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Screenwriting Snacks: Editing – 5 creative editing methods for dialogue

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Dialogue can be one of the hardest things to improve, because we write how we think we sound. So anything goes, right? Not really… Reading out loud can help identify unnatural-sounding dialogue and intonation – what we hear in our heads doesn’t always work out when spoken aloud. But this isn’t enough – in order to write economical yet distinctive dialogue, you have to think outside the box. Consider:

 

  • Dialect. We don’t want too much of it, because it can slow the pace for the reader and/or be very confusing for them to understand. However, small bits of dialect can really help distinguish between characters. 

 

  • Nicknames. Don’t start every piece of dialogue by stating the name of the person you are talking to. However, do consider throwing in the odd nickname if the personality of your character warrants it. Think of LOST. Sawyer doesn’t say “Kate” every time he talks to her. But he does occasionally call her “Freckles”.

 

  • Habits. To be fair, it’s a bit annoying when, like, people say words/phrases, like, all the time when they speak. But to be fair, everyone does this kind of thing. Perhaps give one of your characters an annoying trait like this… But don’t go overboard with it, lest you inadvertently annoy the reader!

 

  • Subtext. Often, saying what isn’t meant is the best way to get across what is really meant. Our lazy character gets all worked up over unattended washing up or a missed appointment? What does that really say about our character’s state of mind, or how they feel about the person they’re aiming their frustrations at? It’s better than having them spell it all out via expositional dialogue. Additionally, try not to fall into the trap of the whole “my friend’s got this problem” spiel when they’re patently talking about themselves. Be creative with it.

 

  • Cutting dialogue by half. Take what you’ve already written, and condense it. Can you say what you’ve already said, but in half the words? Can you cut out ellipses, beats or hesitation words?

 

Don’t forget to check out my column in the magazine for more in-depth topic analysis/discussions, and if you have any questions at all (or require any help with your own scriptwriting) please feel free to contact me via my Writesofluid website (www.writesofluid.com).

If you want to be a part of the film or TV industry, then London Screenwriters’ Festival is THE place to be to learn how. Get a massive £31 off this year’s LSF using my discount code: SOFLUID14. Click HERE to go straight to the ticket page!

Author information

Michelle Goode
Script Consultant & Editor at Writesofluid
Michelle Goode is a script reader, editor and writer who operates from her little online empire: www.writesofluid.com, where she compiles writing resources, writes her blog and offers her services. When she's not creating fictional worlds through scripts and prose or writing articles, she's helping strengthen the work of others or assessing scripts for production companies, competitions and initiatives. It goes without saying that Michelle loves reading, watching TV and films, and likes nothing more than to snuggle up with her ginger tom cat Monty to do so. Follow her adventures on Facebook: facebook.com/writesofluid, and on twitter: @Sofluid.

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