Understanding Poor Dialogue in Screenwriting: Common Pitfalls and Best Practices

Effective dialogue is the cornerstone of compelling screenwriting. When done well, it not only develops characters but also advances the plot. However, poor dialogue can break the illusion of realism and distract the audience from the narrative. This article will explore common examples of bad dialogue and offer tips on how to avoid these pitfalls, emphasizing the importance of natural, engaging, and purposeful exchanges.

Expository Dialogue: A Common Culprit

One of the most flagrant examples of poor dialogue is expository dialogue. This occurs when characters explicitly state facts or information that could be more effectively conveyed through action, imagery, or subtext. For instance:

“Look, Barbara, you’re my sister and I care about you. I know that Dad has been abusing you. I knew it when you were six years old.”

This type of dialogue not only feels unnatural but also disrupts the flow of the narrative. Instead, such information should be woven into the story through actions, reactions, and clues that characters pick up on naturally. For example, a character might observe subtle signs of abuse or overhear conversations that hint at troubling behavior without explicitly stating, “What’s going on with your dad?”

Tedious Lectures on Common Sense

Another common flaw in dialogue is the tedious recitation of common sense or investigative protocol that feels forced and unnecessary. TV police procedurals often fall into this trap, with investigators giving each other lengthy monologues about what obvious inferences can be drawn from evidence:

“So, Officer Smith, when you found the body in the abandoned warehouse at 3 AM, you immediately thought, ‘The killer likely has an alibi or a motive that could be confirmed through further investigation.’”

While such exchanges might seem natural in reality, they are jarring and disappointing in scripted dialogue. Characters should interact in a way that feels organic, with their dialogue enhancing the story rather than slowing it down. For example, instead of a character saying, “We should focus on the victim’s routine to pinpoint a potential suspect,” they might casually mention, “Have you noticed anything strange about her routine lately? She’s been acting off these past few weeks.”

Soliloquies Gone Wrong

A soliloquy can be a powerful tool in literature, but in screenwriting, long monologues that unduly burden a character or dialogue with too much exposition can be tedious. Soliloquies should serve a purpose and be used sparingly. For example:

Contact your sister. She has to be involved. Look, Barbara, you’re my sister, and I care about you. I know that Dad has been abusing you. I knew it when you were six years old. This is bigger than you. You have to help me.”

When a character delivers such a soliloquy, it distracts from the immediate action and can come across as melodramatic. A more effective approach might involve the character reacting to a specific situation or another character's action. For instance, the scene could show the protagonist finding clues that point to their sister's distress and then directly engaging in a meaningful conversation with her about the situation.

Methodology for Avoiding Poor Dialogue

To avoid these pitfalls and craft impactful dialogue, follow these best practices:

Show Don't Tell

Swap explicit statements for actions that reveal character traits and provide insight into the plot. For example, instead of a character saying, “Danny doesn’t trust anyone,” show the audience through his actions: he keeps his distance from everyone, rarely shares personal information, and constantly looks over his shoulder.

Use Subtext Rather Than Dialogue

Subtext is the unspoken meaning hidden within dialogue. Utilize subtext to add depth to your characters and advance the story. In the example of the father's abuse, a character could react to their sister's behavior with a look of realization, or a character might show signs of distress while maintaining silence.

Establish Clear Objectives in Interactions

Ensure that every character interaction has a clear purpose. Each line of dialogue should move the story forward or reveal something important about a character or situation. For example, a detective may ask a colleague a question with the intention of uncovering a lead or testing a theory.

Conclusion

Good dialogue is a powerful tool for engaging and moving an audience. By avoiding expository dialogue, tedious lectures, and overly dramatic soliloquies, screenwriters can create a more compelling and authentic narrative. Remember, the best dialogue not only conveys information but also moves the audience emotionally and intellectually, making the story more memorable. Apply these principles and your writing will become more robust and engaging.

Key Takeaways

Avoid expository dialogue by weaving important information through actions and subtext. Avoid tedious lectures by allowing characters to discover information through their own observations or discoveries. Avoid soliloquies by ensuring every line of dialogue serves a clear purpose and moves the story forward.

Final Thoughts

Mastering the art of dialogue is a continuous process. Whether you are new to screenwriting or a seasoned veteran, constantly refining your approach will lead to a more engaging and compelling story. Keep these principles in mind and watch your dialogue transform from mediocre to memorable.