Writing

To write a good story you must start with a strong logline

• This is a one-sentence summary of your story; this helps keep your story focused

For example – Harry Potter - The boy with no name who became the most famous wizard in the world.

Structure your story: The Five beats of the story

• The character wants something + sets out to get it
• Things go well - the character gets nearer to the thing they want
• Things start to go badly – the character comes up against obstacles but keeps going
• Things go very wrong for the character - the thing they wanted is out of reach, unachievable
• Some kind of resolution: maybe the character gets the thing they wanted or doesn't - must give up - got something different? Something they needed (perspective?)

Dialogue

• Use language that is personal and necessary
• Subtext – not everything has to be explicitly clear or said – this keeps the story alive
• Show don’t tell – using action to convey emotions and information adding to the story
• Tightened Dialogue won’t happen straight away, keep revisiting
• Text - the tip of the iceberg
• Subtext - under the iceberg

• It doesn't matter what you say it is how you say it
• Inner monologue (I don't trust you ….)

Conflicts and Subtext

• How does each character use different tactics to try and get what they want, while never explicitly stating what they're getting at? Include all the thoughts + feelings (subtext as well as dialogue and action of the characters involved)

Pacing

• Keep the story moving – don’t have unnecessary scenes
• Variation in pacing – this helps maintain interest

Don’t waste time talking about anything you can show – images are more powerful than words!

The importance of dialogue …

Two main functions of dialogue

• To advance the plot
• To illustrate character
• The last thing you need to think about – is there for the service of the character
• Secondary to the plot
• Things that are said are as important as not said
• Give the reader a running commentary
• Don't over-explain, be subtle
• Plot - key events + complications

Dialogue which advances the plot

• Catalyses (event, action, complications, etc.) - moves events along - it's itself action
• Reveals (character, narrative, etc.)
• Or is itself action - the 'doing' of something to another character

Two types of dialogue

Offensive dialogue

• Dialogue that is part of an action pursuing an objective

Defensive dialogue

• Words that are part of a block against that action
• Many ways to express what's going on without dialogue
  •  Set
  • Stage directions

Character Dialogue: Three Filters

• Character background
• Character psychology
• The character’s situation at that moment
  • Prima Facie written by Suzie Miller is a good one

• What is the dialect?
• Geographical background
• Ethnicity
• Educational level - the types of words that are said
• Gender
• Women/men articulate differently
• Men express heavily - practically + fix the situation
• Women express more emotionally - women aren't as assertive + ask questions
• Socially generalised

David Mamet

"People may or may not say what they mean .. but they always say something designed to get what they want" 

• Actions speak louder than words
• What is beneath what people say?
• Iceberg - what is beneath the surface of the words
• Dialect imposed without understanding
• Three-dimensional individuals - what is going on?

Rules of Dialogue

• Propel the story forward (avoid "shooting the breeze", i.e. chatting for chat's sake)
• Reveal character and theme
• Build conflict and drama (dialogue is conflict)
• Sound different for each character (ensure the individuality and personality of the characters come through)
• Entertain (i.e., witty, memorable lines or retorts, dialogue that flows, etc.)
• Avoid dialogue running longer than three or four lines (without good reason - i.e. a monologue or soliloquy, rousing speech, confidence, etc.)
• Never be on the nose (i.e. too obvious in the point you're trying to make/what you're saying)

Questions to ask about any piece of dialogue

• In the context of the play, is there any tangible point to this dialogue? Is it clearly going anywhere?
• Does it put one or both characters under pressure in some way? (is it emotionally charged on any level?)
• Does the conversation involve any level of conflict as one/both characters tries to get something?
• Were you engaged and/or excited by this dialogue?
• Has a fundamental shift in the story occurred by the end of the scene? (has the story moved/characters changed/learned something, etc.?
• Is it an important conversation that deserves to be in the script?
• Does the script dialogue interest, amuse or shock you in some way?
• Does it feel like a natural conversation between two real people? - it's got to be credible

• Set the scene
• Exposition
• Don't have anything superfluous

Vernacular – the language or dialect spoken by the ordinary people in a particular country or region

"Ah reckon ah do' haff ta go dowan tuh th' rivuh tuhday, 'cawse we got awl th' feeush we gwine need' - Don't do this

I reckon I don't have t' go down t' the river today, 'cause we got all the fish we gonna need' - the put in the stage directions in a strong accent