Great film dialogue sounds natural on screen and moves the story forward.

Weak dialogue makes actors struggle and audiences check their phones.

The difference comes down to understanding that screenplay dialogue must work differently than written fiction.

Film dialogue carries extra weight because actors deliver it with tone, pauses, and body language. You're not just writing words on a page. You're creating a blueprint for performance that directors and actors will interpret.

Write for the Ear, Not the Eye #

Screenplay dialogue must sound perfect when spoken aloud. What reads well in a novel often dies on screen. Always read your dialogue out loud or have someone perform it for you.

Test every line by speaking it at normal conversation speed. If you stumble over words or run out of breath, rewrite it. Actors need dialogue that flows naturally from their mouths.

Keep It Short and Sharp #

Film audiences process information differently than readers. They can't go back and reread a line they missed. Your dialogue must communicate clearly the first time.

Most lines should be one or two sentences maximum. Long speeches work only in specific moments when a character truly needs to monologue. Even then, break up the speech with pauses, reactions from other characters, or action.

Bad:

- "I went to the store yesterday because we needed milk and bread and I ran into Sarah who told me about her new job at the hospital which starts next month."

Better:

- "I saw Sarah at the store."
- "And?"
- "She got that hospital job. Starts next month."

The second version gives actors room to breathe and react. It creates a natural exchange instead of a speech.

Every Line Must Reveal or Advance #

In a 90-minute film, you have roughly 90 pages. You cannot waste a single line on small talk or filler. Each piece of dialogue must reveal character, advance plot, or increase conflict.

Weak dialogue:

- "Good morning."
- "Morning. Sleep well?"
- "Yes, thanks."

Strong dialogue:

- "You were up at 3 AM."
- "How do you know?"
- "I was up at 2."

The second version immediately creates questions. Why were they both awake? What's the tension between them? It hooks the audience instead of boring them.

Show Conflict in Every Exchange #

Even casual conversations should contain some tension or opposing goals. Two characters who completely agree make for dead screen time. Give characters different wants, even in small scenes.

Your characters don't need to argue. But they should want different things from the conversation. One wants to leave, the other wants them to stay. One wants truth, the other wants to hide it. This creates natural dramatic tension.

Use Subtext Like a Weapon #

Film dialogue works best when characters don't say exactly what they mean. The space between what they say and what they mean creates drama that engages audiences.

On-the-nose:

- "I'm angry at you for forgetting our anniversary."
- "I'm sorry I forgot."

With subtext:

- "Dinner was nice."
- "You didn't eat anything."
- "I wasn't hungry."

The second version lets actors show the anger through performance. It trusts the audience to understand what's really happening. That's more cinematic than spelling everything out.

Make Each Character Sound Different #

Close your screenplay and read just the dialogue without character names. Can you tell who's speaking? If not, your characters all sound the same.

Consider how education, background, age, and personality affect speech patterns. A street hustler uses different vocabulary than a corporate lawyer. A nervous character speaks differently than an arrogant one. Make these distinctions clear but natural.

Avoid stereotypes and clichés. Regional accents and slang should be suggested minimally, not written phonetically. Trust actors to bring authentic voices to your characters.

Cut Greetings and Exits #

Real conversations include, "hello," "goodbye," and small talk. Film scenes should almost never include these unless they reveal something important. Start scenes late and end them early.

You don't need characters...

• saying hello
• asking how someone is
• making introductions
• saying goodbye

...unless these moments advance the story.

So instead, jump into the middle of conversations where tension already exists and interesting information gets revealed immediately.

Avoid Exposition Dumps #

Characters shouldn't explain things to each other that they already know just to inform the audience. This is the fastest way to make dialogue feel wooden and unrealistic.

Terrible:

- "As you know, Dad, you've been sick for three months and the doctors say you only have weeks to live."

Better:

- "How are you feeling?"
- "Same as yesterday."
- "That's not what I asked."

The second version reveals the illness through how they talk about it, not by explaining it. Use conflict and emotion to reveal necessary information naturally.

Format Matters on the Page #

Dialogue in screenplays sits in the center of the page with character names above it. Keep dialogue blocks short, ideally no more than three or four lines per block.

Long paragraphs of dialogue look intimidating on the page and signal a speech rather than a conversation. Break up longer thoughts with parentheticals (see below), action lines, or responses from other characters.

White space on the screenplay page matters. It affects reading rhythm and signals pacing to readers and filmmakers.

Use Parentheticals Sparingly #

Parentheticals are the directions in parentheses under character names that suggest how a line should be delivered. Use them only when absolutely necessary for clarity.

Actors and directors will make most performance choices. Only include parentheticals when the meaning of the line changes based on delivery, or when the obvious reading would be wrong.

Necessary:

- SARAH (lying)
- "I've never been there."

Unnecessary:

- SARAH (sadly)
- "He's gone."

The emotion is already clear from context. Trust your actors to find it.

Give Actors Something to Play #

The best dialogue creates opportunities for actors to make interesting choices. Leave room for silence, reaction, and interpretation. Don't over-write or over-explain.

Lines that work well:

• questions
• deflections
• partial truths
• changes of subject
• statements that could mean multiple things

These give actors layers to explore in their performance.

Lines that don't work:

• obvious statements
• on-the-nose emotions
• dialogue that explains exactly what the character feels or means

Test It With Table Reads #

Gather friends and read your screenplay aloud with different people playing different characters. You'll immediately hear what works and what doesn't.

Listen for places where actors stumble, where energy drops, or where confusion happens. These are your problem areas. Don't defend or explain; just take notes and rewrite.

Professional screenwriters do multiple table reads during development. This process is essential, not optional.

Study Great Dialogue #

Watch films known for excellent dialogue with subtitles on. Notice how much gets communicated with very few words. Study how characters avoid direct answers and talk around difficult subjects.

Analyze films like Before Sunrise, The Social Network, A Few Good Men and so on. Write out scenes by hand to understand the rhythm and structure.

Remember: Less Is More #

Beginning screenwriters tend to over-write dialogue. They have characters explain feelings, backstory, and motivation explicitly. Professional screenwriters trust actors, directors, and audiences to fill in gaps.

Cut at least 20% of your dialogue in every rewrite. Look for places where a look, a pause, or an action could replace words. Film is a visual medium. Use dialogue to enhance what the camera shows, not replace it.

The bottom line: Great screenplay dialogue sounds natural, reveals character through subtext, and advances your story with every line. Write short, read aloud constantly, and trust actors to bring your words to life. Master these principles and your dialogue will attract attention from actors, directors, and producers who recognize authentic voices.