Effective Dialogue:

Effective dialogue sounds natural. It conveys the sense of real speech, but is more structured than the meanderings of daily speech. Effective dialogue is more economic and direct than real-life conversation. It moves definitely more quickly. The tone of dialogue is obviously conversational-as opposed to literary and theatrical. Its rhythms and diction seem more naturalistic than stage dialogue.

Implicit Dialogue:

In film, words are used for their implicit rather than explicit meaning. What is important in dialogue is the meaning being conveyed in the circumstances of the scene, no the literal meaning of the words used. What is left unsaid can be as important as what is said. Try to avoid the on-the-nose dialogue. On-the-nose is derisive phrase that refers to dialogue that is too blunt, direct, explicit. While this may seem like a good way to get a point across, it can restrict audience participation in identifying what is going on behind the words. Your dialogue will be stronger if you consciously try to avoid writing on-the-nose dialogue. Underwrite rather than overwrite. Be subtle rather than heavy-handed. And go easy on the adjectives; they can overload the intended meaning.

Individualized Dialogue:

Dialogue should fit the character-their mood and emotions in the particular situation. It should have the rhythm and individual form of expression typical of the character. Dialogue should sound like the character and not like you the writer. Character's speeches should also differentiate the characters from each other. See if you can identify their dialogue styles and rhythms, their voice patters, their favorite words and expressions, and their non-verbal means of communicating.

One way to individualize characters is to give them favorite expressions and dialogue styles. Try switching some dialogue around. Imagine one character's lines being spoken by another character. If speeches can be switched without any problem, they probably aren't individualized enough.

Credible Dialogue:

Dialogue fits the situation and emotion of the moment. In a time of emotional stress, a character will be less coherent, less able to speak in concise, formal prose. Consider the following:

1. Context and Intention-Meaning in dialogue is dependent on both the context in which it is spoken and the intent behind the words.
2. Underwrite-Dialogue is best when underwritten and understated. We can get turned off by characters spouting platitudes or being excessively melodramatic.
3. Avoid Cliches-Try to avoid tired truism and cliches. They are attractive as shortcuts to quickly convey meaning, but they are also stale and will give your dialogue this same feeling.
4. Subtext-What is important is what's being communicated-the meaning being expressed. In film dialogue, as in life, the actual meaning often lies beneath the surface meaning. This is the subtext. It may be intentional, it may be unconscious, it may be a hidden agenda that the character is trying to cover up.

Dialogue Techniques:

Voice-Over Narration-This is sometimes used so set, unify and illuminate the story. It can supply a certain objectivity if the narrator is not a character or a personal touch if the narrator is a character.

Offscreen Dialogue-Much can be done with offscreen dialogue. At its simplest, it merely conveys the presence of another character, but it can also be used more stylistically.

Overlapping Dialogue-We usually think of dialogue as alternating between characters, but dialogue can also overlap, producing rhythmic, realistic effects or a comic feel.

Modifying Distance-The way in which we hear dialogue doesn't have to approximate the distance we are from the speakers. Sometimes we see the characters in very long shots while their dialogue sounds as if they were nearby.