#how to write natural dialogue

[3hks]

How to Write REALISTIC and SMOOTH Dialogue

In a story, dialogue is quite important, it helps the readers paint a picture of what's happening and the characters themselves. However, it can be difficult to avoid the unnaturalness and choppiness that comes with a lack of experience. But luckily, I have put together A LOT of advice on how you can get over that rockiness and improve!

*** KEEPING YOUR DIALOGUE REALISTIC, AND PACING ***

>> Keep your characters in character:

Dialogue is a remarkably quick way for readers to determine your character's personality. Thus, you want their speech patterns to remain fairly consistent so the audience won't get confused. If your character is more serious, then they will use less slang and perhaps a more impressive vocabulary. If your character is more relaxed, they will use more slang and compress the words. (such as "dunno," "kay," "y'know," etc.)

Basically, you want their tone to match their traits so the way that they talk is more realistic and personlized to themselves. If the way all your characters speak is the same, there's something wrong. A strong tip is to put yourself in your character's shoes and imagine how they would respond!

>> Take the situation into consideration:

This is another part of keeping your characters in, well, character. Different emotional situations will have a different effect on separate people, so make sure that you have an idea of how your character will act during stressful, irritating, and sad times.

If your character is normally cold, they will struggle if it comes to comforting other people because they have less experience in that field.

>> Don't take too long with their words:

Unlike when narrating something, most people talk just to get the idea across. They will be more specific and quicker with what they say. (This excludes any character who likes to talk a lot.) Unless it's on purpose, they won't dance around the topic. Think of when you casually chat with your friends; you're pretty unlikely to use certain words and/or phrases that might be common to use while narrating.

If you want to explain something complicated, instead of writing out a paragraph of just one person talking, use a question-and-answer prompt! This is where another character continuously asks related questions that get answered by another person, so you can indirectly reveal your explanation.

*** HOW TO WRITE A SMOOTHER CONVERSATION AND DIALOGUE TAGS***

>> Having a variety of dialogue tags:

This is a pretty basic thing to look out for if you're new to writing conversations. Using words like "said," every other sentence can easily make it feel choppy and robotic. Instead, use words like "murmured," "smirked," etc. to paint some emotion into their words. Additionally, vary the location of the dialogue tags! They don't all have to go after the statement, you can include something in the beginning or even the middle, too!

Examples:

Beginning - She tilted her head, "What are you talking about?"

Middle - "Oh," he blinked, "I actually never thought about that."

End - "Wait up!" She exclaimed loudly, waving her hands around.

>> Using no dialogue tags to create a smooth conversation:

Having too many tags can also overwhelm your reader--remember, sentence variety is a crucial part of writing--so you can always drop them if they're unneeded. This applies when your characters (two is the suggested amount) are talking back and forth in a pattern straightforward enough for the reader to understand who's talking without it having to be labeled.

Dropping dialogue tags in these moments can create a smoother atmosphere during the conversation because the reader only has to focus on the talking present.

*** USING SLANG, STUTTERS, FILLER WORDS, AND PAUSES ***

Human speech is often not perfect; when talking, we often make mistakes such as filler words, grammatically incorrect phrases, etc. Hence, for more natural-sounding dialogue, it's important to incorporate some of these.

>> Pauses and stutters:

When reading dialogue, we read it at a steady pace unless it's written otherwise. However, that steady pace can soon get too robotic and too smooth. Luckily, there are several ways to change this! You can use dialogue tags, (ex: she quickly spoke) commas, and ellipsis (...). These are often integrated when the character is hesitant, nervous, answering something, or when they need to admit something. The same idea applies to stutters--they're mainly used to demonstrate anxiousness, which can be found in varying situations.

>> Filler words and slang:

Filler words can really just be used where you see fit. They may be used in the situations I previously mentioned (because it shows someone stumbling over their words) but it's ultimately up to you!

Slang, just like everything else, should not be used too often, or it will seem forced and exaggerated. The point is to sound natural, and increasing amounts of repetitiveness can ruin it. It's also important to remember that in real life, our conversations move slower; when someone speaks, another person usually doesn't respond quite literally, right after. However, in writing, dialogue can actually often seem that way, which is why using tags and these imperfections of speech is pivotal for building a realistic conversation!

*** CONCLUSION ***

Lastly, a key point when writing dialogue is to ALWAYS read the conversations! Whether it be in your head or out loud, it can often help you catch anything that seems off! Additionally, like I mentioned at the very beginning, write dialogue from your character's perspective! Imagine yourself as them and how they/you would talk. Try to keep your dialogue tags, sentences, and word use varied to create a natural conversation!

If you were struggling before, I hope that this (extra) long guide was able to really offer you some insight and useful tips! If you read this far, thank you!

Happy writing~

3hks <3

[theyarewrestling]

Dan and Phil, The Blair Witch Project, and taking back agency.

In their latest video, «DanAndPhilCRAFTS - Slime» Dan and Phil have made a very clear homage to the 1999 found footage film «The Blair Witch Project» directed by Daniel Myrick and Eduardo Sanchez. The movie tells a story about a group of students, who travel to a small town in order to film a documentary about a local legend. In the process of filming, however, they get lost in the woods and never make it out of there, being haunted and then presumably killed by the witch. In this essay I am going to analyze how the visual narrative is structured in both films in relation to one another, the way «Slime» differs from «Blair Witch» and how that difference conveys the shift in Dan and Phil’s public presence.

Let's start with imagery associated with the paranormal in both films. In Blair Witch one of the signs of the witch's presence become the "dolls" made out of sticks. They are filmed by the characters, who are naturally freaked out by the dolls appearing seemingly out of thin air, signaling the presence of the dangerous and inhuman Other.

Dolls are also used in Dan and Phil's video, the main difference being that the pair are not haunted by the paranormal and unexplainable Other, no, they willingly put the dolls there, they are taking active steps in bringing about their own doom.

While in «Blair Witch» the dolls are placed ominously in between tree branches, filmed from below to make them look like they’re floating above the camera, being forces of a power that the characters ought to be afraid of, in «Slime» the dolls are nailed to a steady surface at camera-level, and while they do provide an unnerving atmosphere, they are not a danger to the characters, at least not a danger they’re not aware of.

The same can be said for other "occult" imagery and artifacts. While in «Blair Witch» the characters finding strange symbols and even bloody remains in the forest strengthens the tension and suspense, signaling the close presence of the witch, in «Slime» all of the unnerving, "occult" and "satanic" exists under the characters' control. Dan draws the symbol on the wall himself, the animal skulls are presumably also brought in by the characters. Instead of being signs of danger, uncontrollable, they are merely tools in the hands of the pair.

The interior of the shack where the students meet their end in the 1999 film is filthy and decaying, which only strengthens the fear within the characters and us as the audience. It is filmed using close up shots which show the shack in it's decrepit and unnerving state. The shack that Dan and Phil's video is filmed in also seems abandoned from the interior, it is broken down, dark and dusty. However, instead of being mortified, like the characters of «Blair Witch», they occupy the space quite comfortably. Instead of being haunted by the building, they become the ones who haunt it, once again taking back control of their own demise. The interior is filmed at strange angles, almost reminiscent of German Expressionist films, in which the odd angles conveyed the detachment from reality and perpetual insanity, which in Dan and Phil's case could be used to depict the pair's descent into madness which leads them to their ritual.

Nature plays a crucial role in «Blair Witch» as the witch herself is never shown. The characters are "surrounded" by the unnerving dark trees, which presumably hide the horror that is never allowed to be seen directly.

Dan and Phil make an obvious homage to that with their shots of the trees, however there is a major difference. While the shot is still desaturated and somewhat unnerving, the flowers on the tree are in bloom, symbolizing a new beginning and the hope that comes with it. The new "life" that is going to happen after the pair summons Baphomet.

In «Blair Witch» Heather's final message is a long shot filled with pure fear and desperation. Dan and Phil's shot mimicking it is almost unnecessary as it lasts only a few seconds, however in those few moments it manages to showcase the pair as a unit, they are calm and in the process of their ritual, determined to bring it to fruition. While Heather is left alone in the dark forest in which she will die, Dan and Phil are not alone: they are in this together, they are a team. If they die, it's because they chose to do so. "Creativity is nothing without friendship".

Now for the infamous "Blair Witching it in the corner". In this memorable scene from the 1999 film one of the students is stood in the corner facing the wall. Heather and the audience both know that, according to the Blair witch mythology, this position is a prelude to being killed, as that is how the murderer, who was persuaded by the witch, used to place his victims, for he couldn't bear to look them in the eyes. This face-to-the-wall position conveys pure helplessness at the hands of the persecutor. In «Slime» there is a scene that makes an obvious homage to the «Blair Witch» scene: Phil is stood in a dark corner of a room, the shot is in black and white. There is, however, a stark difference: Phil is facing the camera. With just this one change the scene no longer feels like a display of helplessness. Phil is looking straight at us, he is not a victim at the hands of unknown horrors, he is in control.

The way the "monster" is presented in both films differs significantly. A big part of the horror in «Blair Witch» is our inability to ever see the witch herself. The "monster" not being shown to the camera is a trope as old as low-budget horror: it helps build suspense and also hides the lack of budget. In «Blair Witch» the rapid movement of the camera also makes it feel like the horror is too great for a human mind to comprehend, too great to be caught on camera, Lovecraftian in nature.

The 1999 movie starts with the characters interviewing Blair locals, who tell the characters and us, the audience, the legend of the Blair witch. The witch was sentenced to death for practicing witchcraft, so she haunts those who try to disturb her peace. Here we can make the connection between those persecuted for "practicing witchcraft" aka being Other with being queer and being othered and, historically, persecuted for it.

This interpretation correlates well with the fact that the "monster", in this case the devil Baphomet, is present in «Slime». More than that, Dan and Phil actively seek him out. In the final scene of the short film, Baphomet has his arms around the pair, claiming them. The characters are willingly allying themselves with the Other. Dan and Phil see the "monster" and yet they do not run away, instead, they worship him. In the theme of reclaiming your agency, this could symbolize coming out, proudly and purposefully becoming part of the Other.

They are doomed from the start, but they are not helpless victims of the Other, scary and unknown, they are the ones bringing about their own doom. This is taking your agency back, and I feel like this narrative rhymes really well with Dan and Phil's current presence on the internet. While the early years of their careers were filled with public speculation and being stripped of their agency, something that "was just theirs" being scrutinized by the public, which definitely affected the way they had to behave, their current self-described "chaos era" is very different. They no longer make the effort to pretend to be anything they're not. They are the ones in control of the narrative, keeping their private life private, while also sharing way more openly and freely, knowing that we know and not really caring about the public's perception, as post coming out they have taken the power and agency back into their own hands.

[violinist-rachel]

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[bokatan]

15 lines tag game

thanks for the tag @bury-me-standing! no pressure tags for @fuzzydreamin @buthappysoverrated @wishbonemotel @fablewritesnonsense & anyone else that wants to join in! Rules: Share 15 or fewer lines of dialogue from an OC, ideally lines that capture their character/personality/vibe. Bonus points for just using the dialogue without other details about the scene, but you’re free to include those as well.

Reed:

“Got a bit tied up- not literally- had to sort something out that couldn’t wait.”

“This is disgusting, by the way.”

“Like I said- I’ll tell you everything after it's all been handled.”

“What, so I can watch you hack up a lung when you make me share it?”

“Why’s it matter to you?” 

“Don’t worry about it.”

“Look, are you gonna fuck me or not?” 

“I won’t be able to complete this mission exactly as you’ve ordered, but if you’re willing to be lenient-”

“If you lose a finger, I’m not helping you get it back.”

“Fuck- Margot nee, loslaten!” (No, let go/“out” command) 

“See? Told ya- easy job.”

“I don’t think it’s kicked in quite- never mind, there it goes.” 

“Yeah? Did the ghosts tell you that?”

“If you don’t believe me, you can ask their errand boy.”

“Fine, whatever, I’m not arguing about it.”

[jankwritten]

i think one of my biggest gripes with TSATS is the sentence structure and the way that things are phrased.

Sentence structure: the book is CONSTANTLY using ", and", or "then", or "but" instead of splitting up a phrase into two separate sentences. Once I noticed it, I couldn't stop noticing it. In some places it works fine, but right out the gate, as the first line of chapter one, it 1) caught my attention in a negative way and 2) felt immediately clunky and awkward.

The way that the book demonstrates action also feels unnatural and doesn't flow as well as it could. Things are described as happening "now", such as when Kayla takes her lolipop out of her mouth and holds it at her side, the book narrates it as "now holding the lolipop at her side". We didn't SEE that action occur, we're just being described the RESULT of the action, does that make sense? As a reader, you want to SEE the action, you want to SEE her tug the lolipop out of her mouth, see her hand hang by her side as her expression pinches with anxiety over the discussion. We don't want to just be told that "now" her lolipop is out of her mouth, y'know?

There are also sentences that just feel flat out unedited, phrases that have too many words for what they want to accomplish, or with a structure that doesn't make sense - like on page 56, the sentence "They raced up the steps to the platform, Nico easily outrunning his boyfriend, though that was mostly due to Will having to get his land legs again."

First of all - why are they running up the platform? In the previous line, where we're told their cab driver got them to the station with 6 minutes to spare, the specific choice of saying "to spare" makes it sound like there is plenty of time to make it to their train. In the sentences after, we even learn that Nico and Will wound up waiting for their train anyway, so, the fact that they're running when Will feels sick reads...weird, to me. If I was car sick, and then somebody forced me to run for no reason, I would not be a happy camper.

Second of all - The addition of the final third of the sentence, after the second comma, should be it's own phrase. It should be given it's own space, like "(though that was mostly because Will didn't have his land legs back yet)." because it's not important information, just an offhanded comment Nico is making.

Third of all - "though that was mostly due to" and "having to get his" are clunky and wordy. It could've just been "Nico easily outrunning his boyfriend, who didn't have his land legs back yet." It's a smoother sentence that doesn't get bogged down by the extra words.

And that's just one instance. This book is LOADED with moments like this, where action will get lost in a sentence's wordiness. The book tries to be quick and snappy, in Riordan's style, but it fails because it can't quite nail down the phrasing.

There are also moments where the only thing the characters are interacting with is each other, only grinning, grimacing, sighing, glancing at one another, etc etc, instead of doing actions while they speak. Fidgeting with their hands, shifting from side to side, looking away at their surroundings, that kind of stuff is how you convey a MOOD. Body language is important when writing character conversations!! Is somebody relaxed, or are their shoulders tensed up, arms folded across their chest with their muscles flexed, leaning back on one leg with their body halfway tilted away, as if they were ready to flee at a moment's notice? These are the kind of details that I'm missing in TSATS, the kind of things that feel like they're missing.

I also have a lot of gripes with the dialogue itself.

People don't talk like they do in TSATS. The content of what they're saying is realistic enough, sure, yeah, but the specific way that a lot of the dialogue is phrased? It doesn't feel natural. Try reading some of the sentences out loud without editing any of the words. It doesn't sound the way a human being SPEAKS.

THAT'S what I mean when I say these characters are OOC. The way that they're speaking is uncomfortable and feels as if they're being used as a puppet, or a mouthpiece for what somebody ELSE wants them to say.

[absensia]

when talking about the challenges of writing and the journey of improving as a writer, something I notice in myself is how it can feel like there's a wall between myself and the character I'm writing, not because I don't know them well enough to write them, but rather, because I know them too well and so (especially in the context of roleplay where you are responding to a potentially novel and unexpected situation) there's just this knee-jerk knowledge of how Char is going to react/what she is going to say/what she is going to think, without me really having to think about it too much, and that feeling... that reflex of just knowing what Char is gonna do, can be hard to trust sometimes, tbh.

[chicknparm]

I love writing fights, arguments, conflict. I love putting together a verbal fight scene. I love making characters try to out-cruel each other.

[fg083nrt]

What ships from Naruto do you like, except Kakuhida? I'm asking out of curiosity :)

Also your art makes me want to eat tables!!! RAAH!!!!! (/pos)

This is a surprisingly loaded question because I have so many and some of them span for almost 20 years now.

Also, as usual, disclaimer, since I've seen all the ship wars and holywars, THESE ARE ALL PERSONAL OPINION. PERSONAL OPINION ONLY.

(endless yapping below the cut)

In the past:

My first ship when I was 12 was Pain/Konan, and I think that was the first smut I've ever read like period. I was a big cheerleader of Hinata and Naruto/Hinata because I liked that Hinata just minded her business and stayed in her lane while everyone else was going thru shit (Team 8 had the best work-life balance, I think, they just clocked in and clocked out, no shenanigans). Obviously, Temari/Shikamaru and I loved Neiji/Tenten. I think as a kid these were like really fun dynamics. Once the anime reached the Akatsuki I was all over the Akatsuki LMAO.

But now, as a grown adult, I am almost 99% just KKHD, and Akatsuki ships are like the default absolute truth to me, but recently, I've been obsessed with more Naruto Yuri.

Love Ino/Sakura for that double-income spy who owns a secret flower shop/doctor dynamic; it's just nice. Like I am a firm believer that they could have solved their differences by scissoring or something. Also like, I think their backstory is like an insane missed opportunity (but what's written cannot be unwritten, so whatever) because these pages made me feel like I was reading some kind of josei backstory. Like, go ahead and read these pretending this is not from Naruto, and tell me where do u think this could be from.

Like "pussy from a girl who treats you like a small stupid animal (good until psychic damage hits)"

Like, I would be like, this is either a shoujo manga, or the next page is older Sakura crying in the kitchen with a photo of Ino or something, and then by the end of the story, they, like fuck in the field or something while Sakura is like "I can't believe my toxic female friend from school has 4 fingers up my pussy!", but this could just be projecting, but I still like the ship. On a serious note, Sakura being a crybaby who was picked on would have been a fun opportunity to play with her character and create more empathy for Naruto within her, but her role was more like tying the two characters together, which worked well, but lots of people were salty, but it pushed people to support her character more so it evens out.

Tsunade/Shizune is like my next super fave, especially after rewatching the Tsunade arc. Tsunade's character is just so well done when it comes to how people cope with grief by doing destructive things, I loved it; Kishimoto is fantastic at mature story beats like this weaved between magical ninja fights. But yeah I loved their dynamic like Shizune is essentially her attendant/pet girl/assistant who is extremely loyal to her, but also nagging in a way and also Shizune is just very animated and kinda dorky while Tsunade is a calm mommy- sorry a mature rich woman of status who needs to be taken care of (nearly blacked out writing this). Their back and forth is just chef kiss, too. Honestly, I think that's my favourite Naruto arc; the first part of Naruto is great when it comes to mundane details that I now have more appreciation for.

Their auntie banter!

GODDDDD THAT WAS SO LIKE IT HURTS SEEING OTHERS LIVING THE LIFE YOU DREAM OF

And obviously still love Temari/Shikamaru! I loved that Shikamaru was always very tsundere and going on about how much he hates girls, but deep down is actually like, "Me when a bad bitch tells me to do anything." it's a satisfying way to play with his "character flaw". Seeing him go soft on Temari was like a mini character arc within his already happening character arc during Sasuke's pursuit, like we saw him grow up twice, great stuff!

The entire chapter 235 is just an amazing growth for Shikamaru in elevating the like "men/women" way of thinking to like "what makes a person who they are" way of thinking I really love that. The character is also a great reminder for those afraid of failing btw.

Kakashi/Iruka is my fave, 50% from a historical standpoint; the fact that you can find Kakairu fanfic on Geocities from 2001, and I have some doujins in my collection that are more than 20 years old now is fascinating to me. Love how incredibly loyal the Japanese fans are to Iruka; these guys were holding onto hope for so many years till the Pain arc and then, boom, Studio Pierrot's final Naruto arc!!! It's just incredible fandom history. I love that kinda stuff, love the ship itself too, it's very homey to me, some of the legendary fic they had was fantastic, like entire book's length, incredibly loyal fans.

[hythlodaes]

honestly i find it harder to write dialogue than setting descriptions,, like i’ll rewrite a conversation ten times and still be like. this sounds so awk! let me talk about the light instead!!!

[briefcasejuice]

"i hate that song. hate that entire album." "someone's typing." "is there blood on my face?"

daredevil #26 (2002)

[celestial-toys]

been laying here listening to Lucky by Dermot Kennedy on loop for half an hour while thinking about Everything Stays and crying

[icewindandboringhorror]

I think the hardest thing in writing for me sometimes is the like “show don’t tell/let people communicate through subtext/Normal People don’t just walk around openly explaining their motivations for everything That’s Unnatural” thing because like.. I literally DO walk around openly explaining my motivations for everything, that is how I talk, I am an analytical detail oriented over-communicator who explains everything as thoroughly as possible and and will give a fully detailed 2 minute long answer to something simple like “how are you doing today?” .. like it’s hard to make things sound Natural and Normal when you yourself are inherently unnatural and abnormal in your methods of communication to an extent lol

[s0fter-sin]

i think the worst part of the way i write is when something’s close to done, it feels like i’m just plugging holes instead of polishing it off? i write completely out of order, generally with dialogue first and it ends up feeling like “okay it’s been a few lines, add some body language, now an environment change, now an observation” and it feels stilted and disconnected. i mostly end up fixing the flow but man does it make finishing and editing drag on

[moonsidesong]

What are some of the smaller details about crush as a finished product that you tend to look back on? Smaller details maybe like how you ended up pushing a character in a different way than expected initially, or maybe some moments you realized you might have went out of character?

oh a character ending up way different than initially expected is an easy one. the way Three was portrayed at the start of the blog vs the ending is honestly a pretty stark difference that I think about sometimes.

I think at the start i hadnt given it a whole lot of thought so she really was just like, the personality type of "ooh im so brooding and edgy im like SHADOW from HEDGEHOG" but i think after a little while that sort of evolved into like... a genuine affection/soft spot for shadow the hedgehog (in a "comfort character" type of way), which eventually led to her having a love for the sonic franchise as a whole.

at the same time, when she and Four became more integrated into the blog, i didn't really want her to just be the one that just, like, everyone was intimidated by? so i ended up writing video games to be something Three and Four bonded over, and started to portray three as much more of a softie who cares about her friends more than she first appears to.

it wasn't long until those aspects just transformed Three into a very sweet and compassionate person that just had a somewhat blunt personality and a bit of a flat affect. the autism coding wasn't intentional at first i admit, but i was really conscious of it when people started to tell me they related to her personally or they reminded her of someone close to them.

three is very special to me and it makes me happy that so many people loved her too.

[petrichorium]

Been picking away at a lil drabble abt spitting in jing yuan’s mouth and u would be So surprised how hard this is

[kissatoru]

pouring blood, sweat and tears into this levi fic... i will actually pass away if it flops...