Your book needs dialogue.
Unless you plan on writing a textbook, you must learn how to properly write dialogue – and use it correctly because yes, there is a wrong way to write dialogue (and we’ll get into that later).
Without effective dialogue, even the best plot or book idea will fall flat.
But if you’re not sure how to write dialogue in a way that is not
You can’t write a book without dialogue – and you can’t write a good book without good dialogue.
In this post, we’ll cover everything you need to know about how to write dialogue, including:
- Dialogue format
- Dialogue punctuation
- Examples of dialogue with grammar
- How to write realistic dialogue
- Common dialogue mistakes to avoid
Ready to learn what makes great dialogue? Let’s get started.
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What is the dialogue format?
When it comes to book formatting,
It’s not that it’s especially complicated, but there are many different types of dialogue and many different types of punctuation needed in order to properly format it.
Therefore, it’s easy to get confused or forget which format you should use for which line of dialogue.
In order to fully understand how to format dialogue, you have to know how to punctuate it properly, depending on the form you’re using.
How to Punctuate Dialogue
The one thing most writers get wrong when they’re first starting out is proper dialogue punctuation.
Sure, you could leave that up to the editor, but the more work for your editor, the more expensive they’ll be.
Plus, it’s important that, as serious writers and future authors, you know how to punctuate dialogue no matter what. That also means editors will be able to focus on more complex edits instead of just punctuation.
Dialogue punctuation is complex and takes some time to learn, understand, and master.
Here are some examples of each and how you would punctuate each.
Dialogue Example 1 – Single Line
Single lines of dialogue are among the easiest to write and remember. The punctuation for this dialogue is simple:
The quotations go on the outside of both the words and end-of-dialogue punctuation (in this case a period, but it’s the same for a comma, question mark, or exclamation point).
Here’s an example of what this looks like:
“You really shouldn’t have done that.”
No matter what other punctuation you have, whether it’s a question mark or exclamation point, it will go on the inside of the quotations.
Dialogue Example 2 – Single line with tag
In this case, “tag” means dialogue tag.
A dialogue tag is anything that indicates who said what, but that’s all.
In the example below, you can see that the dialogue tag goes on the outside of the quotations, while the comma goes on the inside.
“You really shouldn’t have done that,” he whispered.
This is the case with any dialogue tags that are used. You can also see how this dialogue formatting works with different types of sentences and different dialogue tags.
Note that the tag, when following a comma within the quotation marks, is lowercase, as it’s a part of the sentence.
Dialogue Example 3 – Questions
Because a question mark seems like the end of a sentence, it’s easy for most writers to get the format for questions in dialogue right.
But it’s actually pretty easy. Essentially, a question mark will be treated like a comma or period. What changes the formatting most is what follows the dialogue.
“Are you sure we have to leave that early?” she wondered aloud.
In this example above, you can see that if there is a dialogue tag, the question mark will act as a comma and you will then lowercase the first word in the dialogue tag (unless it’s a person’s name).
However, if there is simply an action after the question, the question mark acts as a period and you will then capitalize the first word in the next sentence.
Dialogue Example 4 – Tag, then single line
When it comes to formatting dialogue tags before your character speaks, it’s essentially the same as when they come after, except backwards.
He finally said, “Fine. Let’s just go for it.”
As you can see in the example above, the dialogue tag is in front, followed by a comma outside of the quotations. Then the quotations appear when the sentence starts with that sentence’s punctuation inside the quotations at the end.
Dialogue Example 5 – Body language within line
There are a couple different types of body language dialogue formats to learn.
Variation 1: This is when the actions your character is taking comes between lines of dialogue, after a sentence is complete. In real life, this would indicate someone pausing to complete the action.
“I don’t see what the big deal is.” She tossed a braid over her shoulder.“It’s not like she cared anyway.”
Variation 2: With this dialogue formatting, it’s different because this is when a character does something while they are speaking, instead of pausing like in variation 1. The action happens in the middle of a sentence and has to be formatted as such.
“I don’t see what“—she tossed a braid over her shoulder—”the big deal is.”
“But you loved me“—at least that’s what he made her think—”more than anything.”
You would use this to help build a clearer image and communicate the scene to match how it is in your head.
This is also the case when characters have inner thoughts within their dialogue, as seen in the second example in variation 2.
Dialogue Example 6 – Single line getting cut off
Something that happens in real life (sometimes an irritatingly large amount) is getting cut off or interrupted when you’re speaking.
This typically happens when someone either doesn’t care what you’re talking about or when two people are in an argument and end up speaking over one another.
“Are you crazy—”
“Do not call me crazy!”
You can see in this example that you place an Em Dash (—) right at the end of the sentence, followed by the quotation marks.
You’ll treat this format of dialogue much like a example 1, a single line of dialogue.
Dialogue Example 7 – Dialogue tag in the middle of a line
Another common type of dialogue. This is essentially a mix of a single line with a dialogue tag.
“You really shouldn’t have done that,” she murmured. “That will get you in a lot of trouble.”
Mostly, you will use this type in order to indicate who is talking if there are more than two and in order to keep the focus on the dialogue itself and not the character’s actions.
Dialogue Example 8 – Paragraphs of dialogue
There are certain situations that call for a single character to speak for a long time. However, grammatically, not all of what they say will belong in the same paragraph.
Here’s how you would write multiple paragraphs of dialogue.
“It’s not that I dont think you should have done that. Not exactly.
“Actually, I think it might be a great thing for you to have done. I’m just worried about what will happen next and how that will impact everyone else.
“It could have dire consequences. Did you consider that ?”
“It could have dire consequences. Did you consider that ?”
For dialogue paragraphs, you want to leave a quotations off the end of the paragraph and begin the next paragraph with them in order to indicate that the same person is just telling a long story.
[NOTE: These rules apply for American English. Other parts of the world may use different dialogue formatting]
How to Write Dialogue That’s Realistic and Effective
Great dialogue is hard to get right. For something we do and hear every day, knowing what to make your characters say in order to move the plot forward and increase intrigue isn’t easy.
But that’s why we’ve broken it down for you.
Here are some of the best tips for writing dialogue that feels real but is also effective for moving your story forward.
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#1 – Say it outloud first
One of the easiest and best ways to see if your dialogue sounds realistic is to read it outloud.
Hearing what someone is supposed to say (since your readers will imagine them speaking out loud) will allow you to determine if it sounds real or fake.
One thing to keep in mind is that sometimes your dialogue will sound a little “cheesy” to you. Since written dialogue is a little different and more purposeful than what we hear in our day-to-day lives, you might think it sounds a little dramatic.
But that’s okay! Dialogue should have more “weight” than what you say in real life.
Even so, it has to sound like something someone would actually say. If you feel yourself cringing a little or you can’t image a real person say it, you might have to do some editing.
Extra dialogue tip: Record yourself reading your dialogue in what you imagine your characters to sound like and play it back to yourself. This can help you pinpoint which words or phrases sound off.
#2 – Get rid of the small talk
Your readers don’t care about what your characters had for dinner last night – unless that dinner had been poisoned and is now seeping into their bloodstream, impacting their immediate danger.
Talking about the weather or your character’s pet or anything trivial will read as boring and unnecessary, which also slows down your novel’s pacing.
One exception may be if your characters are stalling in order to avoid talking about something that is major and impactful to the plot. When it’s used as a device to set the mood or tone of a scene, it’s acceptable.
#3 – Keep it brief and impactful
Dialogue in books is not meant to read in the way we actually speak. If it did, each book would be exceptionally longer, due in part to the fact that humans often say a lot of pointless things.
When it comes to writing dialogue in your book, you have to keep it briefer and more poignant than in real life.
A great way to get to the meat of the dialogue is to cut out everything that doesn’t immediately impact the scene.
A quick, “Hey, how’s is going?” isn’t necessary until the other character’s state is vital to the scene.
Essentially, anything that does not further develop your character, the plot, or any subplots should be cut.
#4 – Give each character a unique way of speaking
I’m sure you’ve noticed by now, but not everyone speaks in the same way. We all have a specific “flow” to our sentences and we all have favorite words we prefer to use.
For example, maybe people will use “perhaps” or “maybe” but not often both in equal amounts. This is a very small detail, but it does a long way in developing the characters and giving them their own voice.
Another way you can do this is with sentence structure.
Does your character speak in short, chopped sentences? Or do they eloquently describe their point of view in long-winded, crafted sentences that ebb and flow with their tone of voice?
This difference is very important. Your readers should be able to tell the difference between characters based on their sentences.
A reasonable exception to this would be pairs or groups of close people. Meaning, if your main character’s best friend speaks similarly to them, that’s okay. As humans, we subconsciously pick up on the speech patterns of those closest to us – those we speak to regularly.
#5 – Add world-appropriate slang
A major part of dialogue that often gets overlooked is the slang.
Even in our own world, new slang is developed every day and sometimes, the words might seem crazy or even confusing.
Take the term “fleek” for example. This word looks like it would be a herd of some sort animal.
But in fact, it’s a word being “on point” or “sharp.”
The point is, creating unique slang for your world can add to the dialogue and tell you more about the characters who use it, not to mention build your world effortlessly.
Here’s an example of slang from Jenna Moreci’s, EVE: The Awakening. This book is set in the near future and so Moreci had to create slang fitting for the time:
#6 – Be consistent with characters’ voices
It wouldn’t make sense for your character to flop the way they speak unless they’re talking to someone specific (which we cover in the next tip).
The main idea is that if one character speaks in choppy sentences, it should remain that way unless the moment changes to something that would require something more elegant.
At the same time, you want to make sure your characters are using consistent language.
Like in the tips in #4, if they use a specific word more frequently, make sure they use that word whenever they should in order to maintain a consistent voice.
#7 – Think about who they’re speaking to
You don’t speak in the same way around every single person.
Your voice and style changes depending on who you’re chatting with. For example, you’re going to talk differently to your mom than you would your best friend.
While it’s important to be consistent with your character’s style and voice, it’s also crucial to think about the who when it comes to their dialogue and adjust accordingly.
#8 – Keep long speech paragraphs to a minimum
Rarely do people speak for a very long time uninterrupted. It might be important for your character to say something lengthy, but remember to at least split it up with body language and other means of giving your reader a break.
These can feel very long-winded and end up slowing down the pacing of your book, which can be great if you use them for this purpose.
But if you’re trying to move your plot along at a steady rate, avoid long speech paragraphs.
#9 – Cut the hellos and goodbyes
Greetings are absolutely necessary in real life. In your book? Not so much.
Your readers know enough to assume there was a greeting of some sort. In addition, these aren’t usually pivotal parts of your story and therefore, aren’t necessary to have.
Cutting these will help speed up your pacing as well as keep the dialogue to the must-speak information.
#10 – Show who your character is
One of the best methods of character development is dialogue.
Think about it: how do we learn about new people when we meet them? Through what they say.
You could meet someone entirely new and based on the exchange, you actually learn a lot about who they are and how the operate in life.
You discover if they’re shy, bold, blunt, or kind-hearted and soft spoken.
Your dialogue should do the very same for your characters.
Here’s an example of what this would look like:
She let stray strands fall in front of her face as she looked down and scuffed something sticky on the sidewalk.“Do you really think so?” Her voice was soft, her eyes still fixed on the ground instead of the new guy standing in front of her.
This example shows you what the character looks like in a specific situation and therefore, we gather facts about what she’s like.
For one, she’s shy – as much is seen by her avoiding eye contact even as she speaks.
Common Dialogue Mistakes to Avoid
We all make mistakes. But if you want to become a published author (or just write a great book), you can’t make these major ones within your book’s dialogue.
#1 – Using the person’s name repeatedly
It’s tempting to make your characters call each other’s names often. However, this isn’t how we talk in real life.
Unless we’re tryign to get their attention or are emphasizing (or warning!) a point, we don’t say their name.
A dialogue exchange like this:
“Rebecca, I really needed you and you weren’t there.”
“I’m sorry, Ashley. I was just busy with school and work.”
“Okay, but that’s not a good excuse Rebecca.”
“You’re right, Ashley. It’s not.”
Is an example of what not to do if you want to write great dialogue.
#2 – Info-dumping through dialogue
It’s perfectly okay to have some characters explain certain elements your readers won’t understand. However, it gets very boring and unrealistic when that’s all they do.
In the case of dialogue, this worldbuilding is all tell and no show. And this works sometimes, especially if a character is telling another character about something they don’t yet know.
Just keep this to a minimum and use other methods of worldbuilding to show your readers the world you’ve created.
#3 – Avoid repetitive dialogue tags
There’s nothing quite as annoying as reading dialogue tags over and over…and over again.
It’s a surefire way to bore your readers and make them want to set the book down with no plans to pick it back up in the immediate future.
Here’s an example of what this looks like (and how boring it sounds):
“I really needed you and you weren’t there,” Ashley said.
“I’m sorry. I was just busy with school and work,” Rebecca replied.
“Okay, but that’s not a good excuse,” she huffed.
“You’re right. It’s not,” Rebecca whispered.
#4 – Avoid repetitive dialogue styles
This means that if you have the same dialogue format for a few lines, you need to change it up because otherwise, it will be very boring to your readers.
You can see in the point above, using only dialogue tags at the end is very boring. The same applies for repeated other types as well.
For example, read through each of these and you can get a feel for the monotony you want to avoid within the repeated formats.
Example 1: Dialogue tags in the front
He spoke. “You’re one of the oddest people I know.”
She replied, “Is that necessarily a bad thing?”
He smiled. “I didn’t say it was a bad thing at all.”
She laughed. “Good.”
Example 2: Action within dialogue
“I’m just not sure”—she grabbed a handful of seeds— “that you’re taking this seriously.”
“What?” He weaved between the overgrown plants, pushing them aside. “Why would you think that?”
“Because you—” she plunged her finger into the pot with soil— “just ignore the important stuff unless it’s important to you only.”
“That’s ridiculous.” He craned his neck around a calla lily. “That’s not true.”
Example 3: Tags in the middle
“I really wish you would just talk to me,” Ada said. “This silent treatment isn’t helping anyone.”
“It’s helping me,” he said. “Or does that not matter to you?”
“Of course it matters to me,” she replied. “It’s just not solving the problem.”
“I don’t think anything can solve this problem,” he murmured. “It’s permanent.”
How to fix this: whenever you’re writing dialogue, switch the type of formatting you use in order to make it look and sound better. The more enjoyable it is to read, the more readers will become invested.
One exception is when you have two characters going back and forth very quickly. In this case, a few lines of dialogue only, with no tags or anything, is acceptable.
The Fix Example: Variation is Key
“I’m just not sure”—she grabbed a handful of seeds— “that you’re taking this seriously.”
He weaved between the overgrown plants, pushing them aside.“Why would you think that?”
“Because…you just ignore the important stuff unless it’s important to you only.”
“No.” She plunged her finger into the pot with soil, dropping in a few seeds. “It’s true.”
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