Bad Dialogue vs Good Dialogue (Writing Advice)

Summary

In this video, writer Brandon McNulty breaks down the difference between good and bad dialogue in storytelling. He explains the three key elements of effective dialogue: natural sounding speech, conflict-driven exchanges, and subtext. McNulty then highlights five common pitfalls in bad dialogue: on-the-nose dialogue, melodrama, lazy exposition, forced poetry, and wooden dialogue, illustrating each with examples from films and games. By analyzing both good and bad dialogue, McNulty provides practical insights for writers looking to improve their craft and create more engaging and authentic conversations in their stories.

Takeaways

• 😀 Good dialogue should sound natural, fitting the character and their world. It must feel authentic to the setting and context.
• 😀 Dialogue should include conflict, with characters either defending or attacking a point, revealing tension or goals through conversation.
• 😀 Subtext is crucial in dialogue—there should be unspoken meaning or underlying emotions that give depth to the conversation.
• 😀 Bad dialogue often suffers from being 'on the nose,' where characters explicitly state their feelings or thoughts with no subtlety or nuance.
• 😀 Melodrama is another form of bad dialogue, where emotions are over-the-top and unearned, making the conversation feel exaggerated and unrelatable.
• 😀 Exposition can be problematic when characters discuss things they already know just for the audience’s benefit, often referred to as the 'As you know Bob' exchange.
• 😀 Forced poetry is a pitfall when characters who normally speak simply and naturally suddenly begin speaking in elaborate, flowery language without it fitting their personality.
• 😀 Wooden dialogue is too formal or stilted, making the characters sound unnatural and the conversation forced, often leaving the audience disengaged.
• 😀 A good example of exposition in dialogue is when new information is revealed to a character who doesn’t already know it, making the explanation feel natural and engaging.
• 😀 A rewrite of bad dialogue can make it sound more natural, and adding elements of conflict (attack and defend) can increase the drama and interest of the exchange.

Q & A

What are the three key elements that define good dialogue?

Good dialogue sounds natural, attacks or defends, and expresses unspoken meaning or subtext.

How does natural dialogue vary depending on the character and setting?

Natural dialogue reflects the character's personality and the world they inhabit. For example, Marty McFly’s speech in *Back to the Future* wouldn’t work in *The Lord of the Rings*, and vice versa.

Why is conflict important in good dialogue?

Conflict in dialogue helps move the story forward. Characters should have clear desires or goals, which they express through their words, creating tension and driving the plot.

What is subtext in dialogue, and why is it important?

Subtext refers to the underlying meaning or emotions not explicitly stated in the dialogue. It’s important because it adds depth and complexity to the conversation, making it feel more authentic.

What is 'on the nose' dialogue, and why is it problematic?

'On the nose' dialogue is when characters state exactly what they’re thinking or feeling without any subtlety or hidden meaning. It’s problematic because it lacks depth, making the conversation feel unnatural and less engaging.

Can you provide an example of 'on the nose' dialogue from the script?

An example from *Attack of the Clones* is when Anakin openly confesses his unfiltered feelings to Padme, saying things like, 'I’m in agony,' which is overly explicit and lacks nuance.

How does melodrama differ from well-written, emotional dialogue?

Melodrama involves exaggerated and unearned emotions, often relying on shouting or over-the-top lines. In contrast, well-written emotional dialogue is more measured, with emotions simmering beneath the surface, making it feel more genuine.

What is an example of melodrama in dialogue from the script?

An example comes from *Castlevania: Symphony of the Night*, where Richter yells at Dracula in an exaggerated manner, which comes off as forced and unconvincing.

What is the 'as you know bob' exchange, and why is it bad dialogue?

The 'as you know bob' exchange occurs when two characters discuss information they both already know for the sake of the audience. It’s lazy because it doesn’t serve the characters’ development and feels unnatural.

Can you provide an example of bad exposition from the script?

An example is the conversation between Bilbo and Frodo in *The Lord of the Rings*, where they discuss Frodo’s parents in a way that feels unnecessary because both characters already know the information.

How can exposition be done effectively in dialogue?

Exposition can be effective when it’s revealed naturally through characters' interactions. In *John Wick*, for example, Viggo tells his son about John Wick’s history in a way that feels relevant to their relationship and the story.

Why is forced poetry considered bad dialogue?

Forced poetry occurs when characters suddenly speak in overly flowery or poetic language that doesn’t match their usual style, making it feel unnatural. Good dialogue should stay true to the character's voice.

What is an example of forced poetry from the script?

An example is Anakin’s 'I hate sand' speech from *Attack of the Clones*, where his flowery language doesn’t match the character’s usual way of speaking.

What makes wooden dialogue unnatural?

Wooden dialogue sounds overly formal or stilted, lacking the natural rhythm of conversation. It feels unnatural because it doesn’t reflect how people typically speak in real life.

Can you provide an example of wooden dialogue from the script?

An example comes from *Resident Evil*, where Jill’s conversation with Barry is stilted and awkward, such as when she says, 'Why on earth are you here?' which feels out of place.

How can wooden dialogue be rewritten to sound more natural?

Wooden dialogue can be rewritten by simplifying the language and focusing on what the character would realistically say. For example, Jill’s dialogue could be rewritten to sound more like 'Thanks, thought you were headed for the dining room.'