Creating Great Dialogue
Everyone remembers their favorite line from a movie. “You had me at hello.” “Life is like a box of chocolates.” “Get to the choppah!” Dialogue, when done correctly, can become iconic, and can represent that movie or book for generations. But how do we that iconic dialogue? Here are a few tips to consider when you are writing.
write within the character’s context
One can tell from the iconic examples provided that the most effective dialogue will be incomprehensible to someone who has not watched the film. Remember to write dialogue that is suited for the character that is speaking it and that directly comes from the circumstance of the story instead of seeming like it has been forcefully added. Even in comedic scripts, if a line does not reflect the character and their situation, it will not be successful.
individualize your characters
Just like in the real world, each character in your screenplay should have their own unique way of expressing themselves. To find out if this is the case in your script, conceal the names of the characters and see if you can still tell who is speaking at any given time. If it is difficult to differentiate between the characters, quickly take measures to remedy this issue.
every character is important
Actors frequently make the statement, "there are no small roles; only small actors". Screenplays that have characters with generic titles such as "Clerk #1" or "Waitress #1" can be warnings to those more experienced writers. It happens often, and I’m guilty of it as well, but this labeling method often leads to dialogue that is equally nondescript. Every character in your script ought to have a name (or at least a designation, such as "Anxious Woman"), and a unique character voice - which should be reflected in their words.
Arguing isn’t a bad thing
It might not be the best idea to engage in arguments in real life, but for a good story, conflict is necessary. Make sure your protagonist encounters difficulty from each character in the narrative. It doesn't matter how small the challenge is; they shouldn't be able to do it with ease - they should have to put in a lot of effort to get to the desired result.
character complexity is humanistic
Novice authors tend to craft protagonists that speak in a manner that oozes kindness and antagonists with words dripping with malice and wickedness. However, experienced writers have a different approach. They make protagonists who may have a cynical tongue, but in their actions, they show either sympathy or idealism. Their antagonists are usually courtly, but their actions are blatantly evil. This technique adds complexity to the storyline—when the dialogue does not always provide a precise representation of the character's genuine nature. It is essential to remember that it is the character's activities—not necessarily what they say—that decide if they are good or evil.
Don’t tell the audience what they already know
Sometimes in stories there are scenarios where a character reveals information that we, as the audience, already know. To prevent this mistake, the next scene should start either after the news has been passed on or end before that. For example, if a character dies in one scene and the hero needs to tell someone close to them, all we need to see is what happens right before or after the hero informs them. The conversation might not even be necessary- all the hero has to do is enter the room and make eye contact with the other person.
Less is more
Instead of using dialogue, if it is possible to communicate the same message through a visual image, action, behavior, or sound effect, it is best to avoid having your character explain it. It can quickly slow the pace of the story, and no one wants that.
Direct dialogue can hurt your character
Many editors and script doctors will caution writers to never craft dialogue that was overly direct. They were referring to the notion that characters should not simply say what was on their mind without any underlying meaning or backstory, or appear to be providing information. This is essentially equivalent to being dull, which is a major no-no. In reality, people rarely verbalize precisely what they are thinking. Some even struggle to “get the words out”. The same should be true in stories.
Give an actor the material they want
When composing a screenplay with a specific celebrity in mind (even if you are writing a spec script), your dialogue should be able to give them something they want to portray. Exaggeration is good and will more than likely generate excitement from the actor playing that character. The star of your movie should have a notable piece of dialogue at least once, and should be given all the most famous lines. Think about those famous lines for a moment. Was it a pivotal character that delivered them? “Houston, we have a problem.” “You’re gonna need a bigger boat.” “You talking to me?” “There’s no place like home.”
Conclusion
Hopefully these tips will help when creating characters. As an extra tip, make sure they don't follow conventional behavior. Instead of having them voice what is expected in a certain situation, come up with unexpected responses that make them unique and memorable.
