You can argue that in movies, regardless of genre, it is the action, rather than the dialog that moves the plot along. While this is true in some respects, the importance of dialog can’t be overlooked, and it is also one of the most difficult things for screenwriters and filmmakers to add to their scripts.
Here is some basic dialog advice to keep in mind when you are scripting your next Academy Award winner:
Dialog should show, not tell. You’ve heard this old adage before, I’m sure. Show-don’t tell when writing. Don’t say “the room was a mess,” describe the piles of paper, overflowing trash can, and half-eaten birthday cake on the kitchen table that makes the room messy. The same is true with dialog Here is an example.
JOHN: What’s the matter?
MARSHA: I’m angry, John
JOHN: What’s the matter?
MARSHA: How can you even ask that question after what just happened? I can’t believe we’re even having this conversation!”
Of course, this doesn’t mean that you can’t ever have Marsha simply tell John that she is angry, but you should try to convey this emotion in your dialog without actually naming it whenever possible. In a movie, this can also be accomplished by non verbal cues like crossed arms and glaring.
Dialog should be true to the character. Your characters can’t all sound the same—each one of them should have their own way of speaking, their own vocabulary, and their own syntax—just like real people. If your main character is a cattle rancher, for example, he or she probably won’t speak like a Valley Girl. (unless this is part of your plot) Your characters should not sound like you; above all else, at least not all of them should sound like you.
(In this example, John is a 43 year-old English professor and Marsha is an eighteen year-old student in his class)
MARSHA: I really need this extension, Professor Smith.
JOHN: I understand that, Marsha, but the policy in the syllabus is very clear
MARSHA: Yeah, for people who aren’t coping with a totally tragic loss like I am. I’m going through a loss, Professor Smith, a traumatic event.
JOHN: I’m sorry to hear that. Is it someone in your family?
MARSHA: No, my parents didn’t die or anything. It’s my. . . my fish
JOHN: Your fish?
MARSHA: Yeah, see my roommate Marissa and me got this fish from the carnival, and we took him home and all of his scales started falling off and Marissa thinks that maybe he’s lonely, so we have to go get another fish from a pet store and. . .
JOHN: What exactly does this have to do with needing an extension on your final report?
MARSHA: Well, I can’t concentrate on my work when my poor little fish is suffering, can I?
Even without the names to help you, you probably wouldn’t have any trouble figuring out which one of the characters was talking, would you? That’s the power of dialog, and as it is with most things, practice makes perfect, so if you feel like dialog is your weakest point, practice writing the same scenes with different characters, concentrating on conveying their emotions and unique personalities through the vocabulary, grammar and syntax that you choose.
Until next week, good luck and happy scripting!
Meredith Treinen Video scriptwriting dialog tips, scriptwriting dialogue tips, scriptwriting tips
