| One of the most difficult parts of writing a great | | | | Great." You know she's really thinking that you just |
| screenplay is creating captivating dialogue. The | | | | suggested something really stupid. |
| primary reason is because dialogue is not real-life | | | | One of the best examples of subtext comes from a |
| speech. It might sound like it when you hear it on the | | | | great book by David Trottier called "The |
| screen, but if you really focus on what the | | | | Screenwriter's Bible." In it he refers to a scene from |
| characters are saying you'll realize screenplay dialogue | | | | the classic movie, "Double Indemnity." In the movie |
| is much more focused. | | | | Fred McMurray is an insurance salesman who uses an |
| With that in mind there are some very key elements | | | | automobile metaphor to express his interest in |
| to writing the kind of dialogue that can move a story | | | | Barbara Stanwick. She says, "There's a speed limit in |
| along by creating the right atmosphere and shaping | | | | this state, Mr. Neff. Fifty-five miles per hour." He asks |
| the story without just telling the story. | | | | how fast he was going. She replies, "About ninety." |
| Dialogue Needs to Convey Emotion, Not Explain it | | | | To which he says, "Suppose you get down off your |
| When you first reflect back on a movie you've seen | | | | motorcycle and give me a ticket." She responds, |
| you will likely see the image of the characters on the | | | | "Suppose I let you off with a warning." Now that's |
| screen. You may think about the dialogue later on, | | | | some hot and steamy subtext. |
| but you won't necessarily remember the words. And | | | | Two Ways to Improve Screenplay Dialogue |
| that is why one of the most important parts of | | | | Writing interesting, meaningful dialogue is not an easy |
| writing dialogue is to remember to keep the lines | | | | task. However, you can help yourself out with these |
| short. | | | | two methods. |
| One of the most difficult parts of screenwriting for | | | | First, after you have written your dialogue, rewrite it. |
| new writers is creating dialogue that evokes emotion | | | | Look at the words and see if you can alter them to |
| and moves the story along without over explaining | | | | make them more interesting or eliminate any words |
| the plot, called forced exposition. Forced exposition is | | | | to make the language more concise. Instead of |
| where a character tells the whole story or explains | | | | stating the obvious, "Shoot her so I can shoot you," |
| the action, like what some older crime dramas (think | | | | try something clever, "Go ahead. Make my day." |
| "Murder She Wrote") have the crime buster do at | | | | The second tip is to read your dialogue out loud. |
| the end of the story. They sum up how the bad guy | | | | Listen for how it sounds. Does it flow off your |
| was caught. It's not particularly interesting writing. So | | | | tongue naturally or does it sound awkward? Does it |
| instead focus on writing short, crisp dialogue that | | | | move the scene along and reveal something about |
| cuts to the chase and delivers the right amount of | | | | one of the characters or could it be eliminated and |
| information. | | | | not affect the story at all? |
| However, writing good dialogue is not just about | | | | The whole idea is that screenplay dialogue should be |
| keeping it short. It's also about communicating the | | | | as creative as the story idea and should enhance not |
| ordinary in a unique way. You do this through | | | | detract from the action. Master concise, interesting |
| subtext. It's the meaning hidden behind the words. | | | | dialogue filled with subtext and you'll be writing great |
| It's like when a friend rolls her eyes and says, "Yeah. | | | | dialogue for your screenplay in no time. |