There are many other things to consider when writing dialogue . . .
THE TRUTH WITH LIES
Try to re-create reality.
Dialogue is a form of expression most people would never use without a lot of thought. Outside of storytelling, we commonly refer to this form of expression as speechmaking. Lucky for your characters (and the audience), the screenwriter takes care to avoid writing both haphazard ramblings and preachy speeches. While it’s important to try to re-create realistic situations in a screenplay, it’s also important to bring something more to that reality. Whether it is wit or a quirky viewpoint, good
dialogue—in a lot of ways—interprets reality with the infusion of theme and purpose.
CLICHÉS
“A stitch in time saves nine.”
Simply avoid them unless it’s the nature of the character to use them. For example, over-the-top
villains often take great pride in using clichés . . . such as in every one of the Batman films.
You should strive to create original dialogue that’s “fresh” and uniquely suits your story’s characters.
If a line of dialogue sounds like it’s been used in other films, then your dialogue will sound stale.
As is with most things, there are times you’ll want to put clichés in the mouths of your characters. This technique is called “parody” where you make fun of other movies or characters from other movies in your story. The characters that Arnold Schwarzenegger and Sylvester Stallone have played seem to be the all-time favorites for use in this technique.
VERNACULAR
Time is your worse enemy.
Blood Ties is full of vernacular. For that very reason, I realize that I’m going to have to update
some of Skeeter’s dialogue continuously until the script is sold. Some of the dialogue will need to
be updated by the time it’s filmed. Perhaps, by the time the film hits the screen, some looping and
dubbing will have to be done to keep the language right on the cutting edge of pop culture.
For that very reason, some of the slang is “invented” and will never be outdated. The easy path is
to avoid using a lot of vernacular. But then, you run the risk of missing the opportunity to give your
screenplay proper tone. Try to strike a balance but certainly don’t be afraid to take risks.
This problem also applies to legal, medical, or any other kind of special jargon. Language changes
constantly, and there’s not much you can do about it . . . except to rewrite.
DIALECTS
Amateur trap.
Attempting to write a particular dialect exactly the way it sounds can get you into a bit of a jam
with the reader. It’s better to write a dialect to fit the rhythm and feel of the particular way characters
talk. Here are some examples:
From New York . . .
SAM
How’s it hanging?
From England . . .
AUSTIN
Cheerio, mate.
From Ireland . . .
LIAM
How you be this fine morn.
CHARACTER VOICE
Distinctive expression.
How do you prevent characters from sounding alike? There’s really a simple rule of thumb: Know
your characters inside and out. You might even pick people you know and give their personalities to
your characters. Imitate the speech patterns and choice of words. But be sure to keep this consistent
with the character’s background that you’ve invented. Here’s a sample:
Sunset. Chestnut sits comfortably, observes activity in the small
village. He WRITES in a SMALL NOTEBOOK as Skeeter watches Efe Hunters
make crude arrows…
CHESTNUT (V.O.)
They say youth is wasted on the young.
Not in the Ituri Rain Forest. Skeeter’s
street smarts serve him well here. And
he strongly identifies with the strength
of the Efe Hunters…
Tish helps Efe Teen Girls patch holes in the huts with large leaves…
CHESTNUT (V.O.)
And Tish’s ability to take care of
herself seems to be serving her well.
She easily identifies with the Black
working women of the Efe people…
Chestnut ponders to himself a moment, then writes again:
CHESTNUT (V.O.)
I don’t want to keep these children
here any longer than necessary. But
I’m finding it difficult to resist
the urge to stay…
Pee Wee approaches Chestnut; he’s feverish, sweating profusely.
PEE WEE
I don’t feel so good, Mr. Chestnut.
Chestnut peels away the dirty bandage on Pee Wee’s arm—it’s infected,
badly swollen and full of yellow pus.
