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    Great Dialogue-2: Saswg July 2012

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    This document discusses techniques for writing great dialogue, including focusing on what characters are not saying through subtext rather than just what they are saying. It provides examples of both on-the-nose and subtextual dialogue, and lists different tricks that can be used like zingers, lists, reversals. The document also discusses making each character's voice distinct and keeping dialogue subtle, emotional and realistic.

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    Great Dialogue-2: Saswg July 2012

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    cecunn
    18 views11 pages
    This document discusses techniques for writing great dialogue, including focusing on what characters are not saying through subtext rather than just what they are saying. It provides examples of both on-the-nose and subtextual dialogue, and lists different tricks that can be used like zingers, lists, reversals. The document also discusses making each character's voice distinct and keeping dialogue subtle, emotional and realistic.

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    Great Dialogue

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    Great Dialogue2

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    This document discusses techniques for writing great dialogue, including focusing on what characters are not saying through subtext rather than just what they are saying. It provides examples of both on-the-nose and subtextual dialogue, and lists different tricks that can be used like zingers, lists, reversals. The document also discusses making each character's voice distinct and keeping dialogue subtle, emotional and realistic.

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
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    18 views11 pages

    Great Dialogue-2: Saswg July 2012

    Uploaded by

    cecunn
    This document discusses techniques for writing great dialogue, including focusing on what characters are not saying through subtext rather than just what they are saying. It provides examples of both on-the-nose and subtextual dialogue, and lists different tricks that can be used like zingers, lists, reversals. The document also discusses making each character's voice distinct and keeping dialogue subtle, emotional and realistic.

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    Great Dialogue-2

    SASWG JULY 2012


    Michele Ryan

    Recap from what we learned last month:


    Writing great dialogue requires a change in how we think
    about it.
    Shift your mind from words spoken to reveal something to words spoken to hide something: Its not
    what they are saying but what they are not saying that is important.

    Avoid the common pitfalls, see last months slides


    Give each character a distinct voice (speed, pattern, intellect)
    Substitute common words with words that reveal character
    Yes vs. You Think? (Shows sarcasm)

    Consider the listener.


    People speak differently to different people depending on their relationship

    Subtlety is KING
    Always better to say it indirectly or with subtlety

    Keep it real. People speak differently than is usually written.


    Short, incomplete sentences, broken thoughts
    Read court transcripts or other human dialogue records to get a feel for it

    Great Dialogue isEmotional, Individual, Subtle, Sub-textual

    On-the-Nose
    vs.
    Sub-textual

    On the Nose
    Saying exactly what you mean
    Explains what they are doing
    Explains plot elements in detail
    Example:
    Context- Man and woman meet in an airport hotel lounge
    Man- You are beautiful and I see you are also frequent flyer. If we have this much
    in common, maybe youll have sex with me.
    Woman- I am a frequent flyer, and beautiful too. But Im also smart and youll
    have to earn the right to have sex with me.
    Man- My name is Ryan and I think I am in love.
    Woman- I like you too.
    Man- So now Im going to try to impress you enough that you will want to have
    sex with me.
    Woman- You need to prove you respect me first.
    Etc, etc.

    Subtext
    Indirect, not saying what they mean
    Full of implications, leaves it up to you to fill in the blanks
    Example:
    Context- Man and woman meet in an airport hotel lounge
    Play Video

    Exercise:
    Context- Man behind counter, Woman with sweater= man of 2 lines each
    On the Nose- together

    Sub-text individually

    Tricks for Great Dialogue


    (see emotional impact book on our website for details)

    Zinger
    Push-button
    Comic comparison
    Comic double meaning
    Wit
    Draws attention
    Exaggeration
    Understatement
    Going off on a tangent
    Inappropriate comment or
    response
    Interruptions
    Lists
    Metaphors and similes
    Parallel construction

    Progressive
    Reversals
    Setup and payoffs
    Trigger word or phrase
    Unexpected response
    Visceral
    Echoing
    Twist on a clich
    Yes / No alternatives

    Twist on a clich
    From Lethal Weapon(summarized)
    R- Ph by the way- Guy who shot me?
    M- Yeah
    R- Same guy who shot Lloyd
    M- You sure?
    R- I never forget an asshole.

    Lists:
    From Erin Brockovich (summarized)
    G- Can I get your phone number?
    E- Which number do you want, George? I got numbers coming
    out my ears. How bout ten?...And heres another; five. These
    are the ages of my daughters. Seven is the age of my son, two
    is how many times Ive been married, 16 is the number of
    dollars I have in my bank account, 555-3973 is my phone
    number and out of all the numbers I gave you, Zero is the
    number of times youre gonna call.

    Social Network
    How many different styles can you hear in this clip?

    Play video

    TIP:
    Write your first draft on-the-nose if you need to. Then
    schedule one entire rewrite to focus only on adding
    subtext and improving the dialogue.

    Rewrite Challenge
    1. Cover the name of the characters, can you tell who is
    talking?
    2. For each scene, try a different type of the Great
    Dialogue techniques.
    3. Read through your backwards, reading only dialogue for
    one character. Make sure speaking is needed and within
    character.
    4. Give each person a very specific pattern, rhythm,
    vocabulary.

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