Exercises for Dialogue Please

[yeehi]

I would like to hear of some exercises that would help me write dialogue that is full of character, that comes across as spoken by somebody unique.

I have tried to come up with my own exercise for this and it has helped a little. I imagined 6 distinct individuals, then go through in my head what they would say in the exact same moment in a particular situation, for example, the various stages of a dinner party:

How would each say, "Lets be seated" or say grace or so on.

What exercises do you know that would help?

Thank you!

[bioprofessor]

I would like to hear of some exercises that would help me write dialogue that is full of character, that comes across as spoken by somebody unique.

I have tried to come up with my own exercise for this and it has helped a little. I imagined 6 distinct individuals, then go through in my head what they would say in the exact same moment in a particular situation, for example, the various stages of a dinner party:

How would each say, "Lets be seated" or say grace or so on.

What exercises do you know that would help?

Thank you!

Your question is timely. I've been following the advice of others on this board and elsewhere, trying to listen to and make note of people's conversations while I'm out and about. This afternoon, while I stepped out of the coffee shop, there was a young women, 30's having coffee with an elderly lady, 90's, at a small patio table. I caught only a snippet of their conversation. It went something like this.

The YOUNG WOMAN rests her chin on her hand, leaning forward in her seat, smiling.

YOUNG WOMAN
Do you like your new place?

The ELDERLY WOMEN slowly lowers her coffee cup, hand and head slightly shaking. Her voice is about twice as loud as it needs to be.

ELDERLY WOMEN
Yes. I ironed some shirts, but I got tired after the third one. Had to lay down and rest.
-------------------

Not very exciting dialogue. But it was a warm, sunny afternoon. The young woman looked genuinely happy as she spoke to the old woman. The old woman, sat up straight as an arrow, very dignified, alert. It made me smile and wonder...

What was their relationship? Why did the old woman have a new place? Did they meet for coffee regularly or was this a special occasion? How much hearing loss did the old woman have? What was the old woman like when she was young?

So there's your assignment (and mine). Write the next three minutes of their conversation, perhaps to reveal the answers to some of my questions.

[yeehi]

Thank you, bioprofessor. I am not going to put my efforts here.

Everyone, I am looking for techniques to specifically laden lines of dialogue with personality, rather than actual writing tasks.

Do you have any ideas?

[aaron_c]

Thank you, bioprofessor. I am not going to put my efforts here.

Everyone, I am looking for techniques to specifically laden lines of dialogue with personality, rather than actual writing tasks.

Do you have any ideas?

I would recommend heading over to Overheard in New York (http://overheardinnewyork.com). Read every entry. Notice how each line says so much about the person speaking and you know nothing about them.

See if you can't get that kind of personality out of your characters.

And remember, subtext is your friend.

Oh, and rewrite, rewrite, rewrite until it sounds right ;)

That's all I've got.

[yeehi]

aaron c, that is a brilliant resource! Thank you very much.

:cool:aaron c:cool:

[stvnlra]

Dialogue is the weakest part of my writing. I know it's something I have to work on. <sigh...>

Here's an exercise used by my former playwriting teacher:

The assignment is to come up with an interesting CONFLICT scene btwn 2 people.

-- Get an interesting photo of two people talking (off the internet, from a magazine, etc...).

-- Give each person an identity/name.

-- Denote their relationship to one another (mother/daughter, husband/wife, employer/employee, strangers on the street etc...).

-- Come up with a reason why they are in conflict. One person wants something, the other person wants something...

-- Write a scene.


Two imprtant things:
In drama, char's are defined by (1) what they want (2) what they are willing to say/do to get it.

Good ideas to keep in mind while writing a scene.


:)

[yeehi]

This is just the sort of thing for which I was looking, stvnlra. Thank you for this, too:


Two imprtant things:
In drama, char's are defined by (1) what they want (2) what they are willing to say/do to get it.

Good ideas to keep in mind while writing a scene.

[Naudikom]

I think a lot of it is about knowing a character's history, background, etc.

How do they see the world as a result of their past experiences? Are they innocent, lively, upbeat? Are they cool and cynical? Calm and softspoken? Prone to profanity?

[Mark Somers]

EXT. STAR FVCKS -- DAY

A young woman, 30's having coffee with an elderly lady, 90's,
at a small patio table.

The YOUNG WOMAN rests her chin on her hand, leaning forward
in her seat, smiling.

YOUNG WOMAN
Do you like your new place?

The Elderly Woman slowly lowers her coffee cup, hand and
head slightly shaking. Her voice is about twice as loud as
it needs to be.

ELDERLY WOMAN
Yes. I ironed some shirts, but I got
tired after the third one. Had to
lay down and rest.

Both women study a man as he walks by.

The young woman puts down her cup. Licks her lips.

ELDERLY WOMAN
Good enough to eat, uh?

YOUNG WOMAN
Funny, Granny.

ELDERLY WOMAN
Granny? It'll be your turn soon
enough.

The elderly woman sips her coffee as she continues to look
at the man.

ELDERLY WOMAN
(loud)
Reminds me of my old bio professor.
All that junk made him walk funny
like that.

YOUNG WOMAN
(hides her face behind
her hand)
Oooohh, god please.

A ring tone.

The elderly woman flips open her cell phone.

ELDERLY WOMAN
(into phone sing song)
Talk to me, hot stuff...

Looks at the younger woman while obscenely running the tip
of her tongue over her clustered finger tips.

ELDERLY WOMAN
Tomorrow at the new theater?...
Anytime baby.

The elderly woman flips the phone shut and holds it to her
chest.

ELDERLY WOMAN
That little guy is so hot.

YOUNG WOMAN
I can't believe you moved in with
that little sh1t.

INT. 747 AIRCRAFT - LAVATORY -– NIGHT

Sitting on the crapper dressed in a pilot's uniform and
reading a magazine is a guy who looks a lot like John
Travolta.

He hums a song while tapping his foot.

He flips open a center fold.

Taps his foot faster.

BANG BANG BANG

OUTSIDE THE LAVATORY

Bill Belamy bangs on the lavatory door as he dances from
foot to foot holding his crotch. A dozen people in line behind
him.

Across the compartment, behind Bill a man who looks a lot
like BRUCE WILLIS wearing a catering uniform pushes a cart,
carrying a cake. He stops. Reaches under the cart and pulls
out a cake decorating thing that looks like a compact czech
m61 sub machine gun with a huge silencer on it.

Bruce Willis struggles to get the decorator to work, but
can't. He holds it between his legs. Works the far end of
it.

A woman also dressed in a catering uniform but without the
pants spreads her long shapely legs. Plants her feet on either
side of Bruce Willis's. She reaches around him with both
arms to firmly grasp the large tubular decorator.

Bruce struggles with the end. She stroking it's full length.

John Travolta steps out of the Lavatory.

A Loud GRUNT.

Huge globs of white cream ejaculate from the decorator.

BA-PLAP

John Travolta twists out of the path of the first glob.

BA-PLAP

He leans back and twist to his right out of the path of
another rocketing glob.

BA-PLAP

Twisting to his left he moves out of the way of another glob.

BA-PLAP

John Travolta leans back even further as a glob of heavy
cream jets right over him.

BA-PLAP

He snaps back up. Twists to his right as the final load of
cream fires past his shoulder.

As he twists, revealed is a flight attendant, right behind
him. She is globed spread eagle against the wall.

BRUCE
Sorry guys. I'll get that cleaned up
in a jif. First day on the job.
(fidgets with decorator)
The economy and all.

SECONDS LATER

John stands outside the cockpit door.

Knocks on the door.

VINCENT
Jules it's Vincent. Open up.

Silence.

He knocks again.

VINCENT
Come on Jules. Quit fvcking around.

INT. 747 AIRCRAFT - COCKPIT -– NIGHT

A guy who looks a lot like SAMUEL L. JACKSON sits in the co
pilot seat. His eyes wide. His hands clutched tightly to the
controls.

JULES
(yells)
You know the code.

OUTSIDE - COCKPIT DOOR

John looks over at a key pad on the door.

VINCENT
Come on, Jules, you know I can't
remember that sh1t.

INT. 747 AIRCRAFT - COCKPIT -– NIGHT

Jules sweats profusely.

JULES
(yells)
You know the code.

INT. OUTSIDE - COCKPIT DOOR

Vincent tries the key pad. Gets a "Access denied".

VINCENT
God damnit, Jules.

INT. 747 AIRCRAFT - COCKPIT -– NIGHT

Jules pulls one hand from the control. It shakes as he
reaches for a button on the control panel. He glances at a
gun holstered against the bulkhead.

He flips the switch. Quickly grabs the control.

INT. OUTSIDE - COCKPIT DOOR

The door unlatches. Vincent enters.

INT. 747 AIRCRAFT - COCKPIT -– NIGHT

As Vincent climbs into his seat...

VINCENT
What the fvck is wrong with you?

Jules looks straight ahead. Tense.

JULES
I... I saw it... Him.

VINCENT
Oh sh1t, not again. God? Did you see
god, Jules? Because if you saw god,
I think we should call it in.
(reaches for radio
mike)
What do you think, because this is
really special. Everybody should
hear about it.

JULES
Don't blaspheme. I didn't see god. I
saw a... a UFO.

VINCENT
You saw the fvcking giant spinning
turtle again, didn't you? There's no
such thing as a flying spinning
turtle. I'm quite sure of it.

JULES
I know what I saw... And I know it's
still out there. Watching... Waiting.
He does that.

[Mark Somers]

EXT. STREET -- DAY

The young woman and the elderly lady walk down the sidewalk.
In front of them, a block away, the theater.

ELDERLY WOMAN
He was so cute this morning. He asks
if he could borrow my microwave, but
then he forgot it.

The young woman shakes her head. Annoyed.

YOUNG WOMAN
Please.

ELDERLY WOMAN
And last night in bed...

The young woman slaps her hands over her ears.

YOUNG WOMAN
La la la la la...

An explosion at the movie theater.

As a huge cloud of black smoke clears the women stare at the
huge lizard now in view.

ELDERLY WOMAN
Oh fvck Godzilla.

The women look at one another. They hold hands.

YOUNG WOMAN ELDERLY WOMAN
Go go vagina power.

Their bodies begin to glow. Their skin turns metallic. The
glow grows stronger. They morph and grow into a giant
mechanical woman. Over eighty feet tall. OPTA PVSSY PRIME.

A series of weapons rotate in and out of position in her
huge boobs. Her voice echoes.

OPTA PVSSY PRIME
Power up.

Her giant camel toe glows. Her lower legs transform into
powerful rockets.

She lifts off.




To be continued...

[Jcorona]

clueless, I started busting up at:

EXT. STAR FVCKS -- DAY

:rolling:

Corona

[bioprofessor]

Absolutely great Clueless - sorry, I missed your sample until now. Though, I think the bioprof needs to be more sexy, have more lines. Kind of an ego thing. How'd you know I have a bum knee? :D

[12916studios]

Listening to people can sometimes bring brilliant snippets, like this one I overheard at Comic Con. Everyone else who heard it was busting a gut laughing, because the Guy's retort to this Girl was so perfectly timed.

The guy was wearing a t-shirt, very expensive looking, something straight out of an anime movie...

GIRL: You know, you could sell that for quite a bit of money.
GUY: Or I could wear it for quite a bit of fashion.

We just happened to be walking past them in the exhibit hall when it happened, but I'll never forget the moment. He didn't even hesitate with his words. Instantly they were out, and it was clear that he was one of wit.

[Rathmon]

Along the lines of the OverheardinNY site is another one I love.

FMyLife.com

I like to imagine the conversations that could happen in some of those posts.

[Johnny]

The ourheadinNY site is classic. Some of the things that are said are gold. I love observing people. Totally helps with dialouge.

[Adam Isaac]

I would like to hear of some exercises that would help me write dialogue that is full of character, that comes across as spoken by somebody unique.

I have tried to come up with my own exercise for this and it has helped a little. I imagined 6 distinct individuals, then go through in my head what they would say in the exact same moment in a particular situation, for example, the various stages of a dinner party:

How would each say, "Lets be seated" or say grace or so on.

What exercises do you know that would help?

Thank you!


Chose 4-6 members from the Done Deal Pro forums[maybe your favorite(s) and least favorite posters...just whoever you want], and create your fictional cast of characters from this eclectic mix of forum users. The subject and theme of the dialogue materializes, depending on which members you choose to use, abuse, and interpret...the most obvious 'rule' to this exercise being: No dialogue on WRITING, WRITERS, or ANYTHING ELSE SCRIBE RELATED.

[bioprofessor]

FADE IN:

EXT. AMAZON RAINFOREST TRAILHEAD - DAY

Water drips from large, paddle-sized leaves armed with razor
sharp teeth along their edge.

A nearly fluorescent yellow snake dangles from a tree just a
few feet behind HITCH COCKLEBUR, 40s, tan, rugged handsome,
as he addresses a small group of eco-tourists sagging under
the weight of their backpacks.

Hitch's matter-of-fact tone, 9mm pistol holstered to his belt,
mirrored aviators and calf-high leather field boots sends a
clear signal: "Don't **** with me."

HITCH
Alright, you all been briefed, studied
the protocols and signed the release
form. One thing you must remember.
I have final say. You **** up and
you're outta here. This ain't no
game.

RATHMON LEE, a fat Japanese man, raises his hand.

HITCH
Go ahead.

Rathmon points to a folded piece of paper.

RATHMON
Can you explain Protocol 11? What
does it mean here, "survival of the
group is paramount in emergency
situations?"

Hitch smiles.

HITCH
Yeah that's usually the first question
I get. I'm sure many of you heard
of Darwin's theory. See, none of us
is faster than a leopard. You just
don't want to be the slowest one if
he's looking for dinner.

Hitch peers at Rathmon. A few nervous chuckles from the
group.

Hitch pockets his sunglasses, spins and marches into the
shadows of the rainforest. His entourage struggling to keep
pace.

EXT. AMAZON RAINFOREST - DAY

Three days into the expedition, everyone's drenched with
sweat and rain. The steamy air is something you can feel,
smell and taste.

Hitch waits for the group at the top of a hill. A MAN, 30s,
wearing a Bob Marley tie-died t-shirt, bursts past the crowd, running
up the hill while clutching a plant he's ripped from the
soil, roots and all.

MAN
Hitch, Hitch. Dude, is this what I
think it is?

Hitch removes his hat, wipes his brow with a bandanna.

HITCH
What's your name again?

The Man stops, panting, trying to catch his breath. He holds
up his botanical trophy. The rest of the group finally arrives.

MAN
Lester Clueless. Is this really
Mari Jane?

Hitch takes a step down, leans forward.

HITCH
Not quite. That there Mr. Clueless
is what we call rosary pea, or Abrus
precatorius. See those pretty little
red seeds?

Clueless examines the plant, nods.

HITCH
Funny thing about those beauties.
Used for jewelry, even rosary beads.
Problem is, Mr. Clueless, they contain
one of the most deadly poisons known
to man.

Clueless steps back, white with fear, drops the plant. His
colleagues back away.

CLUELESS
Uh, am I... gonna die?

HITCH
Didn't eat any did you?

Clueless, looking relieved, shakes his head.

HITCH
No harm really.
(beat)
Unless their coat's broken. That
releases Abrin - more deadly than
ricin. Three micrograms enough to
kill a man in three, maybe four,
days. But as long as it doesn't get
beneath the skin...

Hitch bends over the plant, pulls out a large knife, pushing
away leaves to expose several crushed seeds.

Clueless, drops to his knees, holding up his hand, blood
flowing from several tiny cuts.

A WOMEN in the crowd cries out.

WOMEN
Oh my God! We got to get him to
hospital.

Hitch looks at his watch.

HITCH
Two hours before nightfall. We gotta
make camp, get a fire going. Leopards out here.

Rathmon Lee pushes his way to the front.

RATHMON
Are you crazy? You can't just let
him die.

Hitch unlatches the 9mm from his holster.

HITCH
Protocol 11 Mr. Lee, remember.

FADE OUT.

[curious1980]

You might want to listen to the type of music your character would listen to. Watch some artists interviews in that genre. You'll find a ton on Youtube. When you watch, pay attention to the things they say, and the way they form their sentences That's helped me a lot as well. Anyway, good luck. :)

[stvnlra]

One exercise I've been meaning to try is reading a shooting script along with a fav movie as it plays.

This shows you what the dialogue you hear in the movie looks like written on the page.

I guess it's supposed to be more immediate than reading a script & then watching the movie some time afterward... or vice versa.

Have not tried this yet so don't know how revealing it is. But it sounds interesting.

[Mark Somers]

Nice writing bio, but where is the Woman's dialogue?






I bet that Clueless guy smoked those berries.