dialogue-craft

Apply this skill when:

• Polishing dialogue
• Developing subtext
• Differentiating character voices
• Handling exposition

The Purpose of Dialogue

Every line should:

1. Reveal character - How they speak shows who they are
2. Advance plot - Move the story forward
3. Create conflict - Tension between characters
4. Entertain - Be engaging to read/watch

Ideally, each line does 2-3 of these simultaneously.

What is Subtext?

The meaning beneath the words. Characters rarely say exactly what they mean.

Surface vs. Subtext

```fountain

// Surface level only (BAD)

JOHN

I'm angry at you for lying to me.

// With subtext (GOOD)

JOHN

(quiet)

The coffee's cold.

```

Creating Subtext

Displacement: Talk about something else entirely

```fountain

SARAH

Did you feed the cat?

JOHN

You know I always forget.

// They're talking about how he always lets her down

```

Deflection: Avoid the real subject

```fountain

SARAH

We need to talk about last night.

JOHN

Have you seen my keys?

```

Contradiction: Say the opposite of truth

```fountain

SARAH

Are you okay?

JOHN

Never better.

He won't meet her eyes.

```

Indirection: Circle around the point

```fountain

SARAH

I saw the ring in your drawer.

JOHN

It was my mother's.

SARAH

It's beautiful.

JOHN

She would have liked you.

// Neither mentions the proposal

```

Elements of Voice

| Element | Range |

|---------|-------|

| Vocabulary | Simple ↔ Complex |

| Sentence length | Short ↔ Long |

| Formality | Casual ↔ Formal |

| Directness | Blunt ↔ Indirect |

| Humor | Dry ↔ Broad |

| Emotion | Reserved ↔ Expressive |

Voice by Background

• Education: Vocabulary complexity, grammar
• Region: Slang, rhythm, expressions
• Profession: Jargon, verbal habits
• Age: Generational references, formality
• Personality: Introvert vs. extrovert patterns

Example: Three Characters, Same Information

```fountain

// Academic

PROFESSOR

The statistical probability of survival decreases

exponentially beyond the 72-hour threshold.

// Street

MARCUS

Three days, man. After that? You ain't coming back.

// Military

COMMANDER

Window's 72 hours. Then we write them off.

```

The Problem

Audiences need information, but "info dumps" kill scenes.

Exposition Techniques

Conflict: Characters argue about the information

```fountain

JOHN

The company's been laundering money for years.

SARAH

That's insane. My father built this company.

JOHN

Then he built it on dirty money.

```

Discovery: Character learns with audience

```fountain

Sarah finds the document. Her eyes scan it.

SARAH

(reading)

"Project Nightfall. Initiated 1985..."

(looks up)

This goes back forty years.

```

Need to Know: Character explains to someone who needs it

```fountain

VETERAN

You're new. First rule: Never go below deck 5.

ROOKIE

Why? What's down there?

VETERAN

That's rule two. Don't ask.

```

Conflict of Interest: Information becomes ammunition

```fountain

SARAH

I know about the money, John.

JOHN

(carefully)

What money?

SARAH

The hundred thousand in the offshore account.

The one you opened the week before you proposed.

```

What to Avoid

• Characters telling each other what they both know
• "As you know, Bob..." constructions
• Long explanatory monologues
• Information that doesn't serve a scene purpose

Varying Line Length

```fountain

SARAH

I loved you.

JOHN

I know.

SARAH

I would have done anything for you. Given up

everything. My career, my family, my future.

Everything.

JOHN

I know.

```

Beat and Pause

```fountain

SARAH

I found the letters.

(beat)

JOHN

I can explain.

SARAH

Can you?

Long silence.

JOHN

No.

```

Overlapping Dialogue

Indicated by -- for interruption:

```fountain

SARAH

I just think we should--

JOHN

--Not now.

SARAH

But if we could just--

JOHN

I said not now.

```

On the Nose

Characters stating emotions directly.

```fountain

// BAD

SARAH

I feel betrayed and hurt by your actions.

// BETTER

SARAH

(sliding off ring)

Here. I won't be needing this.

```

Greeting Rituals

Unnecessary pleasantries.

```fountain

// BAD

JOHN

Hello, Sarah. How are you?

SARAH

I'm fine, thanks. And you?

JOHN

Good, good. Thanks for meeting me.

// BETTER

JOHN

(seated, waiting)

You're late.

SARAH

(sitting)

You're lucky I came at all.

```

Identical Voices

All characters sound the same.

Test: Cover character names. Can you tell who's speaking?

Speechifying

Characters make speeches instead of conversation.

Break long speeches with:

• Interruptions
• Action beats
• Other character reactions
• Internal contradiction

Per Line

• [ ] Could this be cut? (If yes, cut it)
• [ ] Does it reveal character?
• [ ] Does it advance plot?
• [ ] Is there subtext?
• [ ] Is it speakable?

Per Scene

• [ ] Is there conflict in the conversation?
• [ ] Do voices sound distinct?
• [ ] Is exposition earned?
• [ ] Are there moments of silence?
• [ ] Does rhythm vary?

Per Script

• [ ] Can characters be identified by voice alone?
• [ ] Is subtext consistent per character?
• [ ] Are relationships clear through dialogue?
• [ ] Does dialogue evolve as characters do?