Character

When we’re writing our stories it’s likely that some of our characters may become intoxicated with alcohol or drugs. This creates the question in a writer’s mind, how do you write dialogue for a drunk character?

We can fall into the trap of spelling out the words that they try to say, factoring in the slurs, the missed words and the mispronunciations. The problem this can create is that it can go against our overarching principle of clarity reigns supreme.

Dialogue that’s too difficult to read can cause frustration in the reader. They may get fed up and stop reading altogether—the last thing we want.

The best technique is to provide a description of how the person is talking. Describe how they slur their words, how certain letters sound in their drunken state and so on. Including body language in this will help a great deal too. You can then write dialogue in a more natural and understandable way.

The same applies to the likes of writing stuttering in dialogue. It can be very frustrating for a person to listen to a person with a stutter. To include it in your writing can cause problems too. So again one of the best solutions is to describe the stutter first and then write dialogue naturally.

Hopefully, these tips will help you with how to write dialogue for our intoxicated characters.

An Author May Use Dialogue To Provide The Reader With Information, But Don’t Info Dump

An author may use dialogue to provide the reader with useful information. However, if done incorrectly it can have a negative effect.

In his book The First Five Pages , Noah Lukeman says that one of his biggest reasons for rejecting a manuscript is the use of informative dialogue. In other words, using dialogue as a means for conveying information, or info-dumping . He says it suggests the writer is lazy, too unimaginative to convey the information in a subtler way. If you’d like to learn more about avoiding info dumps, check out my guide on natural worldbuilding .

Sometimes dialogue will give us no information at all. Sometimes snippets. Often if you overhear a conversation between two people you’ll find you understand little of what they discuss. It’s the little details they reveal that are most interesting. Take the example of someone mentioning they went to the hospital. The person they’re with may know why they went, but you don’t. Give the reader pieces of the giant puzzle and leave them wanting more.

Lukeman suggests a few solutions to mend instances of informative dialogue. One is to highlight pieces of dialogue that merely convey information and do not reveal or suggest the character’s personality or wants. Break them apart and find a way to let them trickle into the story.

Understanding how to write internal dialogue can prove a key weapon in your writing arsenal.

This style of dialogue can be employed effectively in scenes or stories focused on lone characters. It can break up the monotony of long paragraphs of exposition, which provides welcome relief to readers. Unlike other forms, you don’t need to use a dialogue tag as such.

There are a couple of common ways that you can employ internal dialogue in writing:

• The first option is to italicise the comments made by your character internally. For example: “A door downstairs slammed shut.  It’s not windy tonight. How the hell could that have happened?” The main idea here is that the italicised words make it clear to the reader that this is internal dialogue.
• Another option is to write internal dialogue as you would normal dialogue, with speech marks. The difference is what follows that passage of conversation. Usually, it’s something like, “I really do need to get that fixed,” Halle thought to herself. Here, you simply identify that the dialogue was spoken in the mind and not aloud.

As for which is best for how to write effective dialogue for internal thoughts, it’s all a matter of style. However, my personal preference is using italics. To me, it’s just clearer to readers, and that’s the main aim. So that is how to write internal dialogue.

As a little exercise, try and think of some oblique responses to the following line. I’ll give you an example to start. Remember to factor in Stein’s key ingredients— characterisation and plot:

            Exercise: “You’re the most beautiful woman I’ve ever seen.”

            Example: “Did you say the same thing to that blonde girl behind the bar?”

In this example of how to write dialogue, we get a response that avoids answering the statement. She could quite easily turn around and say “Thank you,” but that’s boring. Instead, we’re wondering about this man and what he’s about, and a bit more about the woman too, namely that she’s observant.

Let’s take a look at some good dialogue examples from some of the finest pieces of fiction to grave our bookshelves:

Dialogue Example #1 “The Silence of the Lambs” by Thomas Harris

“Good morning, Dr. Lecter. How are you feeling?”

“Better than your last visit, Clarice. Shall I have a chair brought in for you?”

“No thank you, I’d rather stand.”

“Please, sit. That’s better. You know, you remind me of someone. A young man I met long ago. He was a student like yourself, with a quick mind and a charming smile. I wonder what became of him.”

“I don’t know, Dr. Lecter. I’m here to ask you about Buffalo Bill.”

Dialogue Example #2 “The Catcher in the Rye” by J.D. Salinger

“You’re lucky. You’re really lucky. You know that, don’t you?” I said.

“Don’t worry about me,” Sally said. “I’ll be all right. I’m serious.”

“I know you will,” I said. “That’s why I’d like to talk to you for just a minute. This is no kidding. You’re going to have to have yourself a grand time this summer. Especially this summer. Have yourself a real need. Because you’re going to go to a lot of parties, and some of them are going to be quite grim, and you’re going to need that need.”

“I know I will,” Sally said. “Don’t worry about me.”

“I know you will,” I said. “But do it anyway. Do it for me. Okay?”

Dialogue Example #3 “To Kill a Mockingbird” by Harper Lee

“Atticus, are we going to win it?”

“No, honey.”

“Then why-”

“Simply because we were licked a hundred years before we started is no reason for us not to try to win,” Atticus said.

One of the most important things to know when it comes to looking at dialogue is the impact it has on pacing.

Dialogue has a knack for increasing the pace and moving the story forward. Readers can find themselves tearing through pages laden with dialogue. As if with all tools of the craft, it pays to know how best to use it. Literary agent Noah Lukeman said a writer must learn how to use restraint when it comes to dialogue, “to sustain suspense and let a scene unfold slowly.”

Again, it’s all a matter of preference.

It’s one thing to know how to write dialogue, it’s another to know how to edit it.

For sound editing advice a good person to turn to is a master editor. In his book on the craft of writing, Sol Stein provides a very helpful checklist when going over passages of conversation:

• What is the purpose of this exchange? Does it begin or heighten an existing conflict, for example?
• Does it stimulate curiosity in the reader?
• Does it create tension?
• What is the outcome of the exchange? Builds to a climax, or a turn of events in the story, or a change in relationship with the speakers?
• Has the correct dialogue tag been used for each character, one that enhances the tale.

One additional step Stein recommends is reading dialogue aloud in a monotone expression. Listen to the meaning of the words in your exchanges.

“What counts is not what is said but the effect of what it means… The reader takes from fiction the meaning of words. And above all, they take the emotion that meaning generates.”

So these are a few things that I’ve found helpful when it comes to writing dialogue. As we’ve seen, an author may use dialogue to provide the reader with interesting information, delivered in a compelling and intriguing way.

Perhaps the most important advice I’ve taken away from them all is to always maintain clarity while using obliqueness to give dialogue that snappy, enticing edge. It’s easier said than done, mind.

Before I leave you, I wanted to point you in the direction of some other guides I think you may find useful.

• Great Examples Of The 5 Senses In Writing
• Men Writing Women
• How To Avoid Duplicate Content Issues – if you need help with plagiarism or making your content unique, head here
• How To Plot A Story
• More Dialogue Writing Examples   from Florida Gulf Coast University, with useful advice on making the best use of a dialogue tag

For more writing tips and guides , head here. Or you can find lots of links on all types of creative writing topics on my home page . Thanks for reading this guide on how to write dialogue that readers will love.

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8 thoughts on “A Complete Guide To Writing Dialogue”

I think crafting one’s own “book on writing” is a great exercise for any writer, regardless of whether or not they want to publish it. The act itself is a great way to organize one’s thoughts and ideas about writing, and compare one’s existing ideas to those one may encounter through others (books, blogs, interviews, etc.). I don’t know if mine will ever be fit for publication, but I find it very helpful to write such things down, instead of worrying about whether or not I’ll remember it.

Definitely! That’s one of the main reasons I’m doing it. We’ve got nothing to lose!

Mmm. And writing it out, organizing it, really helps us retain it afterwards. I feel like I rarely need to consult my notes, but the act of writing them out really helps.

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Last updated on Sep 21, 2023

How to Write Fabulous Dialogue [9 Tips + Examples]

This post is written by author, editor, and bestselling ghostwriter Tom Bromley. He is the  instructor of Reedsy's 101-day course,  How to Write a Novel .

Good dialogue isn’t about quippy lines and dramatic pauses.

Good dialogue is about propelling the story forward, pulling the reader along, and fleshing out characters and their dynamics in front of readers. Well-written dialogue can take your story to a new level — you just have to unlock it.

In this article, I’ll break down the major steps of writing great dialogue, and provide exercises for you to practice your own dialogue on.

Here's how to write great dialogue in 9 steps:

1. Use quotation marks to signal speech

2. pace dialogue lines by three , 3. use action beats , 4. use ‘said’ as a dialogue tag  , 5. write scene-based dialogue, 6. model any talk on real life , 7. differentiate character voices, 8. "show, don't tell" information in conversation , 9. delete superfluous words, which dialogue tag are you.

Find out in just a minute.

Alfred Hitchcock once said, “Drama is life with all the boring bits cut out.”

Similarly, I could say that good dialogue in a novel is a real conversation without all the fluff — and with quotation marks. 

Imagine, for instance, if every scene with dialogue in your novel started out with:

'Hey, buddy! How are you doing?"

“Great! How are you?""

'Great! Long time no see! Parking was a nightmare, wasn’t it?"

Firstly, from a technical perspective, the quotation marks are inconsistent and incorrectly formatted. To learn about the mechanics of your dialogue and how to format it, we also wrote this full post on the topic that I recommend reading.

Secondly, from a novel perspective, such lines don’t add anything to the story. And finally, from a reading perspective, your readers will not want to sit through this over and over again. Readers are smart: they can infer that all these civilities occur. Which means that you can skip the small talk (unless it’s important to the story) to get to the heart of the dialogue from the get-go.  

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

Screenwriter Cynthia Whitcomb once proposed an idea called the “Three-Beat Rule.” What this recommends, essentially, is to introduce a maximum of three dialogue “beats” (the short phrases in speech you can say without pausing for breath) at a time. Only after these three dialogue beats should you insert a dialogue tag, action beat, or another character’s speech.

Here’s an example from Jane Gardam’s short story, “Dangers”, in which the boy Jake is shooting an imaginary gun at his grandmother:

In theory, this sounds simple enough. In practice, however, it’s a bit more complicated than that, simply because dialogue conventions continue to change over time. There’s no way to condense “good dialogue” into a formula of three this, or two that. But if you’re just starting out and need a strict rule to help you along, then the Three-Beat Rule is a good place to begin experimenting.

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Let’s take a look at another kind of “beats” now — action beats.

Action beats are the descriptions of the expressions, movements, or even internal thoughts that accompany the speaker’s words. They’re always included in the same paragraph as the dialogue, so as to indicate that the person acting is also the person speaking.

On a technical level, action beats keep your writing varied, manage the pace of a dialogue-heavy scene, and break up the long list of lines ending in ‘he said’ or ‘she said’.

But on a character level, action beats are even more important because they can go a level deeper than dialogue and illustrate a character’s body language.

When we communicate, dialogue only forms a half of how we get across what we want to say. Body language is that missing half — which is why action beats are so important in visualizing a conversation, and can help you “show” rather than “tell” in writing.

Here’s a quick exercise to practice thinking about body language in the context of dialogue: imagine a short scene, where you are witnessing a conversation between two people from the opposite side of a restaurant or café. Because it’s noisy and you can’t hear what they are saying, describe the conversation through the use of body language only.

Remember, at the end of the day, action beats and spoken dialogue are partners in crime. These beats are a commonly used technique so you can find plenty of examples —  here’s one from  Never Let Me Go  by Kazuo Ishiguro . 

If there’s one golden rule in writing dialogue, it’s this: ‘said’ is your friend.

Yes, ‘said’ is nothing new. Yes, ‘said’ is used by all other authors out there already. But you know what? There’s a reason why ‘said’ is the king of dialogue tags: it works.

Pro-tip: While we cannot stress enough the importance of "said," sometimes you do need another dialogue tag. Download this free cheatsheet of 270+ other words for said to get yourself covered!

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Get our Dialogue Tag Cheatsheet

Upgrade your dialogue with our list of 270 alternatives to “said.”

The thinking goes that ‘said’ is so unpretentious, so unassuming that it focuses readers’ attention on what’s most important on the page: the dialogue itself. As writer Elmore Leonard puts 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.’”

It might be tempting at times to turn towards other words for ‘said’ such as ‘exclaimed,’ or ‘declared,’ but my general rule of thumb is that in 90% of scenarios, ‘said’ is going to be the most effective dialogue tag for you to use while writing dialogue.

So now that we have several guidelines in place, this is a good spot to pause, reflect, and say that there’s no wrong or right way to write dialogue. It depends on the demands of the scene, the characters, and the story. Great dialogue isn’t about following this or that rule — but rather learning what technique to use when . 

If you stick to one rule the whole time — i.e. if you only use ‘said,’ or you finish every dialogue line with an action beat — you’ll wear out readers. Let’s see how unnaturally it plays out in the example below with Sophie and Ethan: 

All of which is to say: don’t be afraid to make exceptions to the rule if the scene asks for it. The key is to know when to switch up your dialogue structure or use of dialogue tags or action beats throughout a scene — and by extension, throughout your book.

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Dialogue isn’t always about writing grammatically perfect prose. The way a person speaks reflects the way a person is — and not all people are straight-A honor students who speak in impeccable English. In real life, the way people talk is fragmented, and punctuated by pauses.

That’s something that you should also keep in mind when you’re aiming to write authentic dialogue.

It can be tempting to think to yourself, “ Oh, I’ll try and slip in some exposition into my dialogue here to reveal important background information.” But if that results in an info-dump such as this — “ I’m just going to the well, Mother — the well that my brother, your son, tragically fell down five years ago ” — then you’ll probably want to take a step back and find a more organic, timely, and digestible way to incorporate that into your story.

Kay Adams is Michael’s date at his sister’s wedding in this scene. Her interest in his family is natural enough that the expository conversation doesn’t feel shoehorned in. 

A distinctive voice for each character is perhaps the most important element to get right in dialogue. Just as no one person in the world talks the same as each other, no one person in your book should also talk similarly.

To get this part of writing dialogue down pat, you need to start out by knowing your characters inside out. How does your character talk? Do they come with verbal quirks? Non-verbal quirks?

Jay Gatsby’s “old sport,” for example, gives him a distinctive, recognizable voice. It stands out because no one else has something as memorable about their speech. But more than that, it reveals something valuable about Gatsby’s character: he’s trying to impersonates a gentleman in his speech and lifestyle.

Likewise, think carefully about your character’s voice, and use catchphrases and character quirks when they can say something about your character. 

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Find out which literary luminary is your stylistic soulmate. Takes one minute!

“Show, don’t tell” is one of the most oft-repeated rules in writing, and a conversation on the page can be a gold mine for “showing.”

Authors can use action beats and descriptions to provide clues for readers to read between the lines. Let’s revisit Sophie and Ethan in this example:

While Sophie claims she hasn’t been obsessing over this project all night, the actions in between her words indicate there’s nothing on her mind  but  work. The result is that you show , through the action beats vs. the dialogue, Sophie being hardworking—rather than telling it.

Show, Don't Tell

Master the golden rule of writing in 10 five-minute lessons.

As always when it comes to writing a novel: all roads lead back to The Edit, and the dialogue you’ve written is no exception.

So while you’re editing your novel at the end, you may find that a “less is more” mentality will be helpful. Remember to cut out the unnecessary bits of dialogue, so that you can focus on making sure the dialogue you  do  keep matters. Good writing is intentional and purposeful, always striving to keep the story going and readers engaged. The importance lies in quality rather than quantity. 

One point I haven’t addressed yet is repetition. If used well (i.e. with clear intention), repetition is a  literary device  that can help you build motifs in your writing. But when you find yourself repeating information in your dialogue, it might be a good time to revise your work. 

For instance, here’s a scene with Sophie and Ethan later on in the story: 

As I’ve mentioned before, good dialogue shows character — and dialogue itself is a playground where character dynamics play out. If you write and edit your dialogue with this in mind, then your dialogue will be sharper, cleaner, and more organic. 

I 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 — especially with the help of these tips — the better you’ll get.

And once you’re confident with the conversational content you can conjure up, follow along to the next part of our guide to see how you can punctuate and format your dialogue flawlessly .

As an editor and publisher, Tom has worked on several hundred titles, again including many prize-winners and international bestsellers. 

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Jerz's Literacy Weblog (est. 1999)

Writing effective dialogue (punctuation and actions in creative writing).

Writing > Creative Writing

“What brings you to my hermitage on such a stormy night?” asks the old man.

“I want to learn how to write dialogue. I… I’m a writer.”

“I want to know where the punctuation goes,” I say, wringing out my cloak in the hall.

“Do you need me for that?” he asks, settling himself by a crackling fire. “What does your favorite author do?”

I fish  Divergent out of my pack. There’s some dialogue on page 2.

“ Each speech gets its own indented paragraph ,” I say.

“What else do you see?”

“These quotations end with a comma, followed by a tag identifying the speaker.”

“Every time?”

“Well, no. There’s no need to label every line when it’s obvious who’s speaking.”

“Very good. Read on.”

“For a longer speech,” I say, “we can pause briefly to identify the speaker, and carry on .”

“True.” He cocks his head. “But what about the punctuation?”

“What do you mean?” I look more closely. “I see now. Sometimes the quoted passage ends with a comma, and sometimes it ends with a period.”

The old man hums to himself patiently, as the fire crackles.

“During the first paragraph,” I say, “the author simply pauses to identify who’s talking.”

“And the second?”

“After the character finishes her thought, the author is describing a separate action, other than speaking. A   period is a deliberate choice.” I look up at the old man. “ To change the pace .”

“Excellent,” he says. “But what about the third line?”

I look at the book again. “It could have been written without any break. ‘Thank you for cutting my hair.'”

“Perhaps.”

“But that period suggests the bit about the hair is an afterthought,” I say, shifting so the firelight falls more fully on the pages. “The reader is supposed to notice the narrator changed the subject to hide her feelings.”

I skip ahead to page 5.

“What can you tell from that passage?” the old man asks.

“The narrator intersperses dialogue tags with descriptions of actions. She lets us know that instead of saying what she’s thinking, she smiles. Her brother is smiling too, and his dialogue trails off. We don’t know what he’s thinking, but we can tell the narrator senses something’s wrong, because she bites her lip.”

The old man pours himself a cup of tea. “Why doesn’t the author just come right out and say, ‘Hey everyone, here’s an important plot point!’?”

“What do you mean?” I say, my brows furrowing in confusion.

“Hold on,” says the old man. “What just happened?”

“Er…. I frowned. Because I was confused. Why are you glaring at me?”

“I already knew you were confused, because you said ‘What do you mean?’ Would a reader need a description of my face, now that you’ve mentioned that I’m glaring at you?”

“No, that would be redundant. They’d probably be more interested in how you suddenly started talking as if you knew how an author is writing your scene. That would distract from the story.”

“You’re right,” he says with a dry laugh. “But you did the same thing when you described the look on your face.   Narrators shouldn’t convey emotion by describing their own facial expressions. “

“But right there in Divergent , it says: ‘I smile.’ It also says Tris is chewing her lip. Why does Veronica Roth’s narrator get to describe her own facial expressions?”

The old man leans forward. “As a first-person narrator, you could report that you choose to smile, or that you feel yourself biting your lip. But your narrator can’t watch a camera that is zoomed in on her own face, so as author you can’t have your narrator report subtle visual details, such as the color rising in her cheeks, or the way her nose crinkles adorably when she gets frustrated.”

“I think you’ve made your point,” I say, feeling my face heat up. “So, a first-person narrator can mention a deliberate action like mopping her brow, or she can quote dialogue that includes a stammer, but she can’t describe the beads of sweat glistening on her forehead or come up with a poetic simile for how her lower lip looks as it trembles.”

“Right. And she can quote herself  saying  something clever, but someone else has to mention that her eyes widen and grin splits her face from ear to ear. Stepping out of a first-person narrator’s head to describe a movie-style close-up breaks the author’s contract with the reader.”

“Okay.” I let out a long breath. “I can see that learning all these conventions is important.”

“Picasso spent years perfecting a realistic portrait style  before he chose to unsettle his viewers by defying the very conventions he had mastered.”

“Whoa,” I say. “Those links really drive your point home.”

“Thanks. You’re speaking a little less hesitantly, which suggests–“

“That I’m no longer showing outward signs of nervousness.”

“And…?”

“That I’ve got a better handle on how punctuation signals pacing in dialogue.”

I start flipping pages, scanning whatever dialogue catches my eye. “Commas indicate the slightest pause , a period indicates a full stop between complete thoughts , and three dots suggests the speaker is trailing off  before finishing a thought.”

“And if you wanted to indicate an interruption –“

“Here’s one, on page 22!”

“The author probably didn’t need to say ‘I interrupt her,’ because the dash already signals a break,” I say. “Hmm. I notice that this dash is not just a single minus sign, like a hyphen.”

“Correct. Some word processors will auto-correct two hyphens to make a dash–but the shorter hyphen and the longer dash serve different purposes. Hyphens join; dashes separate. Writing ‘auto–correct’ or ‘dash-but’ would change the meaning.”

“I think I understand,” I say.

Smiling, the old man fills another teacup, and offers it to me.

Cradling the cup in one hand, I start unlacing my boots, staring into the fire. “I never realized how much careful planning goes into crafting dialogue .”

The old man nods. “ Punctuating dialogue properly is important, but actions speak loudly, too . When I offered you tea, and you unlaced your boots at my hearth, we didn’t need any words stating that there was a comfortable lull in our conversation. The careful placement of details created a little pause. It was a good example of showing rather than telling .”

Outside, the wind howls. The old man puts another log on the fire. I sip my tea, feeling it warm my insides.

“Thank you.” I say. “For sharing your hermitage on such a stormy night.”

“For teaching me how punctuation and actions work together in dialogue. “

31 Dec 2014 — first published. 09 Jun 2016 — minor edits.

39 thoughts on “ Writing Effective Dialogue (Punctuation and Actions in Creative Writing) ”

That was just gorgeous!!!

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This is awesome!!!

just like in my class in barn burning (in the store in which the justice of the piece sat) everyone thought it was in a court. bt its actually in a store. thing is in plain sight when we are looking hard to find the setting.

This is incredible

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Thank you so much for this Dennis G. Jerz.

The way you presented this was done extremely well. I can already sense the piece of writing above is something which will forever change the way in which I think about anything I write, not just dialogue. I have long hoped to put together a piece of writing, though this is the first research I’ve ever done on how to even make a start on making a start, and to stumble onto something as excellent as this as my first exposure really makes me feel optimistic about finally putting something together. Likely to be one of the all-time classics of the future, and I will make a point of making a special mention to you when that day comes.

Good on ya and thanks for sharing!

That’s really an out-of-the-box example of punctuation in creative writing. Thanks for sharing.!

A best way to teach punctuation, GOD bless u

Superb! Magnificent!

Hi Dennis Jerz,

I hope you can give me advice about a fiction story that I’m writing. I have to write it in narrator’s point of view. I have a part of the story written, it’s about a blind date the character the man thinks he has a lot in common with the character female. But the woman thinks he’s a creep. I can’t seem to think of a catchy dialogue to continue, so it’s sort of a struggle to write on. I know it’s all about using your imagination, but somehow I’m not getting to a point to make this happen. This paragraph (4) is what I have to continue, but I can’t seem to make it happen between the characters.

“Hi, you must be Anthony?” Erin said, while their eyes met, she closed her purse. Anthony nodded somewhat surprised, he replied, “yeah….. and you must be Erin? Erin smiled, while she stuck out her hand, Anthony shook her hand. “Yeah…she nodded, I saw you sitting here at the booth, nice to meet you.” Erin said. “Nice to meet you too, please take a seat,” he gestured, Erin took a seat across from him, while she hung her coat over the seat, and tucked her purse beside her chair on the floor.

I found this piece very enlightning as I have found my punctuation very suspect and has been commented about whilst I have been submitting course work ona a writing course. I have other faults but punctuation is probably my main problem along with my writing too fast and not reviewing my piece correctly. Any advice is totally welcome. Thanks again for the writing pointers you share with us.

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I’ve never read something quite like that. It was very clever and educational, thank you.

wow this is awesome i am a creative writing student and I think this helped me finally understand dialogue

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Excellent dialogue. Message brought out beautifully!

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Oh, very nice, Dennis.

This is exactly what Maya was wonder about. She will love iy

Melissa George, of course.

This is excellent. May I share it?

@DennisJerz happy New Year!!!

Sometimes the answer is hiding in plain view while we are thinking so much on it….when its right there. Maya teaches me that everyday!

It’s clever.

Please let me know what they think. I’ve been meaning to write something like this for years. Finally got to it.

I am pilfering this for my creative writing class this semester!

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Understanding Dialogue: A Comprehensive Guide

What is dialogue, how to use dialogue in stories, dialogue and character development, how to format dialogue, dialogue punctuation rules, how to write realistic dialogue, dialogue dos and don'ts, dialogue writing exercises, dialogue in different genres, dialogue examples from literature.

Have you ever been immersed in a book, movie, or play, where the characters' words seem to leap off the page or screen, making you feel like you're right there in the room with them? That's the power of dialogue. Understanding dialogue—what it is, how to use it, and how to write it—opens up a whole new world of storytelling ability. Let's dive in, shall we?

Let's start with the basics. The definition of dialogue is conversation between two or more people as a feature of a book, play, or movie. But it's more than just talk. Dialogue lets us peek into the minds and hearts of characters. It helps move the story forward and builds the world where the story takes place.

But wait a minute—you might think. Isn't dialogue just people chatting? Well, yes and no. Here's why:

• Dialogue is not just conversation: In real life, we often talk without a clear goal or purpose—just think about the last time you chit-chatted about the weather! But in a story, every line of dialogue should serve a purpose: revealing character, advancing the plot, or setting the mood, to name a few.
• Dialogue reveals character: What a character says—and how they say it—can tell you a lot about their personality, background, and motivations. For example, a character who always speaks in short, clipped sentences might be nervous or hiding something.
• Dialogue advances the plot: The action in a story often hinges on dialogue. Maybe one character spills a secret, triggering a chain of events. Or maybe another character talks their way out of a tricky situation, changing the course of the story.
• Dialogue sets the mood: The tone of dialogue can help set the mood of a scene. A light-hearted exchange might signal a happy or relaxed moment, while a heated argument could signal tension or conflict.

So while dialogue might seem like just talk, it's actually a key tool in a writer's toolbox—one that can bring characters to life, drive the story forward, and much more.

If the definition of dialogue is conversation in a story, then knowing how to use it effectively is like knowing how to speak the language of your characters. Let's look at some practical ways to use dialogue in stories.

• Use Dialogue for Exposition: Exposition is a fancy term for "background information." Instead of having a narrator tell us a character's backstory, you can reveal it through dialogue. For example, one character might say to another, "I haven't been back to this town since the factory closed and my family had to move."
• Use Dialogue to Show, Not Tell: You've probably heard this writing advice before: "Show, don't tell." Dialogue is a great way to do this. Instead of telling us that a character is angry, show it by having them shout, "I've never been so mad in my life!"
• Use Dialogue to Reveal Character: Dialogue is a great way to reveal character traits. For instance, a character who speaks in long, complicated sentences might be intellectual or pretentious. A character who rarely speaks might be shy, mysterious, or stoic.
• Use Dialogue to Advance the Plot: Dialogue can move the plot forward. Perhaps a character reveals a secret, proposes a plan, or makes a decision that changes the direction of the story. Dialogue is a great way to make these plot developments feel natural and believable.

Remember, dialogue is more than just words—it's a tool that can bring your story to life. So, the next time you're crafting a tale, think about how dialogue can help you show your readers what's happening, rather than just telling them.

Ever wondered how dialogue can impact character development? Let's find out!

In any story, dialogue is not just chatter between characters. It serves a more significant role — it helps to develop characters. Yes, you heard it right! The words your characters speak can change the way readers perceive them, influencing their depth, personality, and growth. Let's explore this concept with some examples.

• Revealing Personality: The way a character speaks can tell a lot about their personality. Let's take a character who always speaks politely, even in stressful situations. This could suggest that they are well-mannered, patient, or even a bit of a pushover.
• Highlighting Growth: As your story progresses, dialogue can show how your characters grow and change. For example, a character who starts off speaking timidly but gradually becomes more assertive throughout the story clearly demonstrates personal growth.
• Showing Relationships: Dialogue is a great way to show the dynamics between characters. Do they argue a lot? Are they always supportive of each other? These interactions can give readers insights into the relationships between characters.
• Adding Depth: Finally, dialogue can add depth to your characters. By giving your characters distinct voices and ways of speaking, you make them more real and relatable to your readers.

So next time you write dialogue, remember: it's not just about what your characters say, but how they say it. The dialogue you write can shape your characters, making them more complex, relatable, and memorable.

Now that we've understood the role of dialogue in character development, let's dive into the nitty-gritty of formatting dialogue. If you've ever wondered, "What's the correct way to format dialogue?" — look no further.

First, let's start with the basics. Dialogue in writing is typically enclosed in quotation marks. This helps readers identify when a character is speaking. Here's an example:

"I'm going to the store," said John.

Now, let's move on to a few rules that can help you ace dialogue formatting:

• Start a New Paragraph for Each Speaker: When a new character speaks, start a new paragraph. This makes it clear who's speaking and keeps the text organized.
• Use Dialogue Tags Wisely: Dialogue tags like 'said', 'asked', 'yelled' help readers know who's speaking. But remember, less is more. If it's clear who's speaking, you can skip the dialogue tag.
• Handling Actions: If a character performs an action while speaking, it's usually included in the same paragraph as their dialogue. For example, "John tossed the ball, saying, "Catch!"
• Long Speeches: If a character is delivering a long speech, you can break it up into multiple paragraphs. Just remember to open each paragraph with quotation marks but only close the final paragraph with them.

Formatting dialogue might seem tricky at first, but with a little practice, it'll become second nature. Just remember to keep it clear who's speaking and you're good to go!

Let's talk about punctuation. Yes, I know, it's not the most exciting topic in the world. But when it comes to dialogue, the right punctuation can make or break your story. So, let's dive into the definition of dialogue punctuation rules.

• Commas and Periods: In dialogue, commas and periods typically go inside the quotation marks. For example: "I'm going to the store," said John. Or, "I'm going to the store."
• Question and Exclamation Marks: These too go inside the quotation marks if they're part of the dialogue. For instance: "Are you going to the store?" or "I'm going to the store!"
• Dialogue Tags: If a dialogue tag follows the dialogue, replace the period (or other ending punctuation) with a comma. Like this: "I'm going to the store," said John.
• Multiple Paragraphs: If a character's dialogue extends over several paragraphs, each paragraph should begin with quotation marks. But only put ending quotation marks on the last paragraph.

Remember, these are general rules and there may be exceptions based on style guides or individual writing styles. But for a beginner, these rules provide a solid foundation for writing dialogue that's clear and easy to follow.

Ever read a book where the dialogue just didn't feel real? We've all been there. But don't worry—you've got this. Let's break down how to write realistic dialogue.

First up, listen to real conversations . Yes, you read that right. Real people don't talk like characters in a book. They interrupt each other, change the topic, use slang, and rarely speak in perfect prose. So, take a moment to listen to the people around you. You'll start to notice the unique rhythm and flow of real conversation, which you can then use in your own writing.

Next, remember to keep it concise . In real life, people don't usually give long, uninterrupted speeches. They're more likely to use short, snappy sentences. So, when writing dialogue, try to keep it short and sweet. This will also help keep your readers engaged.

Finally, make sure your dialogue reflects your characters . Think about who your characters are—their background, age, profession, etc.—and let this influence how they talk. For example, a teenager probably won't sound the same as a 50-year-old professor.

Remember, writing realistic dialogue takes practice. So, don't get discouraged if it doesn't come naturally at first. Keep at it, and before you know it, you'll be writing dialogue that's so real, your readers will think they're eavesdropping on an actual conversation!

Alright, so you've got the basics down. But there's always room for improvement, right? So, here are some dos and don'ts for writing dialogue that hits the mark.

Do use dialogue to reveal character . Dialogue should do more than just move the plot forward—it should also give readers insight into your characters. Whether it's showing a character's sense of humor, their fears, or their dreams, dialogue is a powerful tool for character development.

Don't overuse names . In real conversations, we rarely use each other's names. So, when writing dialogue, try to avoid using names too often—it can feel unnatural and pull readers out of the story.

Do use contractions . Unless you're writing a character who speaks very formally, contractions can make dialogue feel more natural. So, instead of "I will not", try "I won't".

Don't forget about body language . Dialogue isn't just about what is said—it's also about how it's said. Using body language can add depth to your dialogue and reveal more about your characters.

Do read your dialogue out loud . This can help you catch any awkward phrasing and make sure your dialogue sounds natural.

By keeping these dos and don'ts in mind, you can make sure your dialogue is not only realistic, but also engaging and revealing. Remember, the goal is for your dialogue to feel like a real conversation that pulls readers into your story.

Okay, now that we've gone through the dos and don'ts, it's time to put pen to paper and start practicing. Here are a few exercises to help you improve your dialogue writing skills.

1. Write a conversation between two characters who are complete opposites . This could be a fun-loving teenager and a serious adult, or a quiet librarian and a loud rock star. The aim of this exercise is to showcase their differences through dialogue.

2. Rewrite a conversation from a movie or a book . Take a dialogue scene from your favorite movie or book and try to rewrite it in your own words. This can help you understand how dialogue is structured and how to build tension and emotion.

3. Write a dialogue where a secret is revealed . The secret could be anything—a hidden love, a buried treasure, a past mistake. The goal here isn't the secret itself, but how it's disclosed through dialogue.

4. Write a conversation where characters are arguing . The argument could be about anything, but the focus should be on showing their emotions and viewpoints through dialogue, rather than narration.

5. Write a dialogue with no words at all . Sounds challenging, right? Try to convey a conversation using only actions and body language. This can help you understand the non-verbal aspects of dialogue.

Remember, practice makes perfect. So, don't worry if you find these exercises tough at first. The more you practice, the better you'll get at writing dialogue that not only sounds real, but also pulls readers into your story.

Just as spices give different flavors to food, dialogue can bring out the unique taste of each genre. This is why understanding the definition of dialogue isn't enough. You also need to know how to use dialogue to enhance the atmosphere and mood of your story. Let's look at how dialogue is used in different genres.

Mystery and Thriller: In these genres, dialogue is often crisp, tense, and loaded with clues. Characters speak in short, sharp sentences, and every word matters. They might speak in riddles or codes, making the readers hang on to every word.

Science Fiction and Fantasy: Characters in these genres often speak in a way that reflects the world they inhabit. They might use unusual words or phrases, and their dialogue often helps to build the world and set the atmosphere. Think of the way characters in "Harry Potter" or "Star Wars" speak.

Romance: Ah, the genre of love and longing. Here, dialogue is all about expressing emotions. Characters in a romance novel often speak in a way that reveals their deepest desires and fears. The dialogue is often passionate, moving, and emotional.

Comedy: In this genre, dialogue is all about making the reader laugh. Characters might use puns, sarcasm, or witty one-liners. The dialogue in a comedy often has a fast pace, with characters bouncing off each other's words.

The key to writing good dialogue in any genre is to understand the mood and atmosphere of the genre, and then use dialogue to enhance it. Remember, dialogue is not just about what the characters say, but also how they say it.

Now that we've looked at how dialogue works in different genres, let's explore some examples of dialogue in literature. These examples will help you understand the power and potential of dialogue in storytelling.

1. "Pride and Prejudice" by Jane Austen: This classic novel is known for its witty and engaging dialogue. Let's take a look at this piece of dialogue between Elizabeth Bennet and Mr. Darcy:

"In vain I have struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you."

This dialogue perfectly captures Mr. Darcy's feelings for Elizabeth and his struggle to express them. It's a great example of how dialogue can reveal a character's emotions and inner turmoil.

2. "To Kill a Mockingbird" by Harper Lee: The dialogue in this novel is realistic and powerful, reflecting the setting and the themes of the story. Here's an example of dialogue between Scout and Atticus Finch:

"Atticus, you must be wrong...""Well, they're certainly entitled to think that, and they're entitled to full respect for their opinions," said Atticus, "but before I can live with other folks I've got to live with myself. The one thing that doesn't abide by majority rule is a person's conscience."

This dialogue reveals Atticus' character and his beliefs, showing us why he chooses to stand up for what he believes is right, even when it's unpopular.

3. "The Catcher in the Rye" by J.D. Salinger: The dialogue in this novel is raw and authentic, capturing the voice of the teenage protagonist, Holden Caulfield. Here's a piece of dialogue that showcases Holden's cynical view of the world:

"I'm the most terrific liar you ever saw in your life. It's awful. If I'm on my way to the store to buy a magazine, even, and somebody asks me where I'm going, I'm liable to say I'm going to the opera. It's terrible."

Through this dialogue, we get a glimpse into Holden's mind and his struggle with truth and authenticity.

These examples show how dialogue can reveal character, set the mood, and move the story forward. Remember, the definition of dialogue is far more than just words spoken by characters. It's a tool that can bring your story to life.

If you're looking to further develop your understanding of dialogue and want to apply it to the world of scriptwriting, check out Jessy Moussallem's workshop, ' Scriptwriting .' This workshop will provide you with valuable insights and techniques on how to create engaging and realistic dialogue, bringing your scripts to life.

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Literary Devices

Literary devices, terms, and elements, definition of dialogue.

Dialogue is a conversation between two or more people in a work of literature. Dialogue can be written or spoken. It is found in prose , some poetry, and makes up the majority of plays. Dialogue is a literary device that can be used for narrative , philosophical, or didactic purposes. The Ancient Greek philosopher Socrates was a chief proponent of dialogue, and the Socratic Method that is named after him involves a great deal of asking and pondering over questions.

The word dialogue comes from the Greek word διάλογος ( dialogos ), which means “conversation,” and is a compound of words meaning “through” and “reason or speech.” Thus, the definition of dialogue developed as a way of creating meaning through speech.

Common Examples of Dialogue

Dialogue is an important aspect of every day life, and plays a large part in business and political negotiations, as well as in education and conflict resolution in any type of relationship. People who have different opinions and backgrounds are often encouraged to come together in dialogue to understand the other person’s thinking better.

Dialogue forms a large part of all parts of life, and can be used for humorous purposes as well, such as between the comedian duo Abbott and Costello:

Abbott: Strange as it may seem, they give ball players nowadays very peculiar names. Costello: Funny names? Abbott: Nicknames, nicknames. Now, on the St. Louis team we have Who’s on first, What’s on second, I Don’t Know is on third– Costello: That’s what I want to find out. I want you to tell me the names of the fellows on the St. Louis team. Abbott: I’m telling you. Who’s on first, What’s on second, I Don’t Know is on third– Costello: You know the fellows’ names? Abbott: Yes. Costello: Well, then who’s playing first? Abbott: Yes. Costello: I mean the fellow’s name on first base. Abbott: Who. Costello: The fellow playin’ first base. Abbott: Who. Costello: The guy on first base. Abbott: Who is on first. Costello: Well, what are you askin’ me for? Abbott: I’m not asking you–I’m telling you. Who is on first. Costello: I’m asking you–who’s on first? Abbott: That’s the man’s name. Costello: That’s who’s name? Abbott: Yes.

Significance of Dialogue in Literature

Dialogue plays a large part in almost all works of fiction, while forming the majority of every play, even the absurdist ones. Indeed, the goal of most works of drama is to highlight the relationships between different characters by way of dialogue. There are some examples of dialogue in poetry as well, though it is rarer. Dialogue is not just words spoken; instead, dialogue reflects an active choice made on the part of each character to instigate conflict and resolve problems, ask and answer questions, and push the narrative along in numerous ways. The way that characters speak hints at their underlying psychoses, desires, motivations, opinions, and so on. Thus, dialogue is not a superfluous aspect of a piece of literature but a fundamental way in which characters interact, change, reach conclusions, and make decisions to act.

There are examples of dialogues dating back to the third millennium BC in works from the Middle East and Asia. The Greek philosopher Plato adopted his mentor Socrates’s method of dialogue to examine different belief systems.

Examples of Dialogue in Literature

ROMEO: (taking JULIET’s hand) If I profane with my unworthiest hand This holy shrine, the gentle sin is this: My lips, two blushing pilgrims, ready stand To smooth that rough touch with a tender kiss. JULIET: Good pilgrim, you do wrong your hand too much, Which mannerly devotion shows in this, For saints have hands that pilgrims’ hands do touch, And palm to palm is holy palmers’ kiss. ROMEO: Have not saints lips, and holy palmers too? JULIET: Ay, pilgrim, lips that they must use in prayer. ROMEO: O, then, dear saint, let lips do what hands do. They pray; grant thou, lest faith turn to despair.

( Romeo and Juliet by William Shakespeare)

In this example of dialogue, the characters of Romeo and Juliet begin to fall in love. In this excerpt the language they use is very powerful because it has a real effect on both of them. Using wit and euphemism , the two teenagers charm each other and share their first kiss. In this case, the dialogue propels them into the action of rejecting their families’ wishes and puts them on the track that leads to their downfall.

“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!— Whether Tempter sent, or whether tempest tossed thee here ashore, Desolate yet all undaunted, on this desert land enchanted— On this home by Horror haunted—tell me truly, I implore— Is there—is there balm in Gilead?—tell me—tell me, I implore!” Quoth the Raven “Nevermore.”

(“The Raven” by Edgar Allen Poe)

This is a dialogue example from a poem. In this case, the narrator of Edgar Allen Poe’s poem “The Raven” is going mad. A raven enters his library and does not leave him alone. The narrator tries to entreat the raven to leave him, but all the raven will answer him is with the word “nevermore.” This dialogue between a hallucinating man and his delusion makes his madness all the more obvious.

‘The beer’s nice and cool,’ the man said. ‘It’s lovely,’ the girl said. ‘It’s really an awfully simple operation, Jig,’ the man said. ‘It’s not really an operation at all.’ The girl looked at the ground the table legs rested on. ‘I know you wouldn’t mind it, Jig. It’s really not anything. It’s just to let the air in.’ The girl did not say anything.

(“Hills Like White Elephants” by Ernest Hemingway)

Ernest Hemingway’s short story “Hills Like White Elephants” does not include much description or character development. The majority of the story is a dialogue between an unnamed man and girl. Hemingway makes nothing explicit in this dialogue, but instead relies on subtext and suggestion to show that the two characters are contemplating an abortion. Though it seems inane at times, the dialogue is actually extremely important, as it convinces the girl to go through with the operation.

JIM: Aw, aw, aw. Is it broken? LAURA: Now it is just like all the other horses. JIM: It’s lost its— LAURA: Horn! It doesn’t matter. . . . [smiling] I’ll just imagine he had an operation. The horn was removed to make him feel less—freakish!

( The Glass Menagerie by Tennessee Williams)

Tennessee Williams’s play The Glass Menagerie contains only four characters, and the way they talk to each other greatly effects their lives. The character of Jim comes to visit the Wingfield family. Unbeknownst to him, Laura Wingfield had always had a crush on him and hopes that his visit will save her from her loneliness. Jim accidentally knocks into Laura’s glass menagerie and breaks the horn off of her favorite animal, the unicorn. However, there is much symbolism in this action, as the dialogue between Laura and Jim makes Laura feel less “freakish,” just as her unicorn finally becomes normal.

ROSENCRANTZ: What are you playing at? GUILDENSTERN: Words, words. They’re all we have to go on.

( Rosencrantz and Guildenstern are Dead by Tom Stoppard)

Absurdist playwright Tom Stoppard wrote his play Rosencrantz and Guildenstern are Dead using two minor characters from William Shakespeare’s play Hamlet. The two characters share many bizarre exchanges throughout the play, but there is also much lucidity. In the above example of dialogue, Guildenstern notes that words are “all we have to go on.” Indeed, the play shows the importance of words and clear communication, and how lives can be lost when communication breaks down.

Test Your Knowledge of Dialogue

1. Which of the following statements is the best dialogue definition? A. A short speech that a character makes in private. B. A conversation between two or more characters. C. An aside that a protagonist makes.

2. Which of the following statements is true of dialogue examples? A. They are a literary device used to reveal characters’ opinions and desires, and propel the narrative forward. B. They have no effect on the action of a play or novel. C. They cannot be found in poetry.

3. Which of the following statements is false about examples of dialogues? A.  Dialogues have been used in philosophical treatises, peacekeeping negotiations, and comedy routines. B. Dialogues are capable of affecting characters in both minor and profound ways. C. Dialogues can only occur between two characters.

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Creative Writing

Dialogue and monologue, dialogue punctuation, dialogue tags.

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Dialogue is a verbal exchange between two or more characters.  Monologue is a verbal expression from only one character.

One of the most important ways to bring creative writing to life is through conversations among characters. To make those conversations clear, proper dialogue formatting and punctuation is important. Fortunately, there are only a few simple rules or conventions to keep in mind when writing dialogue. 

Quotation Marks

Dialogue/ monologue is usually denoted by quotation marks.

            “How do I set apart the words a character is saying from the rest of the text?” Skylar asked.

Change of Speaker

Indent for a new paragraph every time a different character speaks.

          “How can I show the reader that a different character is speaking in this scene?” Quinton asked. He took a bite out of  his  sandwich.           “All you have to do is indent for a new paragraph. That will signal that the speaker has changed,” said Jaclyn.           Quinton drank some water. He nodded. “It’s so easy!”

Dialogue tags are signals that tell the reader which character is speaking. There are three types of dialogue tags. 

1. Said Tags

The first type of dialogue tag can be referred to as the “said tag.” “Said tags” utilize verbs for communicating words. Examples of “said tags” are shown below in bold .            

“I love writing dialogue,” said Jackson. “Do you love writing?” asked Cooper. “I love the EWU Writers’ Center!” Devon shouted. “It is important to be quiet,” Lacey whispered.

Note that punctuation goes inside the quotation marks, and periods change to commas since with “said tags” the spoken words are part of the same sentence as the tag. For the same reason “said” and “asked” are not capitalized in the above examples.

2. Action Tags

The second kind of dialogue tag can be referred to as the “action tag.” “Action tags” are simply sentences in which the character who is about to speak or has recently spoken does or thinks something. The reader understands who has said the words based on their close proximity to the action. Dialogue that is tagged with action is shown in bold below. Note that with action tags, the action sentence and the spoken words are separate sentences, and are punctuated accordingly.

Tyler threw open the door and ran into the room. “You guys! You’ll never believe what I saw outside! It was incredible.” “What are you talking about, Tyler? You're weird.” Montague put aside his video game controller. “It is not weird. It is dignified.” Tyler couldn’t believe Montague had said something so mean. He ran from the room in tears. Taylor cried and cried all the way home. “Why do I have the hardest life?”

3. Combination Tags

The third type of dialogue tag can be referred to as the “combination tag.” This type of dialogue tag combines the “said tag” with the “action tag.” An example of dialogue tagged with a “combination tag” is shown below.

“Dialogue tags are very useful,” Reginald said, typing his masterpiece novel.

“I like ice cream,” Charlie said, enjoying a tasty treat.

            As shown above, the “combination tag” begins with a said tag, followed by a comma, and a gerund phrase.

Mixing Tags

It is perfectly acceptable and expected that “said tags,” “action tags,” and “combination tags” will be mixed together in the same scene to create variety. Furthermore, sometimes the reader might have a clear understanding of which character is speaking when there is no dialogue tag at all. See the example below.

“We should totally consume several slices of delish pepperoni pizza for dinner tonight,” Ahbdi said. Fernando dropped his sandwich on the floor. “No, Ahbdi! I will not consume pizza!” “Why not? Why won’t you consume pizza?” “Because I will only eat sandwiches!” Ahbdi shouted, stomping his feet. “And stop saying the word ‘consume.’”

Sometimes dialogue tags are used in the middle of dialogue. This should be punctuated like the examples above. More dialogue simply continues after the tag.

“The mechanic told me my brakes are broken,” Rudolpho said. “I guess that is important.” “I drive a motorcycle.” Hitomi leaned on the counter. “Does that turn you on?”  

Dialogue Tags on Steroids

The goal with dialogue tags is that they should be somewhat invisible, that is, that they do not call attention to themselves, leaving the reader fully immersed in the scene. Some writers may worry about using the word “said” in too many “said tags.” However, the idea is that the word “said” is hardly noticed, so that the reader sees the name of the character speaking and moves on, staying in the scene.

Try to avoid dialogue tags “on steroids,” or dialogue tags that call attention to themselves and become distracting. Examples of dialogue tags on steroids are below.

“I do not think you should have such strong dialogue tags,” Frederick expostulated. “My head will fricking explode if I do not use strong dialogue tags!”  Logan exclaimed.  “But why?” Frederick asked.  “Because they make me sound sophisticated,” Logan answered.  “Why do you think they sound sophisticated?” Frederick inquired. “Because I am the smartest man in the world,” Logan replied.

In addition to these steroid dialogue tags being tedious and exhausting, many of them are not necessary. The reader knows that Frederick is asking a question, and he knows that Logan is answering. Thus, these dialogue tags become even more tedious because they are redundant.

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How to Write Dialogue Like a Pro

by N. Strauss

How to Write Dialogue - Skip to Topic -  Intro -  Getting great at dialogue -  Conversation versus written dialogue -  Dialogue and summary  - Dialogue format -  Tags -  Descriptive beats -  Adding layers -  Tips on how to write dialogue

Let's say you ask four different people how to make a cheese sandwich...

Person One responds: "You just take a piece of cheese and put it between two slices of bread."

Person Two: "Seriously? You don't know how to make a cheese sandwich?"

Person Three: "Personally, I would recommend goat cheese or perhaps a ripe Camembert, on a fresh baguette or perhaps brioche, lightly toasted, with caramelized onions or perhaps candied figs."

Person Four: "Sorry, I don't do dairy."

Different people speak differently. The differences are not only in what they say, but in the way they say it.

That's one reason why dialogue—presenting your characters' speech in their exact words—is such a powerful tool for your fiction.

Dialogue helps you show what your characters are like instead of just describing them to your reader.

It also draws readers into a scene and makes your writing a lot more fun to read!

Getting Great at Dialogue

To get great at writing dialogue, listen to how different kinds of people talk. Pay attention to...

• What they say (of course).
• What they DON'T say. Are they beating around the bush? Are they intentionally avoiding something?
• The kinds of words they use. Do they use simple or sophisticated vocabulary? Do they use slang? Jargon? Profanity? Do they have a favorite word or expression?
• Their tone. Polite? Rude? Bossy? Self-effacing? Flirtatious? Blunt? Chatty?
• The rhythms of their speech. Do they use short choppy sentences, or long ones that wind on and on?
• What does the way these people speak express about who they are?

You can borrow their voices for your characters.

If you're struggling with dialogue, here's a shortcut. Just think of someone who speaks the way your character might. Then, whenever your character is speaking, try to hear that person's voice in your head.

When you're writing or revising dialogue, you might also find it helpful to say the lines out loud or even act them out.

During your first draft, you'll listen to your characters speaking in your imagination and write down what they say.

Later, during the revision, you'll probably end up trimming some of those conversations down...

Conversation Versus Written Dialogue

Dialogue on the page is not the same as the way people really talk.

You want to give the flavor of reality, but you're not imitating it exactly.

In real-life conversations, there's a lot of fluff and filler and repetition. If you included all that in a story, it would get boring fast.

You want to include just enough of that to make the conversation feel real. And cut the rest.

Let's say two people, Joan and Edgar, meet in a restaurant. The real conversation might begin like this...

ORIGINAL VERSION: "Hi," Joan said. "Hi." "Sorry I'm late." "Don't worry, I just got here too," Edgar said. "I couldn't find parking." "I couldn't either. I finally wound up parking behind that church." "Which church?" "The one on—what's that street called?" "Barry Street?" "No, further down." "I don't know..." "The one with that store—what's that store called?" "I don't know." "Like, the store that sells everything. You know?" "I'm not sure..." The waitress came over to their table. "Hi, I'm Kelsey! I'm going to be your server! How are we doing today?" "Fine, thanks," Joan said. "Not bad," Edgar said. "Can I get you folks something to drink?" the waitress asked. "I could really use a glass of wine," Joan said. "But I probably shouldn't." The waitress waited. "I'll have a diet Coke," Edgar said. "Great!" said the waitress. "And what can I get for you?" she asked, turning back to Joan. "I'd kill for a glass of wine." "We have a nice house red," the waitress offered. "But I shouldn't drink. I have to go back to work," Joan explained. The waitress waited. "Can I see a wine list?" Joan asked. "It's right here," Edgar said, handing it to her. "Okay, I'll be right back," the waitress said. "In the meantime, I'll bring some ice water for you." "And a diet Coke," Edgar reminded her. "Absolutely," the waitress said, walking off. "So," Joan said when she was gone, "I heard the police are looking at Duffy now." "Where'd you hear that?" Edgar asked. "McConnell. He says Duffy's their top suspect." "That's good," Edgar said. "Yeah." "Tell me everything." "Wait, I'm just going to look at the wine list real quick. I know I shouldn't be drinking wine, but..."

If you wanted to use this conversation in a story, you might write it like this...

REVISED VERSION: "Sorry I'm late," Joan said. "That's all right," Edgar said. The waitress came over, and Joan ordered a glass of wine. "So," she said when the waitress left again, "I heard the police suspect Duffy now." "Where'd you hear that?" Edgar asked. "McConnell. He says Duffy's their number one suspect." "That's good," Edgar said. "Yeah." "Tell me everything."

If you want to show more about what Joan is like, you might keep some of her dithering over the wine, but cut the small talk at the very beginning. But you won't transcribe every word that Joan and Edgar utter during their lunch together.

Every piece of dialogue should be serving a purpose in your story. Often, it will be accomplishing more than one task at a time (e.g., showing something about the character at the same time that it's moving the plot forward).

Keep in mind the purpose of the dialogue when you decide which parts to cut and which parts to leave in.

Dialogue and Summary

Here's an example of summary dialogue:

Myrna complained about the hotel her son had chosen.

Here's an example of direct dialogue:

"The hotel's a real dump," Myrna said. "The room's tiny, and there's hardly any closet space. And the soap dish in the shower? It has a hole in it, so the soap falls right through! Who designed that soap dish, and what in the world were they thinking? And there's no place to put your towels..."

In summary dialogue, the author TELLS the reader what Myrna said. In direct dialogue, the author SHOWS Myrna saying it by quoting her exact words.

Some advantages of direct dialogue:

• It's more specific (we find out exactly what Myrna didn't like about the hotel—and can form our own opinion about how serious her complaints are).
• It conveys character (we learn something about Myrna from the way she describes the hotel).
• It's more vivid (the reader feels like they're hearing the conversation firsthand).

A big advantage of summary...

• It's brief.

Imagine that Myrna continues complaining for several hours. The reader isn't going to want to hear all that.

So you can summarize:

Myrna spent the whole morning complaining about the hotel.

Or, you can mix dialogue with summary:

"I hardly slept last night," Myrna said. "That hotel room was so noisy. And the pillows were too fat." She continued complaining about the hotel all through breakfast and the long drive to David's house.

Mixing dialogue with summary allows you to give the flavor of the dialogue without taking up more space than you want to.

You decide how much direct dialogue to include, depending on your goals for the scene.

How to Write Dialogue: Format

Standard dialogue format varies a bit from country to country .

You can look at some published novels from your own country to see how the dialogue's formatted.

In the U.S., dialogue generally looks like this...

"I love you so much," Yolanda said. "Then why did you try to poison me?" Julian asked her.

Note that the punctuation of the speakers' words is inside the punctuation marks. And in Yolanda's sentence, the period (full stop) is changed into a comma.

RIGHT: "I love you so much," Yolanda said. WRONG: "I love you so much." Yolanda said.

When writing dialogue, it's common practice to start a new paragraph each time the speaker changes. This makes it easier for the reader to keep track of who says what.

How to Write Dialogue: Tags

You use dialogue tags to let the reader know who's speaking. Here are some examples of dialogue tags:

• Edgar asked
• the waitress told them

You don't necessarily have to use a dialogue tag in every line of dialogue. Sometimes it's perfectly clear without them who the speaker is. For example, take the following conversation between two characters.

"Will you marry me?" Yolanda asked. "Absolutely not," said Julian. "Why not? Why won't you marry me?" "Because you tried to poison me, Yolanda." "That was an accident!" Yolanda said. "How do you accidentally slip arsenic into somebody's drink?"

In this example, it's clear that Yolanda's the one who asks "Why won't you marry me?" so it's not necessary to use a dialogue tag there.

You're likely to need dialogue tags...

• at the beginning of a conversation, to establish who the participants are.
•  if there are more than two speakers.
• when you haven't used dialogue tags in a while (to remind readers who's saying what)

There are several uses for dialogue tags. The obvious one, the main use, is to prevent confusion about the speaker's identity. A second use is to create a little break or pause in the conversation. Compare two versions of another exchange between Yolanda and Julian.

VERSION 1: "Why did you try to poison me?" Julian asked. "Because I was jealous," Yolanda said.

VERSION 2: "Why did you try to poison me?" Julian asked. "Because," Yolanda said, "I was jealous."

Do you hear the difference? In the second version, the dialogue tag creates a little pause after the word "Because." Yolanda might be thinking about her answer, or she might be pausing for emphasis. But the placement of the dialogue tag subtly changes the rhythm of Yolanda's line.

The standard dialogue tags "said," "told," and "asked" are almost invisible to readers. In general, readers won't even notice they're there. They'll focus instead on the characters' words.

On the other hand, flashier dialogue tags like "wheedled", "sneered", "commanded," "whined," etc., can get distracting if they're overused...

"Please, please marry me," Yolanda wheedled. "You've got to be kidding," Julian sneered. "No one ever wants to marry me," Yolanda whined.

Generally, readers should be able to tell from the character's words if the character is wheedling or sneering.

It's okay to throw in a colorful dialogue tag here once in a while if it adds to the reader's experience. But don't go overboard with them.

And don't worry that you're "repeating yourself" because you're using the words "said" and "told" a lot in your dialogue tags. If the dialogue's interesting enough, the reader won't even notice those words.

How to Write Dialogue: Descriptive Beats

A descriptive beat is a small piece of action or description inserted into the dialogue. Here's an example of dialogue containing descriptive beats...

"I don't want it," Eva said, pushing the file back across the table. James raised his eyebrows. "Do you know what I went through to get that for you?" he said.

In this example, the descriptive beats are:

• pushing the file across the table
• He raised his eyebrows.

Here are some ways to use descriptive beats in your dialogue.

1) To create a pause.

We talked about using a dialogue tag to change the rhythm of a line of dialogue.

A descriptive beat is another way to insert a pause—and the longer the line of description, the longer the pause.

VERSION 1 "I don't want it," Eva said, pushing the file back across the table. James raised his eyebrows. "Do you know what I went through to get that for you?" he said.

VERSION 2 "I don't want it," Eva said. "Do you know what I went through to get that for you?" James said.

Do you feel the difference in the rhythm? In the version with descriptive beats, there's a pause between Eva's statement and James's answer. In the version without them, James seems to respond immediately.

If there's a long pause in the middle of a conversation, you can tell the reader that; e.g., "Neither of them spoke for several minutes." But if you want to make the reader *feel* the pause, the silence stretching on, you can spend a bit of time describing what else is going on with your main character and their surroundings: Eva's pounding headache, a fly buzzing around the table and briefly landing on Eva's sleeve, a car horn honking outside...

2) You can use descriptive beats instead of dialogue tags. Instead of 'Eva said' or 'James said', you can show who's talking with the descriptive beats. For example, here's Eva and James's conversation with only the descriptive beats to identify the speakers:

"I don't want it." Eva pushed the file back across the table. James raised his eyebrows. "Do you know what I went through to get that for you?"

3) You can use descriptive beats to help readers visualize the scene.

Particularly in long passages of dialogue, you want to avoid "Talking Head Syndrome", where the voices seem to be floating in space. Descriptive beats allow you to provide some visual details to keep readers grounded.

4) You can use descriptive beats to add emotional layers to the dialogue.

Your characters' body language hint at what the characters are feeling—which might not always match up with their words!

• "I love you too," she said, her face radiant.
• "I love you too," she said, but avoided his eyes.
• "I love you too," she said between clenched teeth.

How to Write Dialogue with Layers

In some cases, it makes sense to keep the dialogue very straightforward and to-the-point. But in other cases, this can feel a bit flat.

If your detective asks the suspect where she was during the time of the murder, the suspect might simply answer the question. "Eight o'clock this morning? I was at home." A simple exchange of information.

But dialogue is often more interesting if there's something else going on at the same time.

Going back to the example of the detective interviewing the suspect, here are some ways you might liven up their exchange:

• The suspect might be distracted by something else. Maybe her toddler is throwing a tantrum during the conversation.
• The suspect might attempt to flirt with the detective, or to intimidate him. Maybe she has a grudge against policemen and becomes very hostile.
• The suspect might be hiding something (relevant or irrelevant to the conversation).
• The suspect might have her own agenda. Maybe she's just interested in showing off how rich and important she is.
• The suspect might be trying to steer the conversation in another direction. Maybe she's a political activist, and she's trying to convince the detective to vote for her candidate.
• The suspect might be doing something else at the same time. Maybe she's making an ice sculpture for a wedding while they talk.

By adding another layer to the conversation, you can develop character or setting at the same time, and you can add dimension to the scene.

Tips on How to Write Dialogue

To recap some of what we've discussed, here are seven tips on how to write dialogue like a pro.

1) Give each of your characters a different voice. Try to hear their voices in your head as you're writing what they say. Your characters' unique ways of talking will depend on personality, age, cultural and educational background, as well as their relationships with the people they're talking to.

2) Know when to summarize . If a character talks for an hour about his golf technique, you can't include the whole speech in your story. Instead, you can summarize: "John went on for an hour about his golf technique."

3) Mix dialogue and summary. You can mix a few lines of dialogue into a dialogue summary to give readers the flavor of your character's voice. "'Been working on my swing,' John said, launching into an hour-long discourse on his golf technique."

4) Use indirection. Often, people don't express what's on their mind directly. Instead, they hint at it in other ways. If John is attracted to Marsha, he might not come out and say to her, "I'm attracted to you." Instead, he might become boastful around her, or steer the conversation around to whether she's married. The best dialogue often has two levels, what characters are saying on the surface, and what they really mean.

5) Use silences. Pauses in a conversation can be as expressive as what is said out loud. During a pause, you can describe the characters' body language, what they're doing (e.g., taking a sip of coffee), or what's happening around them.

6) Trim the fat. Real-life conversation contains a lot of filler, false starts, repetition, polite blah-blah-blah. If you include all of this in your written dialogue, it can get boring. Instead, you can include just enough to give the flavor of real life, then cut the rest.

7) Don't pile on distracting dialogue tags. Fancy dialogue tags such as "he whined," "she commanded," or "he queried" draw attention to themselves. The old standbys, "said," "told," and "asked" are less noticeable, letting readers focus on your characters' words.

About the author

N. Strauss taught creative and expository writing at the University of Michigan before moving to the Czech Republic and then Spain. She has an M.F.A. in Creative Writing from the University of Michigan and a B.A. in English from Oberlin College. In 2009, she founded Creative Writing Now in collaboration with the author Linda Leopold Strauss, who has taught writing courses for the Institute of Children's Literature and published children's books with Scholastic, Holiday House, Houghton Mifflin, and others.

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• Scriptwriting

What is Dialogue — A Writer’s Guide to Spoken Words

M ovies are a visual medium first and foremost, which means making on-screen imagery as effective as possible. And if you’re making a narrative feature, you will more than likely be needing dialogue. Movies didn’t start with traditional dialogue tracks, but these days, virtually every movie in existence has it. But what is dialogue, why does it matter, what makes good vs. bad dialogue, and how can you make the most of it?

What Does Dialogue Mean?

The definition of dialogue.

Dialogue as written text was developed a very long time ago, becoming a genre by the time Plato had made it his own. These days, it refers to many other things, including conversations among people. But we’re going to keep our focus on cinema when we provide a dialogue definition.

DIALOGUE DEFINITION

What is dialogue.

Dialogue is a written or spoken exchange of words between one or more characters. Most narrative stories feature this verbal communication, which is often easily identifiable by either quotations in literature or dedicated spaces in scripts. Dialogue has various uses, though it is most often for the purposes of advancing the plot and building character. For example, it lets the audience learn more about a character, their history, feelings, and viewpoints.

Dialogue Characteristics:

• Used for advancing the plot
• Captures the "voice" of a character
• An opportunity for subtext and verbal irony

Written Dialogue

Dialogue in screenplays.

Good dialogue tends to make or break a script, as the majority of what your reader will be doing is reading it. And of course, good dialogue on paper has to translate on-screen as well. 

You can get an idea of this from YouTuber Now You See It’s video below where he quickly but succinctly covers dialogue examples in film.

What does dialogue mean?

So, what is dialogue in a screenplay? Using Taika Waititi’s JoJo Rabbit screenplay as an example, and implementing it into StudioBinder’s screenplay software , we can see dialogue examples and how they are used.

The excerpt below shows off the introduction of a setting , which is extremely common and notable in any script.

Setting Introduction in Dialogue Example  •   Read Full Scene Here

This is a very common and standardized way to present dialogue in your screenplay. As you see, the dialogue is laid out very clearly, so much so that each block has plenty of space. You will also notice that character names are capitalized, which leaves no doubt as to who is speaking and when.

You should also understand what the dialogue is meant to do. Are we advancing the plot in some way? Are we learning more about a character? Or are the characters speaking just for the sake of speaking? As a result, you can make types of dialogue very subtle, very obvious, or something in-between.

The  Scott Pilgrim vs. the World script is chock-full of great dialogue examples, some of which are made to make clear what is going on in the story. The example below comically lays out what our main plot is all about.

Main Plot Through Dialogue Example  •   Read Full Scene Here

Even though this scene is pretty obvious in its intentions, the use of a beat also drives home the fact that Scott is more interested in Ramona making their relationship official than the reality of having to fight her evil exes. This is the power dialogue often can have, one which can creep up on the audience in unexpected ways.

For something more subtle and grounded, look at the excerpt below. Courtesy of Wes Anderson & Owen Wilson’s The Royal Tenenbaums , the scene is a quick set-up with a brief exchange. 

Expressing Character Through Dialogue Example  •   Read Ful Scene Here

It may not seem like much, but these two lines say a whole lot about Royal, his character, and how he views himself. Dialogue can be very expressive and informative if you have a character talk a lot, but minimal dialogue can be just as effective.

When writing a screenplay, you will have to decide what types of dialogue you want. Avoiding too much talking is important, but maybe it’s a character quirk. Not enough speaking can be frustrating in some movies, while it can be part of the appeal in another. What’s important is that your dialogue choices make sense for the story you want to tell.

Related Posts

• How to Write Realistic Dialogue →
• The Best Screenwriting Software Tools →
• Quentin Tarantino Quotes and Tips on Filmmaking →

Scene Studies

Notable dialogue examples in film.

At the end of the day, no matter who reads your script, most people will watch the movie. At this point, dialogue is supported by performances, editing, and direction.

If anyone (else) is famous for how they can pull off dialogue, it’s writer-director Quentin Tarantino . As is part of Tarantino’s directing style , he loads his movies with characters talking, to the point of excess, depending who you ask.

But even though his movies are also known for being extremely violent, it’s the dialogue that is often singled out and praised by viewers, critics, and fans.

Take a look at our video below to get an idea of how effective Tarantino’s dialogue is. Using suspense and misdirection, as well as top notch character writing, he creates a unique and unforgettable confrontation.

Effective conversation goes a long way  •   Subscribe on YouTube

The right kind of dialogue can go a long way in helping a movie get critical acclaim. Almost anything you watch will have dialogue, and you can easily see how effective it is, what purpose it serves, and how you too can implement techniques into your own projects.

Screenwriting Tips for Dialogue

Now that you have a basic definition of dialogue down, it’s time to learn how you can best approach writing it yourself. Our guide goes over many tips for writing better dialogue, along with many examples from film scripts and clips.

Up Next: Dialogue Tips →

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Fundamentals in Creative Writing: The Art of Dialogue

Crwr 17008 fundamentals in creative writing: the art of dialogue.

How do you write silence? What is subtext? What is the structure of a joke? Dialogue is one of the most important elements of fiction because of its dynamism. It can, among other effects, reveal character, advance plot, and escalate tension.  In this seminar, we will read work that inspires, informs, and expands our understanding of the definition and usages of dialogue. We will read exemplars of fiction, nonfiction, drama, poetry, as well as watch film—all with the objective of discovering the aspects that make the dialogue (or written speech) in each text effective. The class will include work by Grace Paley, Ernest Hemingway, August Wilson, Toni Cade Bambara, Junot Diaz, Joan Didion, Tyehimba Jess, and Sally Rooney). We will discuss stylistic elements of the work, its ideas, and attempt to situate it in its cultural context. Class sessions will consist of informal writing, discussion, and lecture. Coursework includes two short creative assignments (with a critical component), questions for discussion, and informal writing.

Day/Time: Monday,  1:50-3:50

Students must be a declared Creative Writing major to enroll. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory.

Writers on Writing

Tips for writing dialogue.

Teddy Wayne

There are three forms dialogue can take: summary (They talked all class about dialogue), indirect speech (And did they enjoy the stories about dialogue? Yes, they did, thank you), and direct quotation (“And did you enjoy the stories about dialogue?”)

The purpose of dialogue: Dialogue should not be used merely to convey information. It should also characterize, provide exposition (ideally in an engaging, masked way), set the scene, advance the story, and foreshadow or remind us of something else. Review your dialogue and see if it is doing more than one thing; if not, it’s probably lacking something.

One way to give your dialogue multiple purposes is to cut out conversational filler. Do not include “um,” “uh,” “I mean,” every single “Hey” or “Hi”; enter phone conversations after the people have said “Hello?” Good dialogue on the page does not resemble actual speech, which is far more unwieldy and convoluted. In general, keep sentences short; people rarely make long speeches or speak in extended sentences in real life (except when lecturing), and it looks even more forced on the page.

A character’s choice of language, his or her verbal tics, whether he asks a lot questions, and so on reveals much about him. All your characters should sound different, with their own vocabularies and rhythms; if two sound exactly the same, maybe it’s a sign you should conflate the two into one character. Read your dialogue out loud to hear if it sounds right, and trust your ear.

Dialogue as action: Do not have your characters discuss a topic without the possibility for some sort of change. If two stubborn characters go back and forth about abortion, at best you’ve written a philosophical tract; at worst, an after-school special. If one is not going to give in, at least show us that there is a real emotional stake in this argument (one is pregnant and is committed to having an abortion the next day). To make this static argument even more compelling, recognize that people change their tactics when they talk—one of the characters can start off friendly and ingratiating, then becomes manipulative, then guilt-tripping, and finally hostile. Also try to give both characters something they both want (most likely different things); if only one wants something and the other doesn’t care, the exchange will have less conflict.

Text and subtext: Your dialogue should always strive to say a little (or a lot) more than what’s actually spoken. At times you’ll need an explicit line like “I want a divorce,” which says everything that needs to be said. But these should be kept to a minimum; they don’t give the reader any chance for interpretation, unlike a loaded line such as, “I heard Bob and Joan are breaking up,” which might suggest that the speaker (depending on what we know about her) is also thinking about breaking up with her partner. Keeping your dialogue economical is one aid to enhancing subtext, because in cutting out superfluous words you may also be trimming superfluous sentiments.

“He said/she said” and adverbs: Be very, very careful with synonyms for “said,” other than “asked,” “answered,” “replied,” “added,” “continued,” “recalled,” “remembered,” and “reminded.” Make sure they’re as specifically attuned as possible to the way the dialogue is being spoken (“whispered,” “boomed,” “squeaked”), and not simply an excuse to use the thesaurus (“declared,” “intoned,” “affirmed,” etc.)—it looks amateurish and conspicuous, whereas “said” fades into the background and we pay attention to the dialogue itself. When it’s not necessary (either because it’s obvious who is speaking from the tone or it’s clear from where the dialogue takes place in the paragraph), cut out “he said” or “she said” altogether—but too many of these exchanges can make your prose look like the script for a play. When you do need a dialogue tag, it’s good to interrupt a long stretch of dialogue with a dialogue tag near the beginning, often after the first sentence (“Blah blah blah for a sentence,” he said. “Blah blah blah for four more sentences.”). Occasionally vary “Jim said” with “said Jim” so it doesn’t get monotonous; the main difference is the latter has a slightly more formal, antiquated feel to it. (But never use “said he” or “said she.”)

Likewise, try to avoid adverbial modifiers for dialogue: “He said loudly” is “He yelled”; “She said softly” is “She whispered.” If you have “He said sharply” or “He said with sharpness in his voice,” then cut “sharply/sharpness in his voice” and make the dialogue itself barbed.  The tone of the dialogue should be self-evident.

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Building Characters is a Piece of (Layer) Cake

Writing and Madness

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Think Outside the Book

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From Scratch

Interviewing for Fiction

The Writer's Trove

Something to Do with Work as Play: David Foster Wallace and “The Nature of the Fun”

Keeping Up the Pace

Scenes & Summary

An Unfunny Essay About Humor

Say Yes to Obsession

How to Steal Stuff

Writing to the Tension

How Walter White Can Make You a Better Writer

Inventing Time

Three-Dimensional Writing

How to Get Out of the Slush Pile

• Dialogue Writing

Dialogue Writing - Style, Format and Examples

Are you a good speaker or a great listener? If you are, you should have definitely come across multiple instances where something you said or you heard someone say stuck to your mind. This happens mainly because those words touched your heart or made you think. That is the effect of a good dialogue. Even a simple conversation with your family, friends or even an unknown group of people can give you ideas and thoughts to ponder on.

This article will introduce you to the art of dialogue writing and give you information about all that you need to know. Furthermore, go through the sample dialogues and analyse how they make an effect.

Table of Contents

What is dialogue writing, the purposes of writing a dialogue, inner dialogue, outer dialogue, basic format and structure of a dialogue, punctuation, what not to do when writing a dialogue – points to remember, dialogues from stories and plays, dialogues from movies and tv shows, frequently asked questions on dialogue writing in english.

The term ‘dialogue’ is something all of you would be familiar with. As social beings, people (irrespective of being young or old, male or female) communicate with each other. Such a communication where both parties involved in the conversation have something to say about the topic being discussed can be said to be dialogue. A dialogue can be on any topic – a very simple talk about a daily chore, a serious talk about a social or medical problem, a discussion about what has to be done for an event and so on. The only point that you should remember is that a dialogue isn’t just any conversation but a conversation between two people specifically.

The Collins Dictionary defines the term ‘dialogue’ as “a conversation between two people in a book, film, or play”. Transcribing a dialogue in writing or presenting a conversation in text is referred to as dialogue writing.

What do you think is the reason behind writing dialogues in a story, play or film? Is it mandatory to include dialogues in a story? There are stories where you have a third person narrator or one of the characters of the story presenting the story from their perspective. What difference does it make when there are dialogues instead of just someone narrating each and everything that is happening in the story?

Having dialogues along with stage directions instead of just narrations can be said to be a better writing technique as it gives the readers a clear picture of the characteristics of the various characters in the story, play or movie. It also gives your characters life, and above all, a voice of their own. Dialogues portray the emotional state, mindset, background information and attitude of the speakers. This will always be more effective as it would let the readers connect with the characters on a more personal level.

Dialogue writing is also one area where the writers get to be creative even to the extent of breaking some conventional grammatical rules. For instance, elongating a word or writing the whole word in capital letters or using multiple question marks or exclamation marks to stress on whatever is being said. For example: YESSSS!!

Another component of dialogue writing is adding stage directions. Stage directions are short phrases written in brackets that give the reader an idea of what the character is doing as they engage in the dialogue. For example: Dan (rubbing his eyes): I am still tired.

Types of Dialogues

Dialogues can be classified into two main types namely,

The term ‘inner dialogue’ refers to the individual character’s thoughts which are not spoken aloud; in other words, said to anyone else. They can be something a character is thinking as the other character is speaking and their thoughts about what is going on or what the other character is doing. These inner dialogues are not placed within quotation marks .

As the name suggests, ‘outer dialogues’ are thoughts that are spoken aloud. They refer to everything the two characters involved in the dialogue say to each other. Outer dialogues are usually placed with quotation marks.

Fundamental Rules to Be Followed When Writing a Dialogue

Dialogue writing can look and sound simple; however, when actually putting dialogue in writing, there are certain rules regarding the structure and format you need to follow. Go through each of these in detail in the sections given below.

Dialogues can be part of a story, a play or a movie. Each one has a different structure and format in which the dialogues have to be presented; however, there is a basic structure that can be followed. Go through the following points to learn the essential attributes a dialogue must have.

• The first thing you have to do before you write a dialogue is to decide who the characters are.
• You should also have a clear idea of the plot of the story, or in general, the context of the dialogue.
• Dialogues can be just a sentence, two or three lines or even a short paragraph. Whatever be the case, always remember that each character’s dialogue, no matter how short or long, has to be written on the next line. In other words, no two dialogues should appear on the same line. Also see to it that you indent each dialogue.
• If the dialogues are one-liners, you can write them one after the other. On the contrary, if each of your characters are speaking in chunks (short or long paragraphs), it is mandatory that you show the difference by using an optimum line spacing.
• Be very careful with the tense used in the dialogue.
• It is better to skip the small talk (including greetings) and start off with the point of discussion unless the small talk is crucial to setting the mood of the conversation.

In every form of writing, punctuation is an important factor that makes it sensible. In the same manner, dialogue writing also would not make any sense without proper punctuation. Learn how to punctuate dialogues by going through the following points.

• The first rule would be adding a colon after the name of the character to indicate that the particular character is the one speaking at the moment. Sometimes, a hyphen is used instead of a colon.
• The name of the character should always start with a capital letter as it is a proper noun. Sometimes, you will have characters such as villagers, student 1, student 2, etc. In these cases also, you will have to use a capital letter.
• Dialogues are to be placed within quotation marks.
• If you are including a character’s dialogue in another character’s dialogue, it has to be placed within single quotation marks. For example: “Don’t you think Rakesh saying ‘I will take the lead’ has some hidden agenda?”
• Also remember that any punctuation mark corresponding to the dialogue should always be placed within double quotation marks. For instance, if the dialogue is an interrogative sentence , the question mark has to come first marking the end of the sentence followed by the double quotation marks marking the end of the dialogue.
• When you insert the tag in the middle of the dialogue, make sure you close the quotation marks before the tag. The tag is preceded and followed by a comma . When you open quotation marks to continue the dialogue, see to it that you use a small letter to begin with if it is the continuation of the dialogue, and close the quotation marks once the dialogue is complete. For example: “Do you know”, he shouted to everyone, “who the new manager is?”
• If the dialogue tag is positioned in the beginning of the sentence, see to it that you start it with a capital letter as you are starting a new sentence. Place a comma after the dialogue tag followed by open quotation marks, the dialogue starting with a capital letter followed by the punctuation mark of the quote and close quotation marks. For example: Josh mumbled, “Nobody understands the main problem here.”
• A dialogue can also appear at the end of the sentence. In this case, the quotation comes first. Once you punctuate the quote and close the quotation marks, place the dialogue tag. Note that the dialogue tag is not capitalised. For example: “Are you coming with us?” Sarah asked.
• If a character’s dialogue is being interrupted by another character, use a dash to indicate the interference. For example: “I was wondering –”

“Are you ready to go?”

• Actions and body language of characters can be described in sentences and they can appear in between dialogues. For example: “I am not interested.” She shrugged her shoulders. “But, I will do it just for you.”

Now that you know how to write a dialogue, let us also look at what all you are not supposed to do when writing a dialogue.

• Using dialogue tags does give some clarity about the action and body language of the characters, but see to it that you do not use dialogue tags with every single dialogue. Also, make sure you don’t use too little.
• Using colloquial language is allowed in dialogue writing, but use them only if it matches the context.
• Dialogues need not be grammatically correct all the time. That does not mean you can write structureless sentences. You can have individual words or phrases as a dialogue. For example: “What?”, “Of course!”, “She started the fight?”

Examples of Dialogue Writing

To help you understand and learn the art of dialogue writing, here are a few examples from some famous stories, plays, movies and TV shows.

A few examples from ‘The Crocodile and the Monkey’ are given below. Go through them and try to analyse how the description and dialogues are written.

• The crocodile’s wife thought to herself, “If the monkey eats only these sweet rose-apples, his flesh must be sweet too. He would be a delicious dinner.”
• When they reached, the monkey climbed up the tree to safety. He looked at the crocodile and said, “Now you can go back to your wicked wife and tell her that her husband is the biggest fool in this world. Your foolishness has no parallel. You were ready to take my life because of an unjust demand from your wife. Then you were stupid enough to believe me and brought me back to the tree.”

Here are a few examples from the short story, ‘The Gift of the Magi’ by O. Henry. Check them out.

• “Twenty dollars,” said Mrs. Sofronie, lifting the hair to feel its weight.

“Give it to me quick,” said Della.

• “Jim, dear,” she cried, “don’t look at me like that. I had my hair cut off and sold it. I couldn’t live through Christmas without giving you a gift. My hair will grow again. You won’t care, will you? My hair grows very fast. It’s Christmas, Jim. Let’s be happy. You don’t know what a nice—what a beautiful, nice gift I got for you.”

Here are a few quotes from the play, ‘The Merchant of Venice’ by William Shakespeare.

• Shylock: Three thousand ducats; well.

Bassanio: Ay, sir, for three months.

Shylock: For three months; well.

Bassanio: For which, as I told you, Antonio shall be bound.

Shylock: Antonio shall become bound; well.

Bassanio: May you stead me? Will you pleasure me? shall I know your answer?

Shylock: Three thousand ducats for three months and Antonio bound.

• Bassanio: And do you, Gratiano, mean good faith?

Gratiano: Yes, faith, my lord.

Bassanio: Our feast shall be much honour’d in your marriage.

Gratiano: We’ll play with them the first boy for a thousand ducats.

Check out the following section to learn how dialogues from movies and TV shows are written. Furthermore, analyse the style and language used.

The following sample conversation is from the Disney movie ‘Moana’. Check it out.

Maui: Boat! A boat! The Gods have given me a (screams)

Moana: Maui, shapeshifter, demigod of the wind and sea. I am Moana…

Maui: Hero of Man.

Moana: Wh..What?

Maui: It’s actually Maui, shapeshifter, demigod of the wind and sea, hero of man. I

interrupted, from the top, hero of man. Go.

Moana: I am Mo…

Maui: Sorry, Sorry, sorry, sorry. And women. Men and women. Both. All. Not a guy-girl

thing. Ah, you know, Maui is a hero to all. You’re doing great.

Moana: What? No, I came here to…

Maui: Oh, of course, of course. Yes, yes, yes, yes. Maui always has time for his fans.

When you use a bird to write with, it’s called tweeting. (laughs) I know, not every day you

get a chance to meet your hero.

Moana: You are not my hero. And I’m not here so you can sign my oar. I’m here because

you stole the heart of Te Fiti and you will board my boat, sail across the sea, and put it

The following example is taken from the series ‘Anne with an E’.

• Diana: Anne!

Anne: Hello, Diana!

Diana: My, what have you done to your hat?

Anne: Well, I wanted to make a good first impression and it was so plain.

Diana: You’re making an impression all right.

Anne: I’m glad you found your way.

Diana: I expect we should be able to walk together soon.

Anne: We can’t?

Diana: I’m sure it won’t be long until my parents accept you, now that you’re a Cuthbert and all.

Also check out: Conversation between Teacher and Student │ Conversation between Doctor and Patient │ Conversation between Two Friends │ Conversation between Shopkeeper and Customer

What is dialogue writing?

A dialogue isn’t just any conversation but a conversation between two people specifically. Transcribing a dialogue in writing or presenting a conversation in text is referred to as dialogue writing.

What is the definition of a dialogue?

The Collins Dictionary defines the term ‘dialogue’ as “a conversation between two people in a book, film, or play”.

What is the format of dialogue writing?

The basic structure and format of a dialogue is as follows:

• Every speaker gets a new paragraph.
• The name of the character is followed by a colon and then the dialogue within quotes is written.
• If dialogue tags are used, use a comma after it if it comes in the beginning, a comma before and after if it comes in the middle and place it immediately after the quotation marks if it comes at the end.

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What is Creative Writing? A Key Piece of the Writer’s Toolbox

Not all writing is the same and there’s a type of writing that has the ability to transport, teach, and inspire others like no other.

Creative writing stands out due to its unique approach and focus on imagination. Here’s how to get started and grow as you explore the broad and beautiful world of creative writing!

What is Creative Writing?

Creative writing is a form of writing that extends beyond the bounds of regular professional, journalistic, academic, or technical forms of literature. It is characterized by its emphasis on narrative craft, character development, and the use of literary tropes or poetic techniques to express ideas in an original and imaginative way.

Creative writing can take on various forms such as:

• short stories
• screenplays

It’s a way for writers to express their thoughts, feelings, and ideas in a creative, often symbolic, way . It’s about using the power of words to transport readers into a world created by the writer.

5 Key Characteristics of Creative Writing

Creative writing is marked by several defining characteristics, each working to create a distinct form of expression:

1. Imagination and Creativity: Creative writing is all about harnessing your creativity and imagination to create an engaging and compelling piece of work. It allows writers to explore different scenarios, characters, and worlds that may not exist in reality.

2. Emotional Engagement: Creative writing often evokes strong emotions in the reader. It aims to make the reader feel something — whether it’s happiness, sorrow, excitement, or fear.

3. Originality: Creative writing values originality. It’s about presenting familiar things in new ways or exploring ideas that are less conventional.

4. Use of Literary Devices: Creative writing frequently employs literary devices such as metaphors, similes, personification, and others to enrich the text and convey meanings in a more subtle, layered manner.

5. Focus on Aesthetics: The beauty of language and the way words flow together is important in creative writing. The aim is to create a piece that’s not just interesting to read, but also beautiful to hear when read aloud.

Remember, creative writing is not just about producing a work of art. It’s also a means of self-expression and a way to share your perspective with the world. Whether you’re considering it as a hobby or contemplating a career in it, understanding the nature and characteristics of creative writing can help you hone your skills and create more engaging pieces .

For more insights into creative writing, check out our articles on creative writing jobs and what you can do with a creative writing degree and is a degree in creative writing worth it .

Styles of Creative Writing

To fully understand creative writing , you must be aware of the various styles involved. Creative writing explores a multitude of genres, each with its own unique characteristics and techniques.

Poetry is a form of creative writing that uses expressive language to evoke emotions and ideas. Poets often employ rhythm, rhyme, and other poetic devices to create pieces that are deeply personal and impactful. Poems can vary greatly in length, style, and subject matter, making this a versatile and dynamic form of creative writing.

Short Stories

Short stories are another common style of creative writing. These are brief narratives that typically revolve around a single event or idea. Despite their length, short stories can provide a powerful punch, using precise language and tight narrative structures to convey a complete story in a limited space.

Novels represent a longer form of narrative creative writing. They usually involve complex plots, multiple characters, and various themes. Writing a novel requires a significant investment of time and effort; however, the result can be a rich and immersive reading experience.

Screenplays

Screenplays are written works intended for the screen, be it television, film, or online platforms. They require a specific format, incorporating dialogue and visual descriptions to guide the production process. Screenwriters must also consider the practical aspects of filmmaking, making this an intricate and specialized form of creative writing.

If you’re interested in this style, understanding creative writing jobs and what you can do with a creative writing degree can provide useful insights.

Writing for the theater is another specialized form of creative writing. Plays, like screenplays, combine dialogue and action, but they also require an understanding of the unique dynamics of the theatrical stage. Playwrights must think about the live audience and the physical space of the theater when crafting their works.

Each of these styles offers unique opportunities for creativity and expression. Whether you’re drawn to the concise power of poetry, the detailed storytelling of novels, or the visual language of screenplays and plays, there’s a form of creative writing that will suit your artistic voice. The key is to explore, experiment, and find the style that resonates with you.

For those looking to spark their creativity, our article on creative writing prompts offers a wealth of ideas to get you started.

Importance of Creative Writing

Understanding what is creative writing involves recognizing its value and significance. Engaging in creative writing can provide numerous benefits – let’s take a closer look.

Developing Creativity and Imagination

Creative writing serves as a fertile ground for nurturing creativity and imagination. It encourages you to think outside the box, explore different perspectives, and create unique and original content. This leads to improved problem-solving skills and a broader worldview , both of which can be beneficial in various aspects of life.

Through creative writing, one can build entire worlds, create characters, and weave complex narratives, all of which are products of a creative mind and vivid imagination. This can be especially beneficial for those seeking creative writing jobs and what you can do with a creative writing degree .

Enhancing Communication Skills

Creative writing can also play a crucial role in honing communication skills. It demands clarity, precision, and a strong command of language. This helps to improve your vocabulary, grammar, and syntax, making it easier to express thoughts and ideas effectively .

Moreover, creative writing encourages empathy as you often need to portray a variety of characters from different backgrounds and perspectives. This leads to a better understanding of people and improved interpersonal communication skills.

Exploring Emotions and Ideas

One of the most profound aspects of creative writing is its ability to provide a safe space for exploring emotions and ideas. It serves as an outlet for thoughts and feelings , allowing you to express yourself in ways that might not be possible in everyday conversation.

Writing can be therapeutic, helping you process complex emotions, navigate difficult life events, and gain insight into your own experiences and perceptions. It can also be a means of self-discovery , helping you to understand yourself and the world around you better.

So, whether you’re a seasoned writer or just starting out, the benefits of creative writing are vast and varied. For those interested in developing their creative writing skills, check out our articles on creative writing prompts and how to teach creative writing . If you’re considering a career in this field, you might find our article on is a degree in creative writing worth it helpful.

4 Steps to Start Creative Writing

Creative writing can seem daunting to beginners, but with the right approach, anyone can start their journey into this creative field. Here are some steps to help you start creative writing .

1. Finding Inspiration

The first step in creative writing is finding inspiration . Inspiration can come from anywhere and anything. Observe the world around you, listen to conversations, explore different cultures, and delve into various topics of interest.

Reading widely can also be a significant source of inspiration. Read different types of books, articles, and blogs. Discover what resonates with you and sparks your imagination.

For structured creative prompts, visit our list of creative writing prompts to get your creative juices flowing.

Editor’s Note : When something excites or interests you, stop and take note – it could be the inspiration for your next creative writing piece.

2. Planning Your Piece

Once you have an idea, the next step is to plan your piece . Start by outlining:

• the main points

Remember, this can serve as a roadmap to guide your writing process. A plan doesn’t have to be rigid. It’s a flexible guideline that can be adjusted as you delve deeper into your writing. The primary purpose is to provide direction and prevent writer’s block.

3. Writing Your First Draft

After planning your piece, you can start writing your first draft . This is where you give life to your ideas and breathe life into your characters.

Don’t worry about making it perfect in the first go. The first draft is about getting your ideas down on paper . You can always refine and polish your work later. And if you don’t have a great place to write that first draft, consider a journal for writing .

4. Editing and Revising Your Work

The final step in the creative writing process is editing and revising your work . This is where you fine-tune your piece, correct grammatical errors, and improve sentence structure and flow.

Editing is also an opportunity to enhance your storytelling . You can add more descriptive details, develop your characters further, and make sure your plot is engaging and coherent.

Remember, writing is a craft that improves with practice . Don’t be discouraged if your first few pieces don’t meet your expectations. Keep writing, keep learning, and most importantly, enjoy the creative process.

For more insights on creative writing, check out our articles on how to teach creative writing or creative writing activities for kids.

Tips to Improve Creative Writing Skills

Understanding what is creative writing is the first step. But how can one improve their creative writing skills? Here are some tips that can help.

Read Widely

Reading is a vital part of becoming a better writer. By immersing oneself in a variety of genres, styles, and authors, one can gain a richer understanding of language and storytelling techniques . Different authors have unique voices and methods of telling stories, which can serve as inspiration for your own work. So, read widely and frequently!

Practice Regularly

Like any skill, creative writing improves with practice. Consistently writing — whether it be daily, weekly, or monthly — helps develop your writing style and voice . Using creative writing prompts can be a fun way to stimulate your imagination and get the words flowing.

Attend Writing Workshops and Courses

Formal education such as workshops and courses can offer structured learning and expert guidance. These can provide invaluable insights into the world of creative writing, from understanding plot development to character creation. If you’re wondering is a degree in creative writing worth it, these classes can also give you a taste of what studying creative writing at a higher level might look like .

Joining Writing Groups and Communities

Being part of a writing community can provide motivation, constructive feedback, and a sense of camaraderie. These groups often hold regular meetings where members share their work and give each other feedback. Plus, it’s a great way to connect with others who share your passion for writing.

Seeking Feedback on Your Work

Feedback is a crucial part of improving as a writer. It offers a fresh perspective on your work, highlighting areas of strength and opportunities for improvement. Whether it’s from a writing group, a mentor, or even friends and family, constructive criticism can help refine your writing .

Start Creative Writing Today!

Remember, becoming a proficient writer takes time and patience. So, don’t be discouraged by initial challenges. Keep writing, keep learning, and most importantly, keep enjoying the process. Who knows, your passion for creative writing might even lead to creative writing jobs and what you can do with a creative writing degree .

Happy writing!

Brooks Manley

Creative Primer  is a resource on all things journaling, creativity, and productivity. We’ll help you produce better ideas, get more done, and live a more effective life.

My name is Brooks. I do a ton of journaling, like to think I’m a creative (jury’s out), and spend a lot of time thinking about productivity. I hope these resources and product recommendations serve you well. Reach out if you ever want to chat or let me know about a journal I need to check out!

Here’s my favorite journal for 2024: 

Gratitude Journal Prompts Mindfulness Journal Prompts Journal Prompts for Anxiety Reflective Journal Prompts Healing Journal Prompts Cognitive Behavioral Therapy Journal Prompts Mental Health Journal Prompts ASMR Journal Prompts Manifestation Journal Prompts Self-Care Journal Prompts Morning Journal Prompts Evening Journal Prompts Self-Improvement Journal Prompts Creative Writing Journal Prompts Dream Journal Prompts Relationship Journal Prompts "What If" Journal Prompts New Year Journal Prompts Shadow Work Journal Prompts Journal Prompts for Overcoming Fear Journal Prompts for Dealing with Loss Journal Prompts for Discerning and Decision Making Travel Journal Prompts Fun Journal Prompts

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