NEWSFLASH: Dialogue Needs Power & Purpose!
The purpose of dialogue is consistently underestimated by writers. This in turn saps its power in many spec screenplays and unpublished novels.
Yet dialogue is one of the most powerful tools in a writer’s arsenal when done right. But too often it’s done wrong … This means dialogue may end up feeling cheesy, expositional or even downright cringey.
So, how to avoid this on our novels and screenplays? I’ve dug deep to put dialogue under the microscope … ready? Let’s go!
1) Understand The Purpose Of Dialogue
Many authors and screenwriters misunderstand the purpose of dialogue. They may believe that good dialogue is about ‘quoteability’ (especially in movies), or that it’s just supposed to make characters ‘sound different’.
These are a good start, but surface-level. Good dialogue helps tell the story. But what does this mean, especially if we don’t want our scripts and novels to be dialogue-led? Well, we need to realise the purpose of dialogue is four-fold:
- It should help advance the plot. Many writers are so afraid of #4 on this list they go out of their way NOT to have any plot stuff in dialogue at all. As a result, it’s hard to understand the significance of various moments of dialogue. Oops! Never forget that exposition is JUST the background information needed to understand what is going on. You will need some to tell the story!
- Plus it should reveal character. There’s nothing wrong with having characters speak in ways unique to them. However, if your supporting characters are speaking too much and taking over, that’s a problem. Equally, if your protagonist or antagonist has nothing ‘about them’, they will fade into the background. Dialogue can be a great tool here.
- Dialogue should also convey emotion. Again, emotions are important and there’s nothing wrong with having characters be emotional this way. Plus don’t forget some genres (such as romance) or audiences (such as young adults) will WANT more emotional dialogue.
- It should deliver the necessary exposition. This is where many writers fall down. When dialogue becomes too literal, too on-the-nose, or spoon-feeds the audience, it turns into the dreaded ‘expositional dialogue.’
B2W TAKEWAY: Dialogue is never ‘just’ talking. It helps build the characters and tell the story.
2) Exposition: Use Sparingly and Strategically!
As mentioned above, expositional dialogue isn’t inherently bad. Sometimes it’s necessary, especially for big reveals or clarifying ambiguity. It’s an over-reliance on expositional dialogue in your screenplay or novel that is the red flag!
Chains of explanatory lines or filler conversations kill momentum. A good way of spotting this in your spec screenplay or novel is when you’re writing very, very little description.
B2W TAKEAWAY: If your characters are only talking to inform the audience, you’re doing it wrong. Instead, blend information into action, character behaviour or conflict.
3) Naturalistic vs Stylised Dialogue
This is one predominantly for screenwriters, though novelists may need to make a decision too. While this element may follow ‘fashions’ (we’re currently in a space that values naturalistic dialogue), writers still need to decide where their script or novel sits on the spectrum …
- Naturalistic Dialogue mimics real-life speech patterns. It’s grounded and often subtle.
- Stylised Dialogue is heightened, deliberate, and often reflects the writer’s unique voice. Think Joss Whedon, Stephen King or Diablo Cody here.
B2W TAKEAWAY: Both have their place. The key is consistency and intention. Choose what serves the story, not what sounds cool.
4) Subtext and Foreshadowing
Great dialogue isn’t just about what’s said … it’s about what’s unsaid. Subtext allows characters to talk about one thing while really addressing something deeper. This adds richness and realism, tying into both plot and character arcs.
A good example of subtext in a famous movie would be Miles’ monologue about Pinot in the award-winning drama Sideways. He is not talking about wine at all, but himself and how he is fundamentally misunderstood.
Similarly, foreshadowing through dialogue hints at what’s to come. When done well, it builds tension and anticipation. Combine this with set up/pay off techniques for maximum narrative impact.
A good example of foreshadowing in dialogue happens in Cloverfield. The characters go to a party at the beginning of the movie, unaware they are in a horror movie. They talk about ‘surviving the night’ regarding overdoing it on alcohol … yet they will all be killed that night in the alien invasion.
B2W TAKEAWAY: Subtext and foreshadowing are next level dialogue techniques. You can’t do them by intuition alone, so make sure you study good examples like the ones above and find more.
5) Dramatic Irony and Monologues
Dramatic irony refers to when the audience or reader knows more than the characters. This is a next level technique that can create emotional engagement and suspense. It’s especially powerful in dialogue, letting viewers spot clues the characters miss. Shakespeare was a master at dramatic irony, with many of his tragedies like King Lear employing dramatic irony.
Monologues, meanwhile, offer characters (especially antagonists or emotionally-charged protagonists) a chance to reveal deep motivations. These are best used sparingly, often at emotional peaks or story resolutions. A good example from a well-known franchise would be Erik Kilmonger in Black Panther. He monologues all his motivations for destroying Wakanda, yet he doesn’t become a ‘comic book villain’ (despite it being a comic book movie!).
B2W TAKEAWAY: Dramatic irony is highly prized in storytelling; those who can do it are considered legends. Also, monologues have their place … as long as they are delivered in a dynamic way at key times in the narrative.
6) Rhythm and Echoing
Rapid-fire dialogue can create pace and tension, show conflict or connection, and express character dynamics. Think of Aaron Sorkin’s walk-and-talks in shows like The West Wing here. That said, there’s no reason a novel can’t do rapid-fire dialogue, or another way of creating rhythm.
Echoing involves repeating specific lines to reinforce theme, character emotion, or narrative beats. Phrases like ‘It’s not your fault’ in Good Will Hunting or ‘I know it’s real’ in Blade Runner 2049 gain resonance when revisited.
B2W TAKEAWAY: Have a purpose for your rhythm or echoing, otherwise it will seem repetitive or weird.
7) Don’t Imitate, Innovate!
The best dialogue doesn’t copy what’s gone before, it pushes boundaries. Know the rules, then break them with purpose. Always ask yourself: ‘Why is this line here? What does it do for my story, my characters, or my theme?’
B2W TAKEAWAY: Next level dialogue isn’t just about sounding clever! It’s about crafting words that MATTER.
