joellewis/dialogue-craft

Overview

Dialogue craft is the strategic scripting of character interaction. It moves beyond "chat" to directed action. By applying McKee's "Subtext" principle, Sorkin's "Intention and Obstacle" model, and McPhee's "Dusting" technique for clarity, the writer ensures that every spoken word serves the plot and reveals character through behavioral exchange.

Guiding Principles

Principle 1: Dialogue is Action/Reaction (Source: McKee, Story)

Dialogue is not a monologue or a prepared speech; it is an exchange of behaviors. Every line is an action aimed at eliciting a specific reaction from the other character. If characters are just talking at each other without reacting, the scene is dead.

Principle 2: The Text is Not the Subtext (Source: McKee, Story)

Characters rarely say exactly what they are thinking or feeling. Subtext is the hidden emotional reality beneath the spoken words. Avoid "on the nose" dialogue where characters state their internal states (e.g., "I am very angry with you").

Principle 3: Intention and Obstacle (Source: Sorkin, dialogue principles)

Every line of dialogue must be driven by an intention (what the character wants) meeting an obstacle (what stands in their way). Dialogue is the character's weapon used to maneuver, bargain, or fight past that obstacle.

Principle 4: Dusting and Straightening (Source: McPhee, Draft No. 4)

In non-fiction, spoken speech must be "dusted"—trimmed of "ums," "uhs," and false starts—to make it legible in print. You trim and straighten to achieve clarity, but you do not invent or manufacture meaning.

Principle 5: The Suspense Sentence (Source: McKee, Story)

Use periodic sentences to keep the reader engaged. Delay the core meaning or the "punch" of the sentence until the very last word. This forces the audience to listen to the end of the line.

When to Use This Skill

• Scripting scenes between two or more characters.
• Refining a character's unique "voice" or verbal tics.
• Trimming long speeches or "info-dumps."
• Converting raw interview notes into readable non-fiction quotes.

When NOT to Use This Skill

• Writing internal monologues (though subtext still applies).
• Drafting technical manuals or instructions where literal, "on the nose" clarity is mandatory.

Core Process

Step 1: The "Silent" First Pass (Source: McKee)

Ask: "Can I write this scene without any dialogue at all?"

• If a visual action can convey the same meaning, delete the dialogue.
• Dialogue is your "regretful second choice."

Step 2: Identify the Intention (Source: Sorkin)

Before writing a single line, define what Character A wants from Character B in this specific moment.

• Is it a confession? A secret? A coffee?
• Ensure Character B has a reason to say "No."

Step 3: Layer the Subtext (Source: McKee / Lamott)

Rewrite the scene so the characters talk about something else (e.g., the weather, a broken car) while actually fighting about the core intention.

• The scene should never be about what it seems to be about.

Step 4: The "Read Aloud" Test (Source: Lamott)

Read the dialogue aloud.

• Does it sound like natural talk or a written essay?
• Listen for rhythm and meter (Sorkin's "Sound of Music").
• If a line is too "clever" and calls attention to the writer, cut it.

Step 5: Dust and Trim (Source: McPhee)

Review the draft for economy.

• Remove repetitive "he said/she said" tags if the voice is clear.
• Use indirect discourse to bridge two strong quotes.
• Ensure the maximum meaning is expressed in the fewest possible words.

Frameworks & Models

The Periodic Sentence (Source: McKee, Story)

• Standard: "I'm going to kill you if you don't give me that gun."
• Periodic: "If you don't give me that gun, I'm going to... kill you."
• Effect: The listener cannot look away until the final word is spoken.

Sorkin's "Intention/Obstacle" Matrix

1. Intention: I need the password to the safe.
2. Obstacle: You don't trust me because I lied yesterday.
3. Dialogue Weapon: Flattery, guilt-tripping, or logical argument.

Cross-Skill Invocations

REQUIRED SUB-SKILL: character-vulnerability — to ensure the voice is rooted in the character's flaws. RECOMMENDED SUB-SKILL: copy-editor — to prune the dialogue for maximum impact.

Common Mistakes

1. On the Nose Dialogue: Characters stating their feelings directly (Source: McKee).
2. Written Dialect: Using phonetic spelling (e.g., "Vat vader") which distracts the reader (Source: Lamott).
3. Empty Monologues: Long speeches where the character isn't reacting to their surroundings or the listener (Source: McKee).

Diagnostic Checklist

• [ ] Could this scene be shown visually instead of spoken?
• [ ] Is there a clear gap between the words and the internal emotion (Subtext)?
• [ ] Does every line represent an Action aimed at a Reaction?
• [ ] Have I used periodic sentences to delay meaning and create suspense?
• [ ] Does the dialogue sound natural when read aloud?

Sources

• McKee, Robert. Story. Ch. 18 (The Text: Dialogue).
• Lamott, Anne. Bird by Bird. "Dialogue," "Finding Your Voice."
• McPhee, John. Draft No. 4. Ch. 3 (Dialogue in Non-fiction).
• Aaron Sorkin. "Intention and Obstacle" (Masterclass/Interviews).