DIALOGUE - A Key (and often neglected) Aspect of Most Scripts

 DIALOGUE – A Key Aspect of Most Scripts

By Lawrence Hughes Stern

As a writer and script analyst, I’ve read thousands of scripts (in all mediums) over the years. Each time I start to evaluate one of them, I am excited to delve into the world that’s been created anew. And while many writers are often accomplished in all aspects of the work, it’s surprising just how often it seems as though the dialogue has been given short shrift.

Sometimes, it even comes across as an afterthought.

This is true of many beginning, new authors – but also even of some screenwriters that have extensive credits to their names.

Why is it that so much time is often spent on creating set pieces, visual life, and elaborate action sequences – but the essential banter and communication between the characters, in all three acts, is not manifested with the same skill, care, or attention? Do writers find this part of the script to be inconsequential or insignificant? Are they merely assuming that their work will be polished and rewritten by someone else once the film is setup? Or, more likely, is this indicative of an even larger pattern that has emerged in so many projects today – writers who have simply lost the art of conversation?

WHAT ARE THEY SAYING?

WHAT ARE THEY CHOOSING NOT TO EXPRESS?

Take a look at this image/scene above of the couple sitting and chatting on the park bench. Notice their body language and proximity to each other. See how they are dressed. Recognize the lack of other people in this photo. There could be a million different scenarios between these people:

• Are they related to each other?
• Are they lovers?
• Strangers?
• Old friends?
• Why are they sitting together?
• Do they have a past?
• Do they want to be with each other?

Sometimes what they say or decide NOT to say is the most telling and significant information being shared. The unspoken and real meanings or intentions are the subtext to these people. And yet, so often in scripts, people have their characters voice all their inner wishes, desires, and choices out loud – killing any sense of depth or mystery or realism with the conversations.

It often helps to imagine and visualize the characters -- and then let them guide you, as the writer, to create their conversations. Once you know who these fictional people actually are, the types of dialogue that can be written are endless. 

Study the next image below:

What do you think brought them here? What is on their mind? How much do they choose to share with each other and what do they keep secret? 

Sometimes what is NOT spoken speaks volumes more than just some trite or unnecessary exchange. But to be clear – what you choose, as the screenwriter to write for your characters to speak, is much more significant and impactful than you might even realize. Each word and phrase should have weight and consequence, in addition to the meaning or advancement of the plot. If lines exist that aren’t essential, compelling, or dynamic – then perhaps you don’t need them at all. And if you can reveal hidden facets and nuances within your dialogue, that’s even better.

Lastly, people often ask how to make the dialogue in a script seem more organic and credible (assuming the story is not in another genre such as absurdist). One of the ways to get a solid education in crafting strong and believable dialogue is to read plays or to do live theater. Acting on stage helps install a true love and appreciation for this art form. 

And if you don’t have a theater background or can’t perform, then here is another tip: read all your characters’ lines out loud! Once you do, I promise you will discover which words are vital, convincing, and organic and those that simply sound written or artificial (and should be rewritten or cut out altogether). 

Be a performer at home and listen to the beauty and power of the words.

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Lawrence Hughes Stern is an award-winning writer, represented in Los Angeles at Innovative Artists.

He just had his fifth screenplay optioned and currently has two film projects in active development.

In addition to his own writing career, he has worked for many years at top talent/literary agencies in LA, film companies, and writing contests as a script analyst/judge.