what is dialogue in an essay

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How to Write Dialogue: Rules, Examples, and 8 Tips for Engaging Dialogue

by Fija Callaghan

You’ll often hear fiction writers talking about “character-driven stories”—stories where the strengths, weaknesses, and aspirations of the central cast of characters stay with us long after the book is closed. But what drives character, and how do we create characters that leave long-lasting impressions?

The answer lies in dialogue : the device used by our characters to communicate with each other. Powerful dialogue can elevate a story and subtly reveal important information, but poorly written dialogue can send your work straight to the slush bin. Let’s look at what dialogue is in writing, how to properly format dialogue, and how to make your characters’ dialogue the best it can be.

What is dialogue in a story?

Dialogue is the verbal exchange between two or more characters. In most fiction, the exchange is in the form of a spoken conversation. However, conversations in a story can also be things like letters, text messages, telepathy, or even sign language. Any moment where two characters speak or connect with each other through their choice of words, they’re engaging in dialogue.

Why does dialogue matter in a story?

We use dialogue in a story to reveal new information about the plot, characters, and story world. Great dialogue is essential to character development and helps move the plot forward in a story.

Writing good dialogue is a great way to sneak exposition into your story without stating it overtly to the reader; you can also use tools like dialect and diction in your dialogue to communicate more detail about your characters.

Through a character’s dialogue, we can learn about their motivations, relationships, and understanding of the world around them.

A character won’t always say what they mean (more on dialogue subtext below), but everything they say will serve some larger purpose in the story. If your dialogue is well-written, the reader will absorb this information without even realizing it. If your dialogue is clunky, however, it will stand out and pull your reader away from your story.

Rules for writing dialogue

Before we get into how to make your dialogue realistic and engaging, let’s make sure you’ve got the basics down: how to properly format dialogue in a story. We’ll look at how to punctuate dialogue, how to write dialogue correctly when using a question mark or exclamation point, and some helpful dialogue writing examples.

Here are the need-to-know rules for formatting dialogue in writing.

Enclose lines of dialogue in double quotation marks

This is the most essential rule in basic dialogue punctuation. When you write dialogue in North American English, a spoken line will have a set of double quotation marks around it. Here’s a simple dialogue example:

“Were you at the party last night?”

Any punctuation such as periods, question marks, and exclamation marks will also go inside the quotation marks. The quotation marks give a visual clue to the reader that this line is spoken out loud.

In European or British English, however, you’ll often see single quotation marks being used instead of double quotation marks. All the other rules stay the same.

Enclose nested dialogue in single quotation marks

Nested dialogue is when one line of dialogue happens inside another line of dialogue—when someone is verbally quoting someone else. In North American English, you’d use single quotation marks to identify where the new dialogue line starts and stops, like this:

“And then, do you know what he said to me? Right to my face, he said, ‘I stayed home all night.’ As if I didn’t even see him.”

The double and single quotation marks give the reader clues as to who’s speaking. In European or British English, the quotation marks would be reversed; you’d use single quotation marks on the outside, and double quotation marks on the inside.

Every speaker gets a new paragraph

Every time you switch to a new speaker, you end the line where it is and start a new line. Here are some dialogue examples to show you how it looks:

“Were you at the party last night?” “No, I stayed home all night.”

The same is true if the new “speaker” is only in focus because of their action. You can think of the paragraphs like camera angles, each one focusing on a different person:

“Were you at the party last night?” “No, I stayed home all night.” She raised a single, threatening eyebrow. “Yeah, I wasn’t feeling that well, so I just stayed in and watched Netflix instead.”

If you kept the action on the same line as the dialogue, it would get confusing and make it look like she was the one saying it. Giving each character a new paragraph keeps the speakers clear and distinct.

Use em-dashes when dialogue gets cut short

If your character begins to speak but is interrupted, you’ll break off their line of dialogue with an em-dash, like this:

“Yeah, I wasn’t feeling that well, so I just stayed in and—” “Is that really what happened?”

Be careful with this one, because many word processors will treat your em-dash like the beginning of a new sentence and attach your closing quotation marks backwards:

“Yeah, I wasn’t feeling that well, so I just stayed in and—“

You may need to keep an eye out and adjust as you go along.

In this dialogue example, the new speaker doesn’t lead with an em-dash; they just start speaking like normal. The only time you’ll ever open a line of dialogue with an em-dash is if the speaker who’s been cut off continues with what they were saying:

“Yeah, I wasn’t feeling that well, so I just stayed in and—” “Is that really what happened?” “—watched Netflix instead. Yes, that’s what happened.”

This shows the reader that there’s actually only one line of dialogue, but it’s been cut in the middle by another speaker.

Each line of dialogue is indented

Every time you give your speaker a new paragraph, it’s indented from the left-hand side. Many word processors will do this automatically. The only exception is if your dialogue is opening your story or a new section of your story, such as a chapter; these will always start at the far left margin of the page, whether they’re dialogue or narration.

Long speeches don’t use use closing quotation marks until the end

Most writers favor shorter lines of dialogue in their writing, but sometimes you might need to give your character a longer one—for instance, if the character speaking is giving a speech or telling a story. In these cases, you might choose to break up their speech into shorter paragraphs the way you would if you were writing regular narrative.

However, here the punctuation gets a bit weird. You’ll begin the character’s dialogue with a double quotation mark, like normal. But you won’t use a double quotation mark at the end of the paragraph, because they haven’t finished speaking yet. But! You’ll use another opening quotation mark at the beginning of the subsequent paragraph. This means that you may use several opening double quotation marks for your character’s speech, but only ever one closing quotation mark.

If your character is telling a story that involves people talking, remember to use single quotation marks for your dialogue-within-dialogue as we looked at above.

Sometimes these dialogue formatting rules are easier to catch later on, during the editing process. When you’re writing, worry less about using the exact dialogue punctuation and more about writing great dialogue that supports your character development and moves the story forward.

How to use dialogue tags

Dialogue tags help identify the speaker. They’re especially important if you have a group of people all talking together, and it can get pretty confusing for the reader trying to keep everybody straight. If you’re using a speech tag after your line of dialogue—he said, she said, and so forth—you’ll end your sentence with a comma, like this:

“No, I stayed home all night,” he said.

But if you’re using an action to identify the person speaking instead, you’ll punctuate the sentence like normal and start a new sentence to describe the action taking place:

“No, I stayed home all night.” He looked down at his feet.

The dialogue tags and action tags always follow in the same paragraph. When you move your story lens to a new person, you’ll switch to a new paragraph. Each line where a new person speaks propels the story forward.

When to use capitals in dialogue tags

You may have noticed in the two examples above that one dialogue tag begins with a lowercase letter, and one—which is technically called an action tag—begins with a capital letter. Confusing? The rules are simple once you get a little practice.

When you use a dialogue tag like “he said,” “she said,” “he whispered,” or “she shouted,” you’re using these as modifiers to your sentence—dressing it up with a little clarity. They’re an extension of the sentence the person was speaking. That’s why you separate them with a comma and keep going.

With an action tag , you’re ending one sentence and beginning a whole new one. Each sentence represents two distinct moments in the story. That’s why you end the first sentence with a period, and then open the next one with a capital letter.

If you’re not sure, try reading them out loud:

“No, I stayed home all night,” he said. “No, I stayed home all night.” He looked down at his feet.

Since you can’t hear quotation marks out loud, the way you say them will show you if they’re one sentence or two. In the first example, you can hear how the sentence keeps going after the dialogue ends. In the second example, you can hear how one sentence comes to a full stop and another one begins.

But what if your dialogue tag comes before the dialogue, instead of after? In this case, the dialogue is always capitalized because the speaker is beginning a new sentence:

He said, “No, I stayed home all night.” He looked down at his feet. “No, I stayed home all night.”

You’ll still use a comma after the dialogue tag and a period after the action tag, just like if you’d separate them if you were putting your tag at the end.

If you’re not sure, ask yourself if your leading tag sounds like a full sentence or a partial sentence. If it sounds like a partial sentence, it gets a comma. If it reads like a full sentence that stands on its own, it gets a period.

External vs. internal dialogue

All of the dialogue we’ve looked at so far is external dialogue, which is directed from one character to another. The other type of dialogue is internal dialogue, or inner dialogue, where a character is talking to themselves. You’ll use this when you want to show what a character is thinking, but other characters can’t hear.

Usually, internal dialogue will be written in italics to distinguish it from the rest of the text. That shows the reader that the line is happening inside the character’s head. For example:

It’s not a big deal, she thought. It’s just a new school. It’ll be fine. I’ll be fine.

Here you can see that the dialogue tag is used in the same way, just as if it was a line of external dialogue. However, “she thought” is written in regular text because it’s not a part of what the character is thinking. This helps keep everything clear for the reader.

In your story, you can play with using contrasting internal and external dialogue to show that what your characters say isn’t always what they mean. You may also choose to use this internal dialogue formatting if you’re writing dialogue between two or more characters that isn’t spoken out loud—for instance, telepathically or by sign language.

8 tips for creating engaging dialogue in a story

Now that you’ve mastered the mechanics of how to write dialogue, let’s look at how to create convincing, compelling dialogue that will elevate your story.

1. Listen to people talk

To write convincingly about people, you’ll first need to know something about them. The work of great writers is often characterized by their insight into humanity; you read them and think, “Yes, this is exactly what people are like.” You can begin accumulating your own insight by listening to what real people say to each other.

You can go to any public place where people are likely to gather and converse: cafés, art galleries, political events, dimly lit pubs, bookshops. Record snippets of conversation, pay attention to how people’s voices change as they move from speaking to one person to another, try to imagine what it is they’re not saying, the words simmering just under the surface.

By listening to stories unfold in real time, you’ll have a better idea of how to recreate them in your writing—and inspiration for some new stories, too.

2. Give each spoken line a purpose

Here is something that actors have drilled into their heads from their first day at drama school, and writers would do well to remember it too: every single line of dialogue has a hidden motivation. Every time your character speaks, they’re trying to achieve something, either overtly or covertly.

Small talk is rare in fiction, because it doesn’t advance the plot or reveal something about your characters. The exception is when your characters are using their small talk for a specific purpose, such as to put off talking about the real issue, to disarm someone, or to pretend they belong somewhere they don’t.

When writing your own dialogue, ask yourself what the line accomplishes in the story. If you come up blank, it probably doesn’t need to be there. Words need to earn their place on the page.

3. Embrace subtext

In real life, we rarely say exactly what we really mean. The reality of polite society is that we’ve evolved to speak in circles around our true intentions, afraid of the consequences of speaking our mind. Your characters will be no different. If your protagonist is trying to tell their best friend they’re in love with them, for instance, they’ll come up with about fifty different ways to say it before speaking the deceptively simple words themselves.

To write better dialogue, try exploring different ways of moving your characters around what’s really being said, layering text and subtext side by side. The reader will love picking apart the conversation between your characters and deducing what’s really happening underneath (incidentally, this is also the place where fan fiction is born).

4. Keep names to a minimum

You may notice that on television, in moments of great upheaval, the characters will communicate exactly how important the moment is by saying each other’s names in dramatic bursts of anger/passion/fear/heartbreak/shock. In real life, we say each other’s names very rarely; saying someone’s name out loud can actually be a surprisingly intimate experience.

Names may be a necessary evil right at the beginning of your story so your reader knows who’s who, but after you’ve established your cast, try to include names in dialogue only when it makes sense to do so. If you’re not sure, try reading the dialogue out loud to see if it sounds like something someone would actually say (we’ll talk more about reading out loud below).

5. Prune unnecessary words

This is one area where reality and story differ. In life, dialogue is full of filler words: “Um, uh, well, so yeah, then I was like, erm, huh?” You may have noticed this when you practiced listening to dialogue, above. We won’t say there’s never a place for these words in fiction, but like all words in storytelling, they need to earn their place. You might find filler words an effective tool for showing something about one particular character, or about one particular moment, but you’ll generally find that you use them a lot less than people really do in everyday speech.

When you’re reviewing your characters’ dialogue, remember the hint above: each line needs a purpose. It’s the same for each word. Keep only the ones that contribute something to the story.

6. Vary word choices and rhythms

The greatest dialogue examples in writing use distinctive character voices; each character sounds a little bit different, because they have their own personality.

This can be tricky to master, but an easy way to get started is to look at the word choice and rhythm for each character. You might have one character use longer words and run-on sentences, while another uses smaller words and simple, single-clause sentences. You might have one lean on colloquial regional dialect, where another sounds more cosmopolitan. Play around with different ways to develop characters and give each one their own voice.

7. Be consistent for each character

When you do find a solid, believable voice for your character, make sure that it stays consistent throughout your entire story. It’s easy to set a story aside for a while, then return to it and forget some of the work you did in distinguishing your characters’ dialogue. You might find it helpful to write down some notes about the way each character speaks so you can refer back to it later.

The exception, of course, is if your character’s speech pattern goes through a transformation over the course of the story, like Audrey Hepburn in My Fair Lady . In this case, you can use your character’s distinctive voice to communicate a major change. But as with all things in writing, make sure that it comes from intention and not from forgetfulness.

8. Read your dialogue out loud

After you’ve written a scene between two or more characters, you can take the dialogue for a trial run by speaking it out loud. Ask yourself, does the dialogue sound realistic? Are there any moments where it drags or feels forced? Does the voice feel natural for each character? You’ll often find there are snags you miss in your writing that only become apparent when read out loud. Bonus: this is great practice for when you become rich and famous and do live readings at bookshops.

3 mistakes to avoid when writing dialogue

Easy, right? But there are also a few pitfalls that new writers often encounter when writing dialogue that can drag down an otherwise compelling story. Here are the things to watch out for when crafting your story dialogue.

1. Too much exposition

Exposition is one of the more demanding literary devices , and one of the ones most likely to trip up new writers. Dialogue is a good place to sneak in some information about your story—but subtlety is essential. This is one place where the adage “show, don’t tell” really shines.

Consider these dialogue examples:

“How is she, Doctor?” “Well Mr. Stuffington, I don’t have to remind you that your daughter, the sole heiress to your estate and currently engaged to the Baron of Flippingshire, has suffered a grievous injury when she fell from her horse last Sunday. We don’t need to discuss right now whether or not you think her jealous maid was responsible; what matters is your daughter’s well being. As to your question, I’m afraid it’s very unlikely that she’ll ever walk again.” Can’t you just feel your arm aching to throw the poor book across the room? There’s a lot of important information here, but you can find subtler ways to work it into your story. Let’s try again: “How is she, Doctor?” “Well Mr. Stuffington, your daughter took quite a blow from that horse—worse than we initially thought. I’m afraid it’s very unlikely that she’ll ever walk again.” “And what am I supposed to say to Flippingshire?” “The Baron? I suppose you’ll have to tell him that his future wife has lost the use of her legs.”

And so forth. To create good dialogue exposition, look for little ways to work in the details of your story, instead of piling it up in one great clump.

2. Too much small talk

We looked at how each line of dialogue needs a specific purpose above. Very often small talk in a story happens because the writer doesn’t know what the scene is about. Small talk doesn’t move the scene along unless it’s there for a reason. If you’re not sure, ask yourself what each character wants in this moment.

For example, imagine you’re in an office, and two characters are talking by the water cooler. How was your weekend, what did you think of the game, how’s your wife doing, are those new shoes, etc etc. Can’t you just feel the reader’s will to live slipping away?

But what about this: your characters are talking by the water cooler—Character A and Character B. Character A knows that his friend is inside Character B’s office looking for evidence of corporate espionage, so A is doing everything he can to stop B from going in. How was your weekend, what did you think of the game, how’s your wife doing, are those new shoes, literally anything just to keep him talking. Suddenly these benign little phrases have a purpose.

If you find your characters slipping into small talk, double check that it’s there for a purpose, and not just a crutch to keep you from moving forward in your scene. When writing dialogue, Make each line of dialogue earn its place.

3. Too much repetition

Variation is the spice of a good story. To keep your readers engaged, avoid using the same sentence structure and the same dialogue tags over and over again. Using “he said” and “she said” is effective and clear cut, but only for about three beats. After that, try switching to an action tag instead or letting the line of dialogue stand on its own.

You can also experiment with varying the length of your sentences or groupings of sentences. By changing up the rhythm of your story regularly, you’ll keep it feeling fresh and present for the reader.

Effective dialogue examples from literature

With all of these tips and tricks in mind, let’s look at how other writers have used good dialogue to elevate their stories.

Eleanor Oliphant is Completely Fine , by Gail Honeyman

“I’m going to pick up a carryout and head round to my mate Andy’s. A few of us usually hang out there on Saturday nights, fire up the playstation, have a smoke and a few beers.” “Sounds utterly delightful,” I said. “What about you?” he asked. I was going home, of course, to watch a television program or read a book. What else would I be doing? “I shall return to my flat,” I said. “I think there might be a documentary about komodo dragons on BBC4 later this evening.”

In this dialogue example, the author gives her characters two very distinctive voices. From just a few words we can begin to see these people very clearly in our minds—and with this distinction comes the tension that drives the story. Dialogue is an excellent place to show your character dynamics using speech patterns and word choices.

Pride and Prejudice , by Jane Austen

“My dear Mr. Bennet,” said his lady to him one day, “have you heard that Netherfield Park is let at last?” Mr. Bennet replied that he had not. “But it is,” returned she; “for Mrs. Long has just been here, and she told me all about it.” Mr. Bennet made no answer. “Do you not want to know who has taken it?” cried his wife impatiently. “You want to tell me, and I have no objection to hearing it.” This was invitation enough. “Why, my dear, you must know, Mrs. Long says that Netherfield is taken by a young man of large fortune from the north of England; that he came down on Monday in a chaise and four to see the place, and was so much delighted with it, that he agreed with Mr. Morris immediately; that he is to take possession before Michaelmas, and some of his servants are to be in the house by the end of next week.”

In this famous dialogue example, the author illustrates the relationship between these two characters clearly and succinctly. Their dialogue shows Mr. B’s stalwart, tolerant love for his wife and Mrs. B’s excitement and propensity for gossip. The author shows us everything we need to know about these people in just a few lines.

Dinner in Donnybrook , by Maeve Binchy

“Look, I thought you ought to know, we’ve had a very odd letter from Carmel.” “A what… from Carmel?” “A letter. Yes, I know it’s sort of out of character, I thought maybe something might be wrong and you’d need to know…” “Yes, well, what did she say, what’s the matter with her?” “Nothing, that’s the problem, she’s inviting us to dinner.” “To dinner?” “Yes, it’s sort of funny, isn’t it? As if she wasn’t well or something. I thought you should know in case she got in touch with you.” “Did you really drag me all the way down here, third years are at the top of the house you know, I thought the house had burned down! God, wait till I come home to you. I’ll murder you.” “The dinner’s in a month’s time, and she says she’s invited Ruth O’Donnell.” “Oh, Jesus Christ.”

This dialogue example is a telephone conversation between two people. The lack of dialogue tags or action tags allows the words to come to the forefront and immerses us in their back-and-forth conversation. Even though there are no tags to indicate the speakers, the language is simple and straightforward enough that the reader always knows who’s talking. Through this conversation the author slowly builds the tension from the benign to the catastrophic within a domestic setting.

Compelling dialogue is the key to a good story

A writer has a lot riding on their characters’ dialogue, and learning how to write dialogue is a critical skill for any writer. When done well, it can leaves a lasting impact on the reader. But when dialogue is clumsy and awkward, it can drag your story down and make your reader feel like they’re wasting their time.

But if you keep these tips in mind, listen to dialogue in your everyday life, and practice , you’ll be sure to create realistic dialogue that brings your story to life.

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Writing A Narrative Essay

• Library Resources
• Books & EBooks
• What is an Narrative Essay?
• Choosing a Topic
• MLA Formatting

Using Dialogue

• Using Descriptive Writing
• OER Resources
• Copyright, Plagiarism, and Fair Use

Examples of Dialogue Tags

Examples of Dialogue Tags:

interrupted

Ebooks in Galileo

Additional Links & Resources

• Dialogue Cheat Sheet

Dialogue is an exchange of conversation between two or more people or characters in a story. As a literary style, dialogue helps to advance the plot, reveal a character's thoughts or emotions, or shows the character's reaction within the story. Dialogue gives life to the story and supports the story's atmosphere.

There are two types of dialogue that can be used in an narrative essay.

Direct dialogue  is written between inverted commas or quotes. These are the actual spoken words of a character 

Indirect dialogue  is basically telling someone about what another person said

Formatting Dialogue

Dialogue is an important part of a narrative essay, However formatting dialogue can be troublesome at times.

When formatting dialogue use these rules and examples to help with your formatting:

Place double quotation marks at the beginning an end of spoken words.  The quotations go on the  outside  of both the words and end-of-dialogue punctuation.

• Example:  "What is going on here?" John asked.

Each speaker gets a new paragraph that is indented.

      “hi,” said John as he stretched out his hand.

           "Good Morning, how are you?" said Brad shaking John’s hand.

                      "Good. Thanks for asking," John said.

Each speaker’s actions are in the same paragraph as their dialogue.

 A  dialogue tag  is anything that indicates which character spoke and describes how they spoke.

If the tag comes before the dialogue,  use a comma straight after the tag. If the dialogue is the beginning of a sentence, capitalize the first letter. End the dialogue with the appropriate punctuation (period, exclamation point, or question mark), but keep it INSIDE the quotation marks.

• Examples Before: 

James said, “I’ll never go shopping with you again!”

John said, “It's a great day to be at the beach.”

She opened the door and yelled, “Go away! Leave me alone!”

If the dialogue tag comes after the dialogue , Punctuation still goes INSIDE quotation marks. Unless the dialogue tag begins with a proper noun, it is  not  capitalized. End the dialogue tag with appropriate punctuation. Use comma after the quote unless it ends with a question mark or exclamation mark.

• Examples After: 

“Are you sure this is real life?” Lindsay asked.

“It’s so gloomy out,” he said.

“Are we done?” asked Brad . 

“This is not your concern!” Emma said.

If dialogue tag is in the middle of dialogue.  A comma should be used before the dialogue tag inside the closing quotation mark; Unless the dialogue tag begins with a proper noun, it is  not  capitalized. A comma is used after the dialogue tag, outside of quotation marks, to reintroduce the dialogue. End the dialogue with the appropriate punctuation followed by the closing quotation marks. 

When it is two sentences, the first sentence will end with a punctuation mark and the second begins with a capital letter.

• Examples middle: 

“Let’s run away,” she whispered, “we wont get another chance.”

“I thought you cared.” Sandy said, hoping for an explanation. “How could you walk away?”

“I can’t believe he’s gone,” Jerry whispered. “I’ll miss him.”

Questions in dialogue.  

if there is a dialogue tag, the question mark will act as a comma and you will then lowercase the first word in the dialogue tag 

• Example: What are you doing?" he asked.

if there is simply an action after the question, the question mark acts as a period and you will then capitalize the first word in the next sentence.

“Sarah, why didn't you text me back?” Jane asked.

“James, why didn’t you show up?” Carol stomped her feet in anger before slamming the door behind her.

If the question or exclamation ends the dialogue, do not use commas to separate the dialogue from dialogue tags.

• Example:  “Sarah, why didn't you text me back?” Jane asked.

If the sentence containing the dialogue is a question, then the        question mark goes outside of the quotation marks.

Did the teacher say, “The Homework is due Tomorrow”?

If you have to quote something within the dialogue.  When a character quotes someone else, use double-quotes around what your character says, then single-quotes around the speech they’re quoting.

• Example: 

"When doling out dessert, my grandmother always said, 'You may have a cookie for each hand.'"

Dashes & Ellipses:

Dashes ( — ) are used to indicate abruptly interrupted dialogue or when one character's dialogue is interrupted by another character.

Use an em dash  inside  the quotation marks to cut off the character mid-dialogue, usually with either (A) another character speaking or (B) an external action.

• Including the em dash at the end of the line of dialogue signifies that your character wasn't finished speaking.
• If the speaking character's action interrupts their own dialogue . 
• Use em dashes  outside  the quotation marks to set off a bit of action without a speech verb. 

Examples: 

• Heather ran towards Sarah with excitement. “You won’t believe what I found out—”
• "Is everything—" she started to ask, but a sharp look cut her off.
• "Look over there—" She snapped her mouth shut so she didn't give the secret away.
• "Look over there"—she pointed towards the shadow—"by the stairway."

Use ellipses (...) when a character has lost their train of thought or can't figure out what to say

• Example:  “You haven’t…” he trailed off in disbelief.

Action Beats

Action beats show what a character is doing before, during, or after their dialogue.

“This isn't right.” She squinted down at her burger. “Does this look like it is well done to you?”

She smiled. “I loved the center piece you chose.”

If you separate two complete sentences, you will simply place the action beat as its own sentence between two sets of quotes.

“I never said he could go to the concert.” Linda sighed and sat in her chair. “He lied to you again.”

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How to Format Dialogue: Complete Guide

Dialogue formatting matters. Whether you’re working on an essay, novel, or any other form of creative writing. Perfectly formatted dialogue makes your work more readable and engaging for the audience.

In this article, you’ll learn the dialogue formatting rules. Also, we’ll share examples of dialogue in essays for you to see the details.

What is a Dialogue Format?

Dialogue format is a writing form authors use to present characters' communication. It's common for play scripts, literature works, and other forms of storytelling.

A good format helps the audience understand who is speaking and what they say. It makes the communication clear and enjoyable. In dialogue writing, we follow the basic grammar rules like punctuation and capitalization. They help us illustrate the speaker’s ideas.

General Rules to Follow When Formatting a Dialogue

Dialogue writing is an essential skill for both professionals and scholars . It shows your ability to express the issues and ideas of other people in different setups. The core rules of formatting are about punctuation. So, below is a quick reminder on punctuation marks’ names:

And now, to practice.

Please follow these rules for proper dialogue formatting:

•  Use quotation marks. Enclose the speaker’s words in double quotations. It helps readers distinguish between a character’s speech and a narrator’s comments.
•  Place punctuation inside quotation marks. All punctuation like commas, exclamations, or interrogation marks, go inside the double quotations.
•  Keep dialogue tags behind quotation marks. A dialogue tag is (1) words framing direct speech to convey the context and emotions of a conversation. For example, in (“I can’t believe this is you,” she replied.), the dialogue tag is “she replied.”
•  Use an ellipsis or em-dashes for pauses or interruptions. To show interruptions or pauses, end phrases with ellipses inside quotations. Em-dashes go outside quotations. No other extra marks are necessary here.
•  Remember a character’s voice.  Ensure that each character’s phrases reflect their background and personality.

5 More Rules to Know (+ Examples of Dialogue)

For proper formatting of dialogue in writing, stick to the following rules:

1. Each speaker’s saying comes in a new paragraph

Begin a new paragraph whenever a new character starts speaking. It allows you to differentiate speakers and make their conversation look more organized. (2)

“Has Mr. de Winter been in?” I said.    “Yes, Madam,” said Robert; “he came in just after two, and had a quick lunch, and then went out again. He asked for you and Frith said he thought you must have gone down to see the ship.”    “Did he say when he would be back again?” I asked.    “No, Madam.” — from Rebecca by Daphne du Maurier

2. Separate dialogue tags with commas

When using dialogue tags ( e.g., “she said,” “he replied,”), separate them with commas. 

For example:

“You’ve got to do something right now , ” Aaron said , “Mom is really hurting. She says you have to drive her to the hospital.” “Actually, Dad , ” said Caleb, sidling in with his catalog , “There’s someplace you can drive me, too.” “No, Caleb.” — from The Corrections by Jonathan Franzen

3. When quoting within dialogue, place single quotes

If a character cites somebody or something while speaking, we call it a reported dialogue. In this case, use single quotations within double ones you place for a direct speech. It will help readers see that it’s a quote.

John started to cry. “When you said, ‘I never wanted to meet you again in my life!’ It hurts my feelings.”

4. You can divide a character’s long speech into paragraphs

Dialogue writing is different when a person speaks for a longer time. It’s fine to divide it into shorter paragraphs. Ensure the proper quotation marks placing:

 The first quotation mark goes at the beginning of the dialogue. Each later paragraph also starts with it until that direct speech ends.

 The second quotation mark — the one “closing” the monologue — goes at the dialogue’s end.

Josphat took a deep breath and began. “ Here’s the things about lions. They’re dangerous creatures. They only know how to kill. Have you ever seen a lion in an open area? Probably not. Because if you had you’d be dead now. “ I saw a lion once. I was fetching firewood to cook lunch. All of a sudden I found myself face to face with a lion. My heart stopped. I knew it was my end on earth. If it wasn’t the poachers we wouldn’t be having this talk. ”

Yet, you can keep a long text as a whole by adding some context with dialogue tags. Like here:

As you can see, there’s no quotation mark at the end of the paragraph in red. It’s because the next “Ha! ha!” paragraph continues the character’s speech.

5. Use action beats

Describe actions to provide context and keep readers engaged. Help them “hear” your characters. Punctuation also helps here: exclamation (!) or interrogation with exclamations (?!) demonstrate the corresponding tone of your narrative.

He slammed the door and shouted , “I can’t believe you did that ! “

Mistakes to Avoid When Formatting Dialogue

A good dialogue is a powerful instrument for a writer to show the character’s nature to the audience. Below are the mistakes to avoid in formatting if you want to reach that goal.

 So, please don’t :

• Allow characters to speak for too long. Writing long paragraphs will bore the reader, making them skip through your speech. Short but sweet talk is the best. When writing, aim to be brief, dynamic, and purposeful. If your character speaks too much, generating opinion essays , ensure this speech makes sense and serves a bigger purpose.
• Overburden dialogue with exposition.  Avoid telling the story background or building sophisticated words in your characters’ speeches. Instead, reveal the narrative content in small bursts and blend it around the rest of the prose. Convey it through your character’s actions and thoughts rather than summaries and explanations.
• Create rhetorical flourishes. Make your characters sound natural. Let them speak the way they’d do if they were real people. Consider their age, profession, and cultural background — and choose lexical items that fit them most.
• Use repetitive dialogue tags. Constant “he asked” and “she said” sounds monotonous. Diversify your tags: use power verbs, synonyms, and dialogue beats.

Frequently Asked Questions by Students

How to format dialogue in an essay.

Formatting a dialogue in an essay is tricky for most students. Here’s how to do it: Enclose the speaker’s words with double quotations and start every other character’s line from a new paragraph. Stick to the citation styles like APA or MLA to ensure credibility. 

How to format dialogue in a novel?

 A dialogue in a novel follows all the standard rules for clarity and readability. Ensure to use attributions, quotation marks, and paragraph format. It makes your dialogue flow, grabbing the reader’s attention.

How to format dialogue in a book?

Dialogue formatting in a book is critical for storytelling. It helps the audience distinguish the hero’s words. Follow the general rules we’ve discussed above:

Use double quotations and isolate dialogue tags with commas. Remember to place the discussion in blocks for better readability.

How to format dialogue between two characters?

A two-character dialogue offers the best way to prove successful formatting skills. Ensure you use action beats, quotations, and attribution tags. It allows readers to follow the conversation and understand it better.

What is the purpose of dialogue in a narrative essay?  

Dialogue writing is the exchange of views between two or more people to reach a consensus. It reveals the character’s attitude and argumentation. Last but not least, it helps convey the descriptive nature of your narrative essay.

References:

• https://valenciacollege.edu/students/learning-support/winter-park/communications/documents/WritingDialogueCSSCTipSheet_Revised_.pdf
• https://www.ursinus.edu/live/files/1158-formatting-dialogue
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How to Format Dialogue in an Essay: Tips on Writing

Table of contents

• 1.1 Two Main Types of Dialogue
• 2.1 Essential Punctuation in Dialogue Writing
• 2.2 Quoting Something Within the Dialogue
• 2.3 New Speaker Indicator in Dialogue
• 2.4 Showing Interruption in Dialogue
• 2.5 Avoid using extra punctuation while using ellipses
• 2.6 Additional Tips on Writing Dialogue
• 3 New Speakers – New Paragraphs
• 4.1 Contextualizing Dialogue
• 4.2 Maintaining Flow and Relevance
• 4.3 Balancing Dialogue and Narrative
• 4.4 Subtext in Dialogue
• 4.5 Character Development Through Dialogue
• 5.1 Good Example 1: Use of Quotation Marks and Proper Punctuation
• 5.2 Bad Example 1: Incorrect Punctuation and Quotation Mark Use
• 5.3 Good Example 2: Integrating Dialogue Naturally into the Essay
• 5.4 Bad Example 2: Forced and Unrelated Dialogue
• 5.5 Good Example 3: Showing Character and Emotion through Dialogue
• 5.6 Bad Example 3: Overuse of Adverbs in Dialogue Tags
• 6 Craft Dynamic Dialogues: Let Your Reader Enjoy The Narrative of Your Essay

Adherence to basic guidelines is vital for creating successful interaction within an essay. This article outlines fundamental rules for effectively incorporating dialogue into an essay, ensuring it adds depth and authenticity. Today, we will talk about:

• How to write a dialogue in your essay;
• How to use quotation marks to create a format of dialogue writing;
• What are the subtleties of arranging paragraphs while beginning or continuing discourse;
• What are several approaches to assigning conversation to characters without being boring.

Now, let’s delve into the intricacies of each rule.

Purpose of Dialogue in Essays

Before we delve into how to write dialogue in an essay, we must first grasp why this literary element should be used. Dialogue is dynamic, elevating narratives by injecting life and authenticity into essays. Its role extends beyond mere conversation as a powerful tool to enhance clarity. Through dialogue, writers can open up the characters, making the narrative more interesting and relatable.

Additionally, it fosters a realistic touch, enabling readers to connect emotionally with the content. Indeed, the proper way to write dialogue is to unveil the nuances of characters’ personalities and relationships, which will foster a deeper understanding of the characters’ ideas, thoughts, and the essay’s context. Besides, it transforms it from static prose to dynamic.

Two Main Types of Dialogue

Dialogue writing in your text can differ based on the genre of the essay you work on. Whether crafting your persuasive, argumentative, or any other type of essay, you should know what types of dialogue you can use. There are two main options; knowing their differences is vital to using them effectively.

• Active Dialogue:
• This is when you place precise phrases inside quotation marks without altering the content. This is an excellent method to give readers a sharper and more direct understanding of a scenario:

Dan said, “I don’t want to go to dinner tonight.”

• Passive Dialogue:
• This is when you paraphrase someone else’s words to convey a general understanding of what they stated. When writing dialogue passively, add additional information or background to the paragraph:

Dan said he didn’t want to go to dinner as he was tired. Even though Joanna was disappointed to hear this, she agreed and suggested rescheduling it for next weekend.

Quotation Marks and Punctuation

Mastering the art of how to write dialogue in an essay necessitates following the correct punctuation conventions. Thus, a few simple but important rules are to be followed when adding voice to text. The good news is that you can always ask PapersOwl to help you with essay writing if you feel stuck. Rest assured, the academic writing process will be handled carefully, with separate speech tags and everything else needed.

However, students must grasp the intricacies of effectively writing dialogue between two characters within their essays to upgrade their work.

Essential Punctuation in Dialogue Writing

• The correct way to write dialogue is to enclose spoken words in double quotation marks and pay attention to the placement of commas and periods concerning the quotation marks:
• Correct: “I can’t believe you said that,” she exclaimed.
• Incorrect: “I can’t believe you said that”, she exclaimed.
• We use commas to write proper dialogue and to set off tags. These are also placed inside the quoting symbols:
• “I won’t have any more of this,” he said, “It has been too long since I’ve done anything of my own accord.”
• A period is placed after the closing quotation marks if the quote is located at the end of a sentence:
• Tiffany looked sadly at her brother and said, “I can’t believe we have ruined this cake so badly”.

Quoting Something Within the Dialogue

Use single quotation marks when quoting something within the dialogue for the proper dialogue format. This helps distinguish the inner quote from the main phrase.

For example:

• He said, “She told me, ‘I’ll be there by 3 PM.'”

New Speaker Indicator in Dialogue

When introducing a new speaker, the way to correctly write dialogue is to start on a new line and use a lowercase letter for the first word if it follows an action.

• She sighed. “I don’t know what to do.”
• He laughed. “You’ll figure it out.”

Showing Interruption in Dialogue

To indicate an interruption, use an em dash (—) and start a dialogue with a lowercase letter.

• “I was just trying to —.” And she cut him off. “I don’t want to hear it.”

Avoid using extra punctuation while using ellipses

While ellipses (…) can convey hesitation or trailing off, avoid adding extra punctuation around them. Let the ellipses carry the weight of the pause.

Dialogue example:

• Correct: “I’m not sure… maybe.”
• Incorrect: “I’m not sure…, maybe”.

Additional Tips on Writing Dialogue

There are also loads of other formatting rules that are better studied and remembered to uplift your dialogues in essays:

• When dealing with long speeches, break the dialogue into paragraphs for clarity. Begin each paragraph with an opening quotation mark, and only use a closing quotation mark at the end of the last paragraph:
• “In the grand tapestry of life, each thread weaves a story. Our experiences shape us, molding our characters into unique patterns. Challenges, like storms, may rattle us, but they also add texture to the narrative. And as we navigate this intricate design, remember:”

“Your journey is a masterpiece, with every twist and turn contributing to the beauty of your existence.”

• In a conversation beyond one paragraph, you should use opening quotations when it starts. However, the ending sign is used only when the conversation ends, even after several paragraphs.
• To sum up, while formatting dialogue, ensure that terminal punctuation (commas, periods, exclamation marks, or question marks) falls within the quotation marks, while colons and semicolons should be placed outside.

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New Speakers – New Paragraphs

There are different ways to write dialogue, but starting a new paragraph for each speaker improves clarity in conversation presentation. This technique graphically indicates a shift in speakers, making it easier for readers to follow dialogues.

Integrating Dialogue into an Essay

Dialogue can effectively present information and provide depth to an article. Thus, using conversation between characters, writers may engage readers and create a dynamic story that supports their goal. Besides, there are different reasons to use dialogues in various contexts.

Contextualizing Dialogue

To correctly write a dialogue within the narrative is vital for creating a vivid and immersive storytelling experience. Accordingly, the setting serves as a crucial backdrop, influencing the conversation’s tone, mood, and dynamics. Meanwhile, descriptive details about the environment, such as the time of day, the weather, or the specific location, not only ground the reader but also add layers of meaning to the dialogue in an essay.

Additionally, dialogue gains authenticity and resonance by seamlessly integrating setting details, allowing readers to engage more fully with the characters and their world. For instance, the backdrop of a bustling city or serene countryside significantly influences how dialogue in paragraphs is interpreted, deepening the overall narrative experience. This contextual richness elevates spoken words into an integral part of the larger story, enhancing the entire reading experience.

Maintaining Flow and Relevance

To maintain a seamless flow and relevance in dialogue, you should:

• Align each spoken word with the essay’s central argument or narrative.
• Avoid extraneous conversations that do not contribute to the core message.
• Prioritize purposeful dialogue in writing that propels the storyline or reinforces the essay’s thesis.
• Ensure a natural flow by considering dialogues’ pacing, tone, and timing, allowing them to unfold organically within the broader  narrative style and structure.

This strategic integration ensures that dialogue enhances the storyline and remains integral to the essay’s overarching purpose and coherence.

Balancing Dialogue and Narrative

Achieving a harmonious balance between dialogue and narrative involves strategic integration.

• Avoid extended monologues and instead effortlessly blend descriptive storytelling and exposition with dialogue.
• Insert dialogue in an essay to unfold character insights and advance the plot, while narrative provides context and depth.
• Create a rhythmic interplay between spoken words and descriptive elements, ensuring each complements the other.

This dynamic balance allows readers to interact with both characters and the surrounding universe, improving the narrative’s coherence and immersion.

Subtext in Dialogue

The subtext in dialogue sentences adds layers of meaning, allowing writers to convey underlying themes subtly.

• Utilize nuances, unsaid words, or indirect expressions to imply deeper emotions or unspoken tensions.
• Consider the characters’ motivations and the context of their conversation to infuse hidden meaning

Putting dialogue in an essay with subtext promotes engagement by encouraging readers to discern hidden subtleties and building a deeper connection with the story.

Character Development Through Dialogue

Character development thrives in the subtleties of dialogue, offering a window into personalities and relationships. Consequently, dialogue in text can effectively convey the thoughts and feelings of characters in a story. Moreover, it can create a stronger connection between readers and characters, helping them to understand their struggles, emotions, and motivations. We also advise the following:

• Employ distinctive speech patterns, vocabulary, and tones to convey individual traits authentically.
• Integrate narrative descriptions of characters’ movements and emotions during conversations to provide additional layers. For instance, a nervous character might fidget, while a confident one maintains steady eye contact.
• Write a dialogue in a story to unveil power dynamics, conflicts, or alliances, allowing readers to discern relationships organically.

By intertwining spoken words with nuanced actions and emotions, you breathe life into characters, fostering a deeper connection between readers and the personas within your narrative, resulting in a richer and more immersive storytelling experience.

Examples and Exercises

Writing dialogue in an essay can bring characters to life, illustrate points, and add interest to your writing. However, doing it well requires attention to detail, adherence to conventions, and purposeful integration into your essay’s narrative. Below, I will provide examples of both good and bad dialogue writing to highlight key points for effective dialogue inclusion in essays.

Good Example 1: Use of Quotation Marks and Proper Punctuation

• “I don’t understand why we have to move again,” Sarah said, her voice laced with frustration.
• “It’s because of my job,” her father explained. “We’ll get to explore a new place together.”

Why it’s good: This example correctly uses quotation marks to enclose the spoken words and includes proper punctuation, with the comma inside the quotation marks. The dialogue tags (“Sarah said,” “her father explained”) are used effectively to attribute the dialogue to specific characters.

Bad Example 1: Incorrect Punctuation and Quotation Mark Use

• I don’t understand why we have to move again. Sarah said, her voice laced with frustration.
• It’s because of my job. her father explained We’ll get to explore a new place together.

Why it’s bad: This example fails to use quotation marks, making it difficult to distinguish between the narrative and the dialogue. The punctuation is incorrectly placed outside the quotation marks, and the dialogue tags are awkwardly integrated, leading to confusion.

Good Example 2: Integrating Dialogue Naturally into the Essay

In the midst of their argument, Sarah’s realization about her family’s situation was profound. “Maybe it’s not about the moving but about finding where we belong together,” she mused. This moment of insight not only resolved their conflict but also underscored the essay’s theme of belonging.

Why it’s good: This dialogue is naturally integrated into the essay, contributing to the development of the theme. It shows how to use dialogue to reveal character development and thematic elements, enhancing the reader’s understanding of the essay’s message.

Bad Example 2: Forced and Unrelated Dialogue

Sarah liked ice cream. “I love chocolate,” she said. Meanwhile, her father was talking about moving because of his job.

Why it’s bad: This example includes dialogue that is unrelated to the essay’s focus, disrupting the flow of the narrative. The dialogue about ice cream does not contribute to the development of the theme or the characters in the context of moving due to a job change, making it feel forced and out of place.

Good Example 3: Showing Character and Emotion through Dialogue

As they packed the last box, Sarah’s father sighed, “I know this is hard on you.” Sarah looked up, teary-eyed, “It’s okay, Dad. I understand it’s for the best.”

Why it’s good: This example effectively uses dialogue to convey emotion and character relationships. It shows rather than tells the reader about the characters’ feelings, creating a more immersive and emotional connection to the narrative.

Bad Example 3: Overuse of Adverbs in Dialogue Tags

“I just can’t bear it anymore,” Sarah said sadly. “We will make it through this,” her father reassured her encouragingly.

Why it’s bad: The overuse of adverbs in dialogue tags (e.g., “said sadly,” “reassured her encouragingly”) can make the writing feel clumsy and over-explained. It’s often better to convey emotions through the dialogue itself or through descriptive action rather than relying on adverbs.

In summary, good dialogue writing in essays involves using proper punctuation, integrating dialogue naturally, and using it to reveal character and advance the theme. Avoid unrelated dialogue, incorrect punctuation, and over-reliance on adverbs in dialogue tags to maintain the quality and effectiveness of your essay’s narrative.

Craft Dynamic Dialogues: Let Your Reader Enjoy The Narrative of Your Essay

Several key conclusions emerge after discussing the conversation in writing. From mastering punctuation nuances to providing contextual richness through setting details, the art of creating dialogue extends beyond spoken words. Thus, to write dialogue in a narrative means finding a balance between dialogue and narrative, infusing subtext, and using conversations to shape characters are paramount.

Remember, writing dialogue is not merely a tool for communication; it is a dynamic way to enrich narratives. By acquiring these skills, you can tell fascinating stories in which every spoken word adds value to the larger picture of your essays. Just follow our guide, practice often, and you’ll never have to worry about this issue further!

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What is Dialogue? (How to Write, Examples, Grammar, Tips)

What is dialogue in writing? What are examples of dialogue in writing? What are examples of dialogue conversations? Often, writers use dialogue to show how characters relate to one another. The idea of dialogue is mostly how it sounds, conversation (or small talk). Though, most often, characters in a story will have dialogue with each other. And it’s important to learn how they should get written and what the best forms of dialogue are to make your readers comprehend the subject .

What Is Dialogue?

A dialogue is nothing more than an exchange of words between two or more people.

To be precise, the word “dialogue” comes from the Greek word “dialogos.” “Dia” means “through,” and “logos” means “word” or “reason.”

Plato likened dialogue to a stream of meaning flowing between and through people, which would emerge new meanings or understandings. He introduced philosophy to the masses through his dialogues, which you can read more about here .

Renowned painter Erik Pevernagie once said, “A world without dialogue is a universe of darkness.”

He strongly believed that sharing your views and ideas through dialogue allows you to understand the world and appreciate its beauty.

Dialogue is the most fundamental way that human beings communicate. 

In literature, dialogue is what allows us to see characters fight, debate, love, and reconcile with one another.

Famous Examples of Dialogue From Literature

The maltese falcon – dashiell hammett (dialogue example).

Spade grinned sidewise at her and said, “You’re good. You’re very good.”

Her face did not change. 

She asked quietly, “What did he say?”

“About what?”

She hesitated. 

“About me .”

“Nothing.” 

Spade turned to hold his lighter under the end of her cigarette. His eyes were shiny in a wooden Satan’s face.

To Kill A Mockingbird – Harper Lee (Dialogue Example)

“What are you all playing?” he asked.

“Nothing,” said Jem.

Jem’s evasion told me our game was a secret, so I kept quiet.

“What are you doing with those scissors, then ? Why are you tearing up that newspaper? If it’s today’s, I’ll tan you.”

“Nothing, what?” said Atticus.

“Nothing, sir.”

“Give me those scissors,” Atticus said. “They’re no things to play with. 

There are too many passages in books filled with dialogues worth quoting. You can read more here .

How to Write Dialogue (in a story or otherwise)

Different authors have different opinions on what makes a piece of dialogue click . But there are general rules you must keep in mind to ensure your dialogue is easily understood and leaves an emotional impact on readers.

1. Use quotation marks to end and begin your dialogue.

“Like this?” 

“Exactly so.”

Quotation marks are where your character’s voice begins. This simple bit of punctuation brings life to a dull block of prose that would otherwise be soulless and characterless.

“That was easy enough. So what’s next?”

Closing quotation marks should end the single dialogue in the lines of dialogue that make up the conversation between two characters.

2. Keep your dialogue tags outside the quotation marks.

A dialogue tag is what tells your readers that a line of dialogue belongs to a specific speaker.

“Is this what you mean?” asked Alice.

“That is exactly what I mean,” said Bob, nodding.

“What about this asked Alice?”

“Now I have no idea how to read what you said,” said Bob.

3. Keep your punctuation inside the quotation marks.

As a rule of thumb, if you write the dialogue tag first, you want to bring the comma before the quotation mark .

But what if you use an exclamation mark or a question mark?

“Like this one?” asked Bob.

“Yes, exactly like that,“ said Alice.

In this situation, you write the following dialogue tag in lowercase instead of uppercase. 

“Oh, God , punctuation! My mortal enemy!” said Alice, shaking her fist at the skies.

Very good, Alice.

Tip: If your line of dialogue ends in an exclamation point or question mark, the tags that follow should be in lowercase.

3. Use a separate sentence for actions that happen before and after your dialogues.

Any action or movement should be given its own sentence next to your dialogue.

Alice gasped, dropping her glass onto the floor. It shattered into a million pieces.

“That sounds complicated!”

Bob gasped, clapping a hand over his mouth.

“My rug! My expensive wine!”

4. Never use double quotes inside dialogue. Use single quotes instead.

If your character is quoting someone else, make sure you use single quotes, or your text will quickly get confusing.

“I remember a nice Englishman that once said, ‘To be or not to be,’” said Bob, “But I don’t remember the question.”

5. Indicate new speakers with new paragraphs.

Every time you change a speaker, you must start a new paragraph. If you are writing a manuscript, you must also indent the paragraph.

If your character performs an action, keep the action in the same paragraph. Only then should you move to the following line in the next paragraph when you bring in your new speaker.

“We’re all out of wine!” said Alice. She pointed at the empty bottle in her hands.

“Can you please not break any more glasses?” said Bob as he gingerly picked up pieces of shattered glass with gloved hands.

6. Every time an action interrupts your dialogue, begin with lowercase again.

“At the end of the day,” Alice whispered to herself, placing the bottle tenderly on the table, “why does all the wine disappear?”

7. Indicate an interruption with an em dash.

Em dashes are not the same as hyphens. They are used to show readers that a line of dialogue has been cut off mid-sentence.

You should always place your dash inside the quotation marks, just as you would with all other punctuation marks . If you’d like a refresher on the difference between an em dash and a hyphen , read this . 

Bob returned with a new wine bottle in hand.

“This is a 1787 Chateau Lafite Rothschild,” said Bob, unable to keep the pride out of his voice, “it belonged to my—“

“Gimme!” said Alice, grabbing the bottle from his hands.

Writing Dialogue: Identifying a Speaker

Not all dialogue needs dialogue question.

“Yes. Really.”

But when you use a dialogue question, you must use a comma. You must place a comma, quotation, and dialogue tag, in that order.

Any punctuation in the sentence must come inside the quotes.

“You know,” said Alice, “I think I’m starting to get the hang of this.”

What if you don’t want to put the dialogue tag in the middle of the sentence? You must identify the speaker in advance by bringing attention to an action or gesture before writing their dialogue.

Bob sighed, settling into this chair.

“I’m happy to hear that, Alice.”

Sometimes, you will identify the speaker explicitly.

“And by explicit, you mean telling the reader outright who is speaking, right?” said Alice.

Sometimes, you will identify the speaker implicitly.

“That is exactly what that means, Alice, dear, yes.”

The above dialogue does not have the speaker referenced by name. But with the help of context and preceding dialogue, we can tell exactly who is speaking.

At other times, we will identify the speaker through anaphora.

“What does anaphora mean?” asked the clumsy yet enthusiastic lady.

“It means indirectly identifying the speaker without using their name, dear,” came the unhappy man’s response.

Other times, you can identify the speaker even when a dialogue tag is not used. This happens when the dialogue directly refers to the person being spoken to, making the speaker obvious.

“I’m referring to you now, Alice.”

“I know, Bob, you don’t have to tell me.”

Readers get tired of the whole “he said,” “she said,” business if it’s overdone. You want to juggle different methods of identifying the speaker as you write, making sure to sprinkle in clues about who the speaker is.

This prevents stale and overdone writing. It adds spice to an otherwise repetitive piece of prose and breathes life into the text.

How To Format Dialogue (Formatting Dialogue Examples)

When writing a manuscript, begin the first line of each paragraph indented. 

If using British English, use single quotation marks.

If using American English, use double quotation marks.

But whatever the region, enclose the spoken words inside the quotation marks.

“Quotes are the best way to tell your readers someone is talking.“

“I know, Alice.”

“Why do Americans use double quotes instead of single quotes, Bob?”

Bob shrugged.

“That’s just the way it is. The same reason the English add the letter ‘u’ in many of their words while Americans don’t.”

(If you’d like to read an expert’s opinion on why different regions use single and double quotes, read this )

Always keep dialogue tag/questions out of your quotes

“But enough about grammar , Alice,” said Bob, sinking into his chair. 

“Look at the nice weather we’re having.”

“I can see the sun for once, yes,” said Alice.

“What a sight to behold,” said Bob, smiling.

Don’t forget to use lowercase when following up a dialogue tag that has a quotation or exclamation mark.

“On the whole, this has been a surprisingly good day, don’t you think?” said Alice.

“Except for the part where you spilled my expensive wine all over the carpet!” shouted Bob.

There was a pause as Alice sank into her chair.

Make sure that all actions before and after the dialogue go into a separate sentence.

Alice placed the glass to her lips.

“Hey, this isn’t half bad !”

Bob smiled, pointing to the bottle he’d set on the table.

“It was my grandfather’s. I’m glad you like it.”

Make sure to place all punctuation inside the quotes

“I’m sorry ,” said Alice, setting her glass down, “I was just excited.”

“No, no,” said Bob, waving a dismissive hand, “don’t worry about it.”

The ellipsis deserves a special mention here. If you end any dialogue with an ellipsis, make sure not to add further punctuation, such as a comma after it. (For some extra tips on formatting your dialogue, read this .)

For instance, you would never write:

“I miss granddad…,” said Bob, his eyes misting over.

You would instead write:

“I miss granddad…” said Bob, his eyes misting over.

Always place single quotes within double quotes when referencing something from an outside source. This includes famous proverbs, cliches, and dialogues that other characters in your story have used in the past .

“’Save it for a special one, boyo,’” said Bob, smiling, “that’s what my granddad said when he gave me that.”

Start a new paragraph when changing speakers.

“What’s special about today?” said Alice, tilting her head. 

“You don’t remember?” said Bob.

“No,” said Alice.

“Are you serious?” said Bob.

Alice frowned, trying to remember. She looked up at him and shrugged.

Writing Compelling Dialogue

1. subtext is king..

People in real life often have wide gaps between what they say and think. There are also gaps between what a character understands and what they refuse to hear.

Two characters that know each other often have more unspoken dialogue than spoken dialogue. These are vital and valuable territories that writers can take advantage of to create drama and tension. 

2. Good dialogue advances the plot and reveals character.

Characters speak for a reason. Desire forces characters to interact; through this interaction, we witness the unraveling of events and scenarios.

These events either push them away or toward achieving the story’s primary goal. Dialogue is also best to show how your characters feel instead of just telling your readers how they feel. You introduce context through dialogue and use it to reveal how a character thinks about someone.

3. Dialogue reflects your character’s background.

Each person has their way of speaking. A brute and a scientist have noticeably different syntaxes of speech where readers can peer into their thought processes by examining the words they use and how they say them.

Social class, upbringing, personality, and coping mechanisms also factor into how a character speaks.

4. Keep your dialogue tags simple. 

The most straightforward dialogue tags are often the best. While many critics believe that writers should never use words other than “said,” others believe it’s okay to have a little variety.

A few dialogue tags like “called” or “muttered” can be illustrative and draw attention to critical moments and emotions.

Others believe mentioning a single adverb is an outright sin, but they have their place in descriptive prose. You can read more about writing engaging dialogue here .

Internal Monologue Versus External Dialogue

An internal monologue is nothing more than the character’s innermost thoughts that the writer is exposing to the audience. This monologue contains the character’s voice and serves as a way for readers to understand the character’s thought processes better.

This monologue does not reveal every thought the character has but is used to display selective emotions and thought processes in response to meaningful story events. 

An internal monologue is not omniscient in the same way that a narrator’s exposition is. 

External dialogue is the words exchanged between two or more characters. These are words that are being spoken out loud.

This dialogue is often accompanied by dialogue tags, action tags, and descriptions. 

If you’d like to learn more about how to create a compelling internal monologue, read this .

How to Punctuate Dialogue Correctly

Literary dialogue has its own rules for punctuation. In most instances, commas, periods, question marks, and exclamation marks go inside the quotations.

“It’s a beautiful and happy day today,” he said.

“What a beautiful day!” he said.

“Isn’t this a beautiful day?” he asked.

The one exception to this rule regards question marks.

When a character is referencing a proverb/statement/cliche that contains a question, we place the question mark outside the quotation mark to denote that it is a reference to something.

Did the professor say, “The equation goes here”?

For a more comprehensive list of rules on punctuation, read this .

When and How to Use Quotation Marks in Dialogue

The primary purpose of a quotation mark is to indicate words being spoken by a character or referenced from an outside source.

Using them in literature or formal documentation comes with specific rules. 

• Always use quotation marks in pairs. 
• Always capitalize the first letter of a word used verbatim in a quote.
• Don’t use capital letters when referencing only a fragment of a quote from another source.
• The period or comma always comes before the final quotation mark. The only exception to this is content written explicitly by the Modern Language Association (MLA) style guidelines.

The quotation mark has a long and fascinating history which you can learn more about here .

The Best Books to Learn Dialogue

Emulating the masters is the perfect way for beginners to learn. I’ve compiled this short list of books widely regarded as having some of the best dialogue in fiction.

Once you read these, mimic the style of the masters and add your unique flair to create your style of dialogue.

• Pride and Prejudice by Jane Austen
• An Ideal Husband by Oscar Wilde
• The Importance of Being Earnest by Oscar Wilde
• The Color of Magic by Terry Pratchett
• Much Ado About Nothing by William Shakespeare  
• Wuthering Heights by Emily Brontë
• Kiss an Angel by Susan Elizabeth Phillips
• The Secret History by Donna Tartt

While literary fiction contains some of the best dialogue, screenplays are another source of good dialogue.

Screenplays focus exclusively on dialogue, ignoring literary devices such as descriptions and dialogue tags. You can read more about writing dialogue in screenplays here .

Speak Your Story

Dialogue is an indispensable part of every story. It helps to move a story forward. One character can present new ideas to another. Helping to advance a short story or written novel. Written well helps you create memorable characters and explore fun and dramatic situations.

But poor, overly formal, stilted, or illogical dialogue can quickly drive readers away. The best way to improve your dialogue writing is to talk to more people and read more books.

Read genres out of your comfort zone to see how different stories make characters tick and transform.

”Good morning, Little Red Riding Hood.”

“Good morning, Mr. Wolf.”

“Where are you off so early in the morning?”

“I’m going to my grandma’s with some bread and honey!”

“The dialogue in this movie is more comedy than horror.”

“Socratic dialogue is a conversation between people where questions are constantly asked to make people think critically.”

Inside this article

Fact checked: Content is rigorously reviewed by a team of qualified and experienced fact checkers. Fact checkers review articles for factual accuracy, relevance, and timeliness. Learn more.

About the author

Dalia Y.: Dalia is an English Major and linguistics expert with an additional degree in Psychology. Dalia has featured articles on Forbes, Inc, Fast Company, Grammarly, and many more. She covers English, ESL, and all things grammar on GrammarBrain.

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How to Write Dialogue in a Narrative Paragraph

Hayley Milliman

What is Dialogue?

How to write dialogue, how to punctuate your dialogue, periods and commas, question marks and exclamation points, final thoughts.

Dialogue is the written conversational exchange between two or more characters.

Conventional English grammar rules tell us that you should always start a new paragraph when someone speaks in your writing.

“Let’s get the heck out of here right now,” Mary said, turning away from the mayhem.

John looked around the pub. “Maybe you’re right,” he said and followed her towards the door.

Sometimes, though, in the middle of a narrative paragraph, your main character needs to speak.

Mary ducked away from flying fists. The fight at the pub was getting out of control. One man was grabbing bar stools and throwing them at others, and while she watched, another one who you could tell worked out regularly grabbed men by their shirt collars and tossed them out of the way. Almost hit by one flying person, she turned to John and said, “Let’s get the heck out of here right now.”

In my research, I couldn’t find any hard and fast rules that govern how to use dialogue in the middle of a narrative paragraph. It all depends on what style manual your publisher or editorial staff follow.

For example, in the Chicago Manual of Style , putting dialogue in the middle of paragraphs depends on the context. As in the above example, if the dialogue is a natural continuation of the sentences that come before, it can be included in your paragraph. The major caveat is if someone new speaks after that, you start a new paragraph and indent it.

On the other hand, if the dialogue you’re writing departs from the sentences that come before it, you should start a new paragraph and indent the dialogue.

The fight at the pub was getting out of control. One man was grabbing bar stools and throwing them at others, and another one who you could tell worked out regularly grabbed men by their shirt collars and tossed them out of the way.

Punctuation for dialogue stays consistent whether it’s included in your paragraph or set apart as a separate paragraph. We have a great article on how to punctuate your dialogue here: Where Does Punctuation Go in Dialogue?

It’s often a stylistic choice whether to include your dialogue as part of the paragraph. If you want your dialogue to be part of the scene described in preceding sentences, you can include it.

But if you want your dialogue to stand out from the action, start it in the next paragraph.

Dialogue is a fantastic way to bring your readers into the midst of the action. They can picture the main character talking to someone in their mind’s eye, and it gives them a glimpse into how your character interacts with others.

That said, dialogue is hard to punctuate, especially since there are different rules for different punctuation marks—because nothing in English grammar is ever easy, right?

We’re going to try to make this as easy as possible. So we’ll start with the hardest punctuation marks to understand.

For American English, periods and commas always go inside your quotation marks, and commas are used to separate your dialogue tag from the actual dialogue when it comes at the beginning of a sentence or in the middle. Here are a few examples:

Nancy said, “Let’s go to the park today since the weather is so beautiful.”

“Let’s go to the park today since the weather is so beautiful,” she said.

“Let’s go to the park today,” she said, “since the weather is so beautiful.”

British English puts the periods and commas inside the quotation marks if they’re actually part of the quoted words or sentence. Consider the following example:

• She sang “Somewhere Over the Rainbow”, the theme song from The Wizard of Oz.

In the above example, the comma after “Rainbow” is not part of the quoted material and thus belongs outside the quotation marks.

But for most cases when you’re punctuating dialogue, the commas and periods belong inside the quotation marks.

Where these punctuation marks go depends on the meaning of your sentence. If your main character is asking someone a question or exclaiming about something, the punctuation marks belongs inside the quotation marks.

Nancy asked, “Does anyone want to go to the park today?”

Marija said, “That’s fantastic news!”

“Please say you’re still my friend!” Anna said.

“Can we just leave now?” asked Henry.

But if the question mark or exclamation point is for the sentence as a whole instead of just the words inside the quotation marks, they belong outside of the quotes.

Does your physical therapist always say to his patients, “You just need to try harder”?

Do you agree with the saying, “All’s fair in love and war”?

Single Quotation Marks

Only use single quotation marks for quotes within quotes, such as when a character is repeating something someone else has said. Single quotes are never used for any other purpose.

Avery said, “I saw a sign that read ‘Welcome to America’s Greatest City in the Midwest’ when I entered town this morning.”

“I heard Mona say to her mom, ‘You know nothing whatsoever about me,’ ” said Jennifer.

Some experts put a space after the single quote and before the main quotation mark like in the above example to make it easier for the reader to understand.

Here’s a trickier example of single quotation marks, question marks, and ending punctuation, just to mix things up a little.

• Mark said, “I heard her ask her lawyer, ‘Am I free to go?’ after the verdict was read this morning.”

Perfectly clear, right? Let us know some of your trickiest dialogue punctuation situations in the comments below.

Are you prepared to write your novel? Download this free book now:

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Hayley is the Head of Education and Community at ProWritingAid. Prior to joining this team, Hayley spent several years as an elementary school teacher and curriculum developer in Memphis, TN. When Hayley isn't hunched over her keyboard, you can find her figure skating at the ice rink or hiking with her dog.

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Dialogue Definition

What is dialogue? Here’s a quick and simple definition:

Dialogue is the exchange of spoken words between two or more characters in a book, play, or other written work. In prose writing, lines of dialogue are typically identified by the use of quotation marks and a dialogue tag, such as "she said." In plays, lines of dialogue are preceded by the name of the person speaking. Here's a bit of dialogue from Alice's Adventures in Wonderland : "Oh, you can't help that,' said the Cat: 'we're all mad here. I'm mad. You're mad." "How do you know I'm mad?" said Alice. "You must be,' said the Cat, 'or you wouldn't have come here."

Some additional key details about dialogue:

• Dialogue is defined in contrast to monologue , when only one person is speaking.
• Dialogue is often critical for moving the plot of a story forward, and can be a great way of conveying key information about characters and the plot.
• Dialogue is also a specific and ancient genre of writing, which often takes the form of a philosophical investigation carried out by two people in conversation, as in the works of Plato. This entry, however, deals with dialogue as a narrative element, not as a genre.

How to Pronounce Dialogue

Here's how to pronounce dialogue: dye -uh-log

Dialogue in Depth

Dialogue is used in all forms of writing, from novels to news articles to plays—and even in some poetry. It's a useful tool for exposition (i.e., conveying the key details and background information of a story) as well as characterization (i.e., fleshing out characters to make them seem lifelike and unique).

Dialogue as an Expository Tool

Dialogue is often a crucial expository tool for writers—which is just another way of saying that dialogue can help convey important information to the reader about the characters or the plot without requiring the narrator to state the information directly. For instance:

• In a book with a first person narrator, the narrator might identify themselves outright (as in Kazuo Ishiguro's Never Let Me Go , which begins "My name is Kathy H. I am thirty-one years old, and I've been a carer now for over eleven years.").
• Tom Buchanan, who had been hovering restlessly about the room, stopped and rested his hand on my shoulder. "What you doing, Nick?”

The above example is just one scenario in which important information might be conveyed indirectly through dialogue, allowing writers to show rather than tell their readers the most important details of the plot.

Expository Dialogue in Plays and Films

Dialogue is an especially important tool for playwrights and screenwriters, because most plays and films rely primarily on a combination of visual storytelling and dialogue to introduce the world of the story and its characters. In plays especially, the most basic information (like time of day) often needs to be conveyed through dialogue, as in the following exchange from Romeo and Juliet :

BENVOLIO Good-morrow, cousin. ROMEO Is the day so young? BENVOLIO But new struck nine. ROMEO Ay me! sad hours seem long.

Here you can see that what in prose writing might have been conveyed with a simple introductory clause like "Early the next morning..." instead has to be conveyed through dialogue.

Dialogue as a Tool for Characterization

In all forms of writing, dialogue can help writers flesh out their characters to make them more lifelike, and give readers a stronger sense of who each character is and where they come from. This can be achieved using a combination of:

• Colloquialisms and slang: Colloquialism is the use of informal words or phrases in writing or speech. This can be used in dialogue to establish that a character is from a particular time, place, or class background. Similarly, slang can be used to associate a character with a particular social group or age group.
• The form the dialogue takes: for instance, multiple books have now been written in the form of text messages between characters—a form which immediately gives readers some hint as to the demographic of the characters in the "dialogue."
• The subject matter: This is the obvious one. What characters talk about can tell readers more about them than how the characters speak. What characters talk about reveals their fears and desires, their virtues and vices, their strengths and their flaws.

For example, in Pride and Prejudice, Jane Austen's narrator uses dialogue to introduce Mrs. and Mr. Bennet, their relationship, and their differing attitudes towards arranging marriages for their daughters:

"A single man of large fortune; four or five thousand a year. What a fine thing for our girls!” “How so? How can it affect them?” “My dear Mr. Bennet,” replied his wife, “how can you be so tiresome! You must know that I am thinking of his marrying one of them.” “Is that his design in settling here?” “Design! Nonsense, how can you talk so! But it is very likely that he may fall in love with one of them, and therefore you must visit him as soon as he comes.”

This conversation is an example of the use of dialogue as a tool of characterization , showing readers—without explaining it directly—that Mrs. Bennet is preoccupied with arranging marriages for her daughters, and that Mr. Bennet has a deadpan sense of humor and enjoys teasing his wife.

Recognizing Dialogue in Different Types of Writing

It's important to note that how a writer uses dialogue changes depending on the form in which they're writing, so it's useful to have a basic understanding of the form dialogue takes in prose writing (i.e., fiction and nonfiction) versus the form it takes in plays and screenplays—as well as the different functions it can serve in each. We'll cover that in greater depth in the sections that follow.

Dialogue in Prose

In prose writing, which includes fiction and nonfiction, there are certain grammatical and stylistic conventions governing the use of dialogue within a text. We won't cover all of them in detail here (we'll skip over the placement of commas and such), but here are some of the basic rules for organizing dialogue in prose:

• Punctuation : Generally speaking, lines of dialogue are encased in double quotation marks "such as this," but they may also be encased in single quotation marks, 'such as this.' However, single quotation marks are generally reserved for quotations within a quotation, e.g., "Even when I dared him he said 'No way,' so I dropped the subject."
• "Where did you go?" she asked .
• I said , "Leave me alone."
• "Answer my question," said Monica , "or I'm leaving."
• Line breaks : Lines of dialogue spoken by different speakers are generally separated by line breaks. This is helpful for determining who is speaking when dialogue tags have been omitted.

Of course, some writers ignore these conventions entirely, choosing instead to italicize lines of dialogue, for example, or not to use quotation marks, leaving lines of dialogue undifferentiated from other text except for the occasional use of a dialogue tag. Writers that use nonstandard ways of conveying dialogue, however, usually do so in a consistent way, so it's not hard to figure out when someone is speaking, even if it doesn't look like normal dialogue.

Indirect vs. Direct Dialogue

In prose, there are two main ways for writers to convey the content of a conversation between two characters: directly, and indirectly. Here's an overview of the difference between direct and indirect dialogue:

• This type of dialogue can often help lend credibility or verisimilitude to dialogue in a story narrated in the first-person, since it's unlikely that a real person would remember every line of dialogue that they had overheard or spoken.
• Direct Dialogue: This is what most people are referring to when they talk about dialogue. In contrast to indirect dialogue, direct dialogue is when two people are speaking and their words are in quotations.

Of these two types of dialogue, direct dialogue is the only one that counts as dialogue strictly speaking. Indirect dialogue, by contrast, is technically considered to be part of a story's narration.

A Note on Dialogue Tags and "Said Bookisms"

It is pretty common for writers to use verbs other than "said" and "asked"  to attribute a line of dialogue to a speaker in a text. For instance, it's perfectly acceptable for someone to write:

• Robert was beginning to get worried. "Hurry!" he shouted.
• "I am hurrying," Nick replied.

However, depending on how it's done, substituting different verbs for "said" can be quite distracting, since it shifts the reader's attention away from the dialogue and onto the dialogue tag itself. Here's an example where the use of  non-standard dialogue tags begins to feel a bit clumsy:

• Helen was thrilled. "Nice to meet you," she beamed .
• "Nice to meet you, too," Wendy chimed .

Dialogue tags that use verbs other than the standard set (which is generally thought to include "said," "asked," "replied," and "shouted") are known as "said bookisms," and are generally ill-advised. But these "bookisms" can be easily avoided by using adverbs or simple descriptions in conjunction with one of the more standard dialogue tags, as in:

• Helen was thrilled. "Nice to meet you," she said, beaming.
• "Nice to meet you, too," Wendy replied brightly.

In the earlier version, the irregular verbs (or "said bookisms") draw attention to themselves, distracting the reader from the dialogue. By comparison, this second version reads much more smoothly.

Dialogue in Plays

Dialogue in plays (and screenplays) is easy to identify because, aside from the stage directions, dialogue is the only thing a play is made of. Here's a quick rundown of the basic rules governing dialogue in plays:

• Names: Every line of dialogue is preceded by the name of the person speaking.
• Mama (outraged)  : What kind of way is that to talk about your brother?
• Line breaks: Each time someone new begins speaking, just as in prose, the new line of dialogue is separated from the previous one by a line break.

Rolling all that together, here's an example of what dialogue looks like in plays, from Edward Albee's Zoo Story:

JERRY: And what is that cross street there; that one, to the right? PETER: That? Oh, that's Seventy-fourth Street. JERRY: And the zoo is around Sixty-5th Street; so, I've been walking north. PETER: [anxious to get back to his reading] Yes; it would seem so. JERRY: Good old north. PETER: [lightly, by reflex] Ha, ha.

Dialogue Examples

The following examples are taken from all types of literature, from ancient philosophical texts to contemporary novels, showing that dialogue has always been an integral feature of many different types of writing.

Dialogue in Shakespeare's Othello

In this scene from Othello , the dialogue serves an expository purpose, as the messenger enters to deliver news about the unfolding military campaign by the Ottomites against the city of Rhodes.

First Officer Here is more news. Enter a Messenger Messenger The Ottomites, reverend and gracious, Steering with due course towards the isle of Rhodes, Have there injointed them with an after fleet. First Senator Ay, so I thought. How many, as you guess? Messenger Of thirty sail: and now they do restem Their backward course, bearing with frank appearance Their purposes toward Cyprus. Signior Montano, Your trusty and most valiant servitor, With his free duty recommends you thus, And prays you to believe him.

Dialogue in Madeleine L'Engel's A Wrinkle in Time

From the classic children's book  A Wrinkle in Time , here's a good example of dialogue that uses a description of a character's tone of voice instead of using unconventional verbiage to tag the line of dialogue. In other words, L'Engel doesn't follow Calvin's line of dialogue with a distracting tag like "Calvin barked." Rather, she simply states that his voice was unnaturally loud.

"I'm different, and I like being different." Calvin's voice was unnaturally loud. "Maybe I don't like being different," Meg said, "but I don't want to be like everybody else, either."

It's also worth noting that this dialogue helps characterize Calvin as a misfit who embraces his difference from others, and Meg as someone who is concerned with fitting in.

Dialogue in A Visit From the Good Squad

This passage from Jennifer Egan's A Visit From the Good Squad doesn't use dialogue tags at all. In this exchange between Alex and the unnamed woman, it's always clear who's speaking even though most of the lines of dialogue are not explicitly attributed to a speaker using tags like "he said."

Alex turns to the woman. “Where did this happen?” “In the ladies’ room. I think.” “Who else was there?” “No one.” “It was empty?” “There might have been someone, but I didn’t see her.” Alex swung around to Sasha. “You were just in the bathroom,” he said. “Did you see anyone?”

Elsewhere in the book, Egan peppers her dialogue with colloquialisms and slang to help with characterization . Here, the washed-up, alcoholic rock star Bosco says:

"I want interviews, features, you name it," Bosco went on. "Fill up my life with that shit. Let's document every fucking humiliation. This is reality, right? You don't look good anymore twenty years later, especially when you've had half your guts removed. Time's a goon, right? Isn't that the expression?"

In this passage, Bosco's speech is littered with colloquialisms, including profanity and his use of the word "guts" to describe his liver, establishing him as a character with a unique way of speaking.

Dialogue in Plato's Meno

The following passage is excerpted from a dialogue by Plato titled Meno.  This text is one of the more well-known Socratic dialogues. The two characters speaking are Socrates (abbreviated, "Soc.") and Meno (abbreviated, "Men."). They're exploring the subject of virtue together.

Soc. Now, if there be any sort-of good which is distinct from knowledge, virtue may be that good; but if knowledge embraces all good, then we shall be right in think in that virtue is knowledge? Men. True. Soc. And virtue makes us good? Men. Yes. Soc. And if we are good, then we are profitable; for all good things are profitable? Men. Yes. Soc. Then virtue is profitable? Men. That is the only inference.

Indirect Dialogue in Tim O'Brien's The Things They Carried

This passage from O'Brien's The Things They Carried exemplifies the use of indirect dialogue to summarize a conversation. Here, the third-person narrator tells how Kiowa recounts the death of a soldier named Ted Lavender. Notice how the summary of the dialogue is interwoven with the rest of the narrative.

They marched until dusk, then dug their holes, and that night Kiowa kept explaining how you had to be there, how fast it was, how the poor guy just dropped like so much concrete. Boom-down, he said. Like cement.

O'Brien takes liberties in his use of quotation marks and dialogue tags, making it difficult at times to distinguish between the voices of different speakers and the voice of the narrator. In the following passage, for instance, it's unclear who is the speaker of the final sentence:

The cheekbone was gone. Oh shit, Rat Kiley said, the guy's dead. The guy's dead, he kept saying, which seemed profound—the guy's dead. I mean really.

Why Do Writers Use Dialogue in Literature?

Most writers use dialogue simply because there is more than one character in their story, and dialogue is a major part of how the plot progresses and characters interact. But in addition to the fact that dialogue is virtually a necessary component of fiction, theater, and film, writers use dialogue in their work because:

• It aids in characterization , helping to flesh out the various characters and make them feel lifelike and individual.
• It is a useful tool of exposition , since it can help convey key information abut the world of the story and its characters.
• It moves the plot along. Whether it takes the form of an argument, an admission of love, or the delivery of an important piece of news, the information conveyed through dialogue is often essential not only to readers' understanding of what's going on, but to generating the action that furthers the story's plot line.

Other Helpful Dialogue Resources

• The Wikipedia Page on Dialogue: A bare-bones explanation of dialogue in writing, with one or two examples.
• The Dictionary Definition of Dialogue: A basic definition, with a bit on the etymology of the word (it comes from the Greek meaning "through discourse."
• Cinefix's video with their take on the 14 best dialogues of all time : A smart overview of what dialogue can accomplish in film.

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What is the Purpose of Dialogue in a Narrative Essay?

In a narrative essay, the writer conveys the story using first-person narration and often emphasizes particular personal experiences of life. Such essays and stories are non-fiction but it encompasses some fictional elements. However, one of the most significant elements in a narrative essay is dialogue through which the message deliverance takes place.

Dialogues are considered a crucial tool in an essay. It not only allows characters to do conversations but is also useful regarding other aspects. Anyhow, let’s explore what is the purpose of dialogue in a narrative essay and how to write them effectively.

What is a Dialogue?

From an existing writing stance, dialogue is the means of communication between two or more characters, which is generally spoken loud. Usually, within an essay or a story, a dialogue is denoted by quotation marks or dialogue tags.

Anyhow, there are two types of dialogues:

Direct Dialogue

Direct dialogue is the speech using the exact words of the speaker or the character. In this case, quotation marks are placed around the direct dialogues.

For instance,

Katherine asked Maria, “Why do you look sad?”

Indirect Dialogue

Indirect dialogue is someone’s speech that is conveyed by a third person or something which is not said or written in the exact words.

For example,

Katherine asked Maria why she looked sad.

How Dialogue Matters in a Narrative Essay?

Let’s discover some important roles of dialogue within an essay or a story.

It Gives the Character Life

Dialogue can help characters grow. In fact, at least one of the characters should shift expression in every successful discussion. Also, dialogues within an essay are explicitly helpful in driving the plot and generating connections and relationships between numerous characters. It directly reveals the events that may not be deceptive by the description. Through dialogue, characters experience a variety of feelings that may be lost if they were narrated by a narrator.

It Outlines the Character

Character qualities can also be revealed through dialogue. Since the writer is the protagonist in a personal narrative, the author’s interaction with others is equally significant. To give the essay reality, the language serves to convey each character’s true personality and voice. At the same time, the author allows the characters to speak for themselves without interfering too much. The conversation also expresses the feelings of the characters and demonstrates how they connect with one another.

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It Shows, Not Tells

You must have been hearing this old piece of advice by your instructor while writing a descriptive essay: “Show, don’t tell.” Dialogue may be utilized to add authenticity to a personal narrative and to make the story more realistic by demonstrating rather than telling the reader what is going on. It reveals emotion and information through sensory aspects like seeing, hearing, feeling, smelling, and tasting.

For example, consider the following sentence: “William was enraged after Oscar deceived him.” Rather, if the author preferred dialogue, he or she may write, “William walked around the room stomping his feet. ‘Ah! What right does he have to say that? How could he betray me like that?'” Without mentioning the word “angry,” the latter conveys fury through conversation.

It Moves the Essay Ahead

The purpose of dialogue in a narrative essay is to assist the plot’s progress by recreating people’s discussions and ideas. External conversation refers to spoken words, whereas internal dialogue refers to notions and ideas. One or both of these sorts of dialogues can be found in a personal narrative essay. The pace of the story can also be accelerated by using dialogue, while the narration slows it down. It can also be used to break up extended paragraphs of narrative.

How to Write Dialogue in a Narrative Essay?

Although composing dialogue might be difficult, proficient writing requires consistency and knowledge of convention. To organize your discussion on the page, follow these formatting principles.

Place Quotation Marks

Quotation marks are usually placed around direct dialogues when you write the exact words of someone within the content. However, make sure to place the period within the quotation marks.

Mark said, “let’s go shopping.”

Put Dialogue Tags Outside the Quotations

Dialogue tags assign a line of dialogue to one of the characters, that enables the reader to figure out who is delivering the dialogue. The dialogue tags should be placed outside the quotation marks, whereas the punctuation should be placed within.

“I’m starving,” Karen said.

However, if the dialogue tag comes in first, then the comma would be placed outside the quotation marks.

Karen said, “I’m starving.”

On the other hand, if there is an exclamation or question mark at the end of the dialogue, then it would be placed inside the quotation marks.

“I’m starving!” Karen said.

John asked, “Would you like to eat pizza?”

Begin Dialogue in a Separate Sentence

If an event takes place before or after the dialogue, make sure to begin it with a new sentence. Or, in other words, when you start a new dialogue after the description, start it from a separate sentence.

Adam immediately went out of the room and saw Carol.

“What are you doing here?” asked Carol.

Use Single Quote Marks When There is Dialogue within the Dialogue

If the character is saying something and delivering someone else’s dialogue within their dialogue, then you would use two quotation marks. One would be the inverted commas around the main dialogue and single quotation marks (apostrophe) around the internal dialogue.

Olivia suggested, “When you asked, ‘Which profession should I choose?’ the medical field instantly came to my mind.”

Use Lowercase When the Dialogue Interrupts

If an action or dialogue tag comes between a single dialogue and it is broken down into two segments, then the first letter of the second segment would be in lowercase.

“After tomorrow,” said James, “she will never come back.”

Avoid Adding Extra Punctuation Marks

If the dialogue ends with an ellipsis, you should not place any comma or other punctuation mark, instead of the three periods. Usually, ellipses are used to indicate faltering speech.

Jasmine was trying to recall the event, “I… I don’t remember what happened last night…”

So, we hope this article has answered a few questions. What is the purpose of dialogue in a narrative essay? How to write a dialogue in a narrative essay? Although we’ve all spent our lives reading, it’s not until we have to create a conversation that we comprehend the complexities involved. How do you decide where a dialogue tag should go? This is frequently an aesthetic decision rather than a clear and fast law. I frequently use the tag where it appears to be the least obtrusive. When a speaker tag is required, it should be as “transparent” as possible to avoid interfering with fluent reading.

For assistance with narrative essay writing , you can hire one of our writing experts by placing an order now. For more inquiries, you can contact us through WhatsApp or Live Chat!

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Last updated on Jul 24, 2023

15 Examples of Great Dialogue (And Why They Work So Well)

Great dialogue is hard to pin down, but you know it when you hear or see it. In the earlier parts of this guide, we showed you some well-known tips and rules for writing dialogue. In this section, we'll show you those rules in action with 15 examples of great dialogue, breaking down exactly why they work so well.

1. Barbara Kingsolver, Unsheltered 

In the opening of Barbara Kingsolver’s Unsheltered, we meet Willa Knox, a middle-aged and newly unemployed writer who has just inherited a ramshackle house. 

     “The simplest thing would be to tear it down,” the man said. “The house is a shambles.”      She took this news as a blood-rush to the ears: a roar of peasant ancestors with rocks in their fists, facing the evictor. But this man was a contractor. Willa had called him here and she could send him away. She waited out her panic while he stood looking at her shambles, appearing to nurse some satisfaction from his diagnosis. She picked out words.      “It’s not a living thing. You can’t just pronounce it dead. Anything that goes wrong with a structure can be replaced with another structure. Am I right?”      “Correct. What I am saying is that the structure needing to be replaced is all of it. I’m sorry. Your foundation is nonexistent.”

Alfred Hitchcock once described drama as "life with the boring bits cut out." In this passage, Kingsolver cuts out the boring parts of Willa's conversation with her contractor and brings us right to the tensest, most interesting part of the conversation.

By entering their conversation late , the reader is spared every tedious detail of their interaction.

Instead of a blow-by-blow account of their negotiations (what she needs done, when he’s free, how she’ll be paying), we’re dropped right into the emotional heart of the discussion. The novel opens with the narrator learning that the home she cherishes can’t be salvaged. 

By starting off in the middle of (relatively obscure) dialogue, it takes a moment for the reader to orient themselves in the story and figure out who is speaking, and what they’re speaking about. This disorientation almost mirrors Willa’s own reaction to the bad news, as her expectations for a new life in her new home are swiftly undermined.

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2. Jane Austen, Pride and Prejudice  

In the first piece of dialogue in Pride and Prejudice , we meet Mr and Mrs Bennet, as Mrs Bennet attempts to draw her husband into a conversation about neighborhood gossip.

     “My dear Mr. Bennet,” said his lady to him one day, “have you heard that Netherfield Park is let at last?”      Mr. Bennet replied that he had not.      “But it is,” returned she; “for Mrs. Long has just been here, and she told me all about it.”      Mr. Bennet made no answer.      “Do you not want to know who has taken it?” cried his wife impatiently.      “You want to tell me, and I have no objection to hearing it.”      This was invitation enough.      “Why, my dear, you must know, Mrs. Long says that Netherfield is taken by a young man of large fortune from the north of England; that he came down on Monday in a chaise and four to see the place, and was so much delighted with it, that he agreed with Mr. Morris immediately; that he is to take possession before Michaelmas, and some of his servants are to be in the house by the end of next week.”

Austen’s dialogue is always witty, subtle, and packed with character. This extract from Pride and Prejudice is a great example of dialogue being used to develop character relationships . 

We instantly learn everything we need to know about the dynamic between Mr and Mrs Bennet’s from their first interaction: she’s chatty, and he’s the beleaguered listener who has learned to entertain her idle gossip, if only for his own sake (hence “you want to tell me, and I have no objection to hearing it”).

There is even a clear difference between the two characters visually on the page: Mr Bennet responds in short sentences, in simple indirect speech, or not at all, but this is “invitation enough” for Mrs Bennet to launch into a rambling and extended response, dominating the conversation in text just as she does audibly.

The fact that Austen manages to imbue her dialogue with so much character-building realism means we hardly notice the amount of crucial plot exposition she has packed in here. This heavily expository dialogue could be a drag to get through, but Austen’s colorful characterization means she slips it under the radar with ease, forwarding both our understanding of these people and the world they live in simultaneously.

3. Naomi Alderman, The Power

In The Power , young women around the world suddenly find themselves capable of generating and controlling electricity. In this passage, between two boys and a girl who just used those powers to light her cigarette.

     Kyle gestures with his chin and says, “Heard a bunch of guys killed a girl in Nebraska last week for doing that.”      “For smoking? Harsh.”      Hunter says, “Half the kids in school know you can do it.”      “So what?”      Hunter says, “Your dad could use you in his factory. Save money on electricity.”      “He’s not my dad.”      She makes the silver flicker at the ends of her fingers again. The boys watch.

Alderman here uses a show, don’t tell approach to expositional dialogue. Within this short exchange, we discover a lot about Allie, her personal circumstances, and the developing situation elsewhere. We learn that women are being punished harshly for their powers; that Allie is expected to be ashamed of those powers and keep them a secret, but doesn’t seem to care to do so; that her father is successful in industry; and that she has a difficult relationship with him. Using dialogue in this way prevents info-dumping backstory all at once, and instead helps us learn about the novel’s world in a natural way.

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4. Kazuo Ishiguro, Never Let Me Go

Here, friends Tommy and Kathy have a conversation after Tommy has had a meltdown. After being bullied by a group of boys, he has been stomping around in the mud, the precise reaction they were hoping to evoke from him.

     “Tommy,” I said, quite sternly. “There’s mud all over your shirt.”      “So what?” he mumbled. But even as he said this, he looked down and noticed the brown specks, and only just stopped himself crying out in alarm. Then I saw the surprise register on his face that I should know about his feelings for the polo shirt.      “It’s nothing to worry about.” I said, before the silence got humiliating for him. “It’ll come off. If you can’t get it off yourself, just take it to Miss Jody.”      He went on examining his shirt, then said grumpily, “It’s nothing to do with you anyway.”

This episode from Never Let Me Go highlights the power of interspersing action beats within dialogue. These action beats work in several ways to add depth to what would otherwise be a very simple and fairly nondescript exchange.  Firstly, they draw attention to the polo shirt, and highlight its potential significance in the plot. Secondly, they help to further define Kathy’s relationship with Tommy. 

We learn through Tommy’s surprised reaction that he didn’t think Kathy knew how much he loved his seemingly generic polo shirt. This moment of recognition allows us to see that she cares for him and understands him more deeply than even he realized. Kathy breaking the silence before it can “humiliate” Tommy further emphasizes her consideration for him. While the dialogue alone might make us think Kathy is downplaying his concerns with pragmatic advice, it is the action beats that tell the true story here.

5. J R R Tolkien, The Hobbit  

The eponymous hobbit Bilbo is engaged in a game of riddles with the strange creature Gollum.

     "What have I got in my pocket?" he said aloud. He was talking to himself, but Gollum thought it was a riddle, and he was frightfully upset.       "Not fair! not fair!" he hissed. "It isn't fair, my precious, is it, to ask us what it's got in its nassty little pocketses?"      Bilbo seeing what had happened and having nothing better to ask stuck to his question. "What have I got in my pocket?" he said louder. "S-s-s-s-s," hissed Gollum. "It must give us three guesseses, my precious, three guesseses."      "Very well! Guess away!" said Bilbo.      "Handses!" said Gollum.      "Wrong," said Bilbo, who had luckily just taken his hand out again. "Guess again!"      "S-s-s-s-s," said Gollum, more upset than ever. 

Tolkein’s dialogue for Gollum is a masterclass in creating distinct character voices . By using a repeated catchphrase (“my precious”) and unconventional spelling and grammar to reflect his unusual speech pattern, Tolkien creates an idiosyncratic, unique (and iconic) speech for Gollum. This vivid approach to formatting dialogue, which is almost a transliteration of Gollum's sounds, allows readers to imagine his speech pattern and practically hear it aloud.

We wouldn’t recommend using this extreme level of idiosyncrasy too often in your writing — it can get wearing for readers after a while, and Tolkien deploys it sparingly, as Gollum’s appearances are limited to a handful of scenes. However, you can use Tolkien’s approach as inspiration to create (slightly more subtle) quirks of speech for your own characters.

6. F Scott Fitzgerald, The Great Gatsby

The narrator, Nick has just done his new neighbour Gatsby a favor by inviting his beloved Daisy over to tea. Perhaps in return, Gatsby then attempts to make a shady business proposition.

     “There’s another little thing,” he said uncertainly, and hesitated.      “Would you rather put it off for a few days?” I asked.      “Oh, it isn’t about that. At least —” He fumbled with a series of beginnings. “Why, I thought — why, look here, old sport, you don’t make much money, do you?”      “Not very much.”      This seemed to reassure him and he continued more confidently.       “I thought you didn’t, if you’ll pardon my — you see, I carry on a little business on the side, a little side line, if you understand. And I thought that if you don’t make very much — You’re selling bonds, aren’t you, old sport?”      “Trying to.” 

This dialogue from The Great Gatsby is a great example of how to make dialogue sound natural. Gatsby tripping over his own words (even interrupting himself , as marked by the em-dashes) not only makes his nerves and awkwardness palpable but also mimics real speech. Just as real people often falter and make false starts when they’re speaking off the cuff, Gatsby too flounders, giving us insight into his self-doubt; his speech isn’t polished and perfect, and neither is he despite all his efforts to appear so.

Fitzgerald also creates a distinctive voice for Gatsby by littering his speech with the character's signature term of endearment, “old sport”. We don’t even really need dialogue markers to know who’s speaking here — a sign of very strong characterization through dialogue.

7. Arthur Conan Doyle, A Study in Scarlet  

In this first meeting between the two heroes of Conan Doyle’s Sherlock Holmes stories, Sherlock Holmes and John Watson, John is introduced to Sherlock while the latter is hard at work in the lab.

      “How are you?” he said cordially, gripping my hand with a strength for which I should hardly have given him credit. “You have been in Afghanistan, I perceive.”      “How on earth did you know that?” I asked in astonishment.      “Never mind,” said he, chuckling to himself. “The question now is about hemoglobin. No doubt you see the significance of this discovery of mine?”     “It is interesting, chemically, no doubt,” I answered, “but practically— ”      “Why, man, it is the most practical medico-legal discovery for years. Don’t you see that it gives us an infallible test for blood stains. Come over here now!” He seized me by the coat-sleeve in his eagerness, and drew me over to the table at which he had been working. “Let us have some fresh blood,” he said, digging a long bodkin into his finger, and drawing off the resulting drop of blood in a chemical pipette. “Now, I add this small quantity of blood to a litre of water. You perceive that the resulting mixture has the appearance of pure water. The proportion of blood cannot be more than one in a million. I have no doubt, however, that we shall be able to obtain the characteristic reaction.” As he spoke, he threw into the vessel a few white crystals, and then added some drops of a transparent fluid. In an instant the contents assumed a dull mahogany colour, and a brownish dust was precipitated to the bottom of the glass jar.      “Ha! ha!” he cried, clapping his hands, and looking as delighted as a child with a new toy. “What do you think of that?”

This passage uses a number of the key techniques for writing naturalistic and exciting dialogue, including characters speaking over one another and the interspersal of action beats. 

Sherlock cutting off Watson to launch into a monologue about his blood experiment shows immediately where Sherlock’s interest lies — not in small talk, or the person he is speaking to, but in his own pursuits, just like earlier in the conversation when he refuses to explain anything to John and is instead self-absorbedly “chuckling to himself”. This helps establish their initial rapport (or lack thereof) very quickly.

Breaking up that monologue with snippets of him undertaking the forensic tests allows us to experience the full force of his enthusiasm over it without having to read an uninterrupted speech about the ins and outs of a science experiment.

Starting to think you might like to read some Sherlock? Check out our guide to the Sherlock Holmes canon !

8. Brandon Taylor, Real Life

Here, our protagonist Wallace is questioned by Ramon, a friend-of-a-friend, over the fact that he is considering leaving his PhD program.

     Wallace hums. “I mean, I wouldn’t say that I want to leave, but I’ve thought about it, sure.”     “Why would you do that? I mean, the prospects for… black people, you know?”        “What are the prospects for black people?” Wallace asks, though he knows he will be considered the aggressor for this question.

Brandon Taylor’s Real Life is drawn from the author’s own experiences as a queer Black man, attempting to navigate the unwelcoming world of academia, navigating the world of academia, and so it’s no surprise that his dialogue rings so true to life — it’s one of the reasons the novel is one of our picks for must-read books by Black authors . 

This episode is part of a pattern where Wallace is casually cornered and questioned by people who never question for a moment whether they have the right to ambush him or criticize his choices. The use of indirect dialogue at the end shows us this is a well-trodden path for Wallace: he has had this same conversation several times, and can pre-empt the exact outcome.

This scene is also a great example of the dramatic significance of people choosing not to speak. The exchange happens in front of a big group, but — despite their apparent discomfort —  nobody speaks up to defend Wallace, or to criticize Ramon’s patronizing microaggressions. Their silence is deafening, and we get a glimpse of Ramon’s isolation due to the complacency of others, all due to what is not said in this dialogue example.

9. Ernest Hemingway, Hills Like White Elephants

In this short story, an unnamed man and a young woman discuss whether or not they should terminate a pregnancy while sitting on a train platform.

     “Well,” the man said, “if you don’t want to you don’t have to. I wouldn’t have you do it if you didn’t want to. But I know it’s perfectly simple.”      “And you really want to?”      “I think it’s the best thing to do. But I don’t want you to do it if you really don’t want to.”      “And if I do it you’ll be happy and things will be like they were and you’ll love me?”      “I love you now. You know I love you.”      “I know. But if I do it, then it will be nice again if I say things are like white elephants, and you’ll like it?”      “I’ll love it. I love it now but I just can’t think about it. You know how I get when I worry.”      “If I do it you won’t ever worry?”      “I won’t worry about that because it’s perfectly simple.”

This example of dialogue from Hemingway’s short story Hills Like White Elephants moves at quite a clip. The conversation quickly bounces back and forth between the speakers, and the call-and-response format of the woman asking and the man answering is effective because it establishes a clear dynamic between the two speakers: the woman is the one seeking reassurance and trying to understand the man’s feelings, while he is the one who is ultimately in control of the situation.

Note the sparing use of dialogue markers: this minimalist approach keeps the dialogue brisk, and we can still easily understand who is who due to the use of a new paragraph when the speaker changes .

Like this classic author’s style? Head over to our selection of the 11 best Ernest Hemingway books .

10. Madeline Miller, Circe

In Madeline Miller’s retelling of Greek myth, we witness a conversation between the mythical enchantress Circe and Telemachus (son of Odysseus).

     “You do not grieve for your father?”        “I do. I grieve that I never met the father everyone told me I had.”           I narrowed my eyes. “Explain.”      “I am no storyteller.”      “I am not asking for a story. You have come to my island. You owe me truth.”       A moment passed, and then he nodded. “You will have it.” 

This short and punchy exchange hits on a lot of the stylistic points we’ve covered so far. The conversation is a taut tennis match between the two speakers as they volley back and forth with short but impactful sentences, and unnecessary dialogue tags have been shaved off . It also highlights Circe’s imperious attitude, a result of her divine status. Her use of short, snappy declaratives and imperatives demonstrates that she’s used to getting her own way and feels no need to mince her words.

11. Andre Aciman, Call Me By Your Name

This is an early conversation between seventeen-year-old Elio and his family’s handsome new student lodger, Oliver.

     What did one do around here? Nothing. Wait for summer to end. What did one do in the winter, then?      I smiled at the answer I was about to give. He got the gist and said, “Don’t tell me: wait for summer to come, right?”      I liked having my mind read. He’d pick up on dinner drudgery sooner than those before him.      “Actually, in the winter the place gets very gray and dark. We come for Christmas. Otherwise it’s a ghost town.”      “And what else do you do here at Christmas besides roast chestnuts and drink eggnog?”      He was teasing. I offered the same smile as before. He understood, said nothing, we laughed.      He asked what I did. I played tennis. Swam. Went out at night. Jogged. Transcribed music. Read.      He said he jogged too. Early in the morning. Where did one jog around here? Along the promenade, mostly. I could show him if he wanted.      It hit me in the face just when I was starting to like him again: “Later, maybe.”

Dialogue is one of the most crucial aspects of writing romance — what’s a literary relationship without some flirty lines? Here, however, Aciman gives us a great example of efficient dialogue. By removing unnecessary dialogue and instead summarizing with narration, he’s able to confer the gist of the conversation without slowing down the pace unnecessarily. Instead, the emphasis is left on what’s unsaid, the developing romantic subtext. 

Furthermore, the fact that we receive this scene in half-reported snippets rather than as an uninterrupted transcript emphasizes the fact that this is Elio’s own recollection of the story, as the manipulation of the dialogue in this way serves to mimic the nostalgic haziness of memory.

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12. George Eliot, Middlemarch

Two of Eliot’s characters, Mary and Rosamond, are out shopping,

     When she and Rosamond happened both to be reflected in the glass, she said laughingly —      “What a brown patch I am by the side of you, Rosy! You are the most unbecoming companion.”      “Oh no! No one thinks of your appearance, you are so sensible and useful, Mary. Beauty is of very little consequence in reality,” said Rosamond, turning her head towards Mary, but with eyes swerving towards the new view of her neck in the glass.      “You mean my beauty,” said Mary, rather sardonically.       Rosamond thought, “Poor Mary, she takes the kindest things ill.” Aloud she said, “What have you been doing lately?”      “I? Oh, minding the house — pouring out syrup — pretending to be amiable and contented — learning to have a bad opinion of everybody.”

This excerpt, a conversation between the level-headed Mary and vain Rosamond, is an example of dialogue that develops character relationships naturally. Action descriptors allow us to understand what is really happening in the conversation. 

Whilst the speech alone might lead us to believe Rosamond is honestly (if clumsily) engaging with her friend, the description of her simultaneously gazing at herself in a mirror gives us insight not only into her vanity, but also into the fact that she is not really engaged in her conversation with Mary at all.

The use of internal dialogue cut into the conversation (here formatted with quotation marks rather than the usual italics ) lets us know what Rosamond is actually thinking, and the contrast between this and what she says aloud is telling. The fact that we know she privately realizes she has offended Mary, but quickly continues the conversation rather than apologizing, is emphatic of her character. We get to know Rosamond very well within this short passage, which is a hallmark of effective character-driven dialogue.

13. John Steinbeck, The Winter of our Discontent

Here, Mary (speaking first) reacts to her husband Ethan’s attempts to discuss his previous experiences as a disciplined soldier, his struggles in subsequent life, and his feeling of impending change.

     “You’re trying to tell me something.”      “Sadly enough, I am. And it sounds in my ears like an apology. I hope it is not.”      “I’m going to set out lunch.”

Steinbeck’s Winter of our Discontent is an acute study of alienation and miscommunication, and this exchange exemplifies the ways in which characters can fail to communicate, even when they’re speaking. The pair speaking here are trapped in a dysfunctional marriage which leaves Ethan feeling isolated, and part of his loneliness comes from the accumulation of exchanges such as this one. Whenever he tries to communicate meaningfully with his wife, she shuts the conversation down with a complete non sequitur. 

We expect Mary’s “you’re trying to tell me something” to be followed by a revelation, but Ethan is not forthcoming in his response, and Mary then exits the conversation entirely. Nothing is communicated, and the jarring and frustrating effect of having our expectations subverted goes a long way in mirroring Ethan’s own frustration.

Just like Ethan and Mary, we receive no emotional pay-off, and this passage of characters talking past one another doesn’t further the plot as we hope it might, but instead gives us insight into the extent of these characters’ estrangement.

14. Bret Easton Ellis , Less Than Zero

The disillusioned main character of Bret Easton Ellis’ debut novel, Clay, here catches up with a college friend, Daniel, whom he hasn’t seen in a while. 

     He keeps rubbing his mouth and when I realize that he’s not going to answer me, I ask him what he’s been doing.      “Been doing?”      “Yeah.”      “Hanging out.”      “Hanging out where?”      “Where? Around.”

Less Than Zero is an elegy to conversation, and this dialogue is an example of the many vacuous exchanges the protagonist engages in, seemingly just to fill time. The whole book is deliberately unpoetic and flat, and depicts the lives of disaffected youths in 1980s LA. Their misguided attempts to fill the emptiness within them with drink and drugs are ultimately fruitless, and it shows in their conversations: in truth, they have nothing to say to one another at all.

This utterly meaningless exchange would elsewhere be considered dead weight to a story. Here, rather than being fat in need of trimming, the empty conversation is instead thematically resonant.

15. Daphne du Maurier, Rebecca

The young narrator of du Maurier’s classic gothic novel here has a strained conversation with Robert, one of the young staff members at her new husband’s home, the unwelcoming Manderley.

     “Has Mr. de Winter been in?” I said.      “Yes, Madam,” said Robert; “he came in just after two, and had a quick lunch, and then went out again. He asked for you and Frith said he thought you must have gone down to see the ship.”      “Did he say when he would be back again?” I asked.      “No, Madam.”      “Perhaps he went to the beach another way,” I said; “I may have missed him.”      “Yes, Madam,” said Robert.      I looked at the cold meat and the salad. I felt empty but not hungry. I did not want cold meat now. “Will you be taking lunch?” said Robert.      “No,” I said, “No, you might bring me some tea, Robert, in the library. Nothing like cakes or scones. Just tea and bread and butter.”      “Yes, Madam.”

We’re including this one in our dialogue examples list to show you the power of everything Du Maurier doesn’t do: rather than cycling through a ton of fancy synonyms for “said”, she opts for spare dialogue and tags. 

This interaction's cold, sparse tone complements the lack of warmth the protagonist feels in the moment depicted here. By keeping the dialogue tags simple , the author ratchets up the tension —  without any distracting flourishes taking the reader out of the scene. The subtext of the conversation is able to simmer under the surface, and we aren’t beaten over the head with any stage direction extras.

The inclusion of three sentences of internal dialogue in the middle of the dialogue (“I looked at the cold meat and the salad. I felt empty but not hungry. I did not want cold meat now.”) is also a masterful touch. What could have been a single sentence is stretched into three, creating a massive pregnant pause before Robert continues speaking, without having to explicitly signpost one. Manipulating the pace of dialogue in this way and manufacturing meaningful silence is a great way of adding depth to a scene.

Phew! We've been through a lot of dialogue, from first meetings to idle chit-chat to confrontations, and we hope these dialogue examples have been helpful in illustrating some of the most common techniques.

If you’re looking for more pointers on creating believable and effective dialogue, be sure to check out our course on writing dialogue. Or, if you find you learn better through examples, you can look at our list of 100 books to read before you die — it’s packed full of expert storytellers who’ve honed the art of dialogue.

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Writing Dialogue: ‘The Missing Piece Son’

Considering the role of dialogue in a narrative, with an example from The Times’s Lives column to help.

By Katherine Schulten

Our new Mentor Text series spotlights writing from The Times that students can learn from and emulate.

This entry, like several others we are publishing, focuses on an essay from The Times’s long-running Lives column to consider skills prized in narrative writing. We are starting with this genre to help support students participating in our 2020 Personal Narrative Essay Contest .

Please note: For this contest, students are not required to include dialogue, but we suspect many will. We hope that demystifying it a bit here might encourage more students to try.

When should you include actual dialogue in a piece, and when should you simply report what was said? How can dialogue reveal character? How does it affect the pacing of a story? Does every narrative essay require dialogue?

Take a look at this mentor text, alongside a related text by the same author, to think about these questions and to experiment with dialogue in your own work.

Before Reading

Have you ever written dialogue before? Try it!

To prepare for the mentor text you are about to read, you might make it a conversation between two family members. You can work with a partner, each of you claiming one of the characters and all of his or her lines, or you can do it alone. You can write down a conversation you have actually had, or you can make one up.

Here are some possible scenarios, in case you need help getting started:

One character wants something and the other doesn’t.

The characters are in a fight.

The characters are avoiding talking about something.

The characters have just met and are getting to know each other.

The characters are experiencing something together — maybe they’re on a trip, cooking together, playing a game or at a party.

When you’re done, ask yourself, what was difficult about this task? What was easy (or even fun)? What additional questions about writing dialogue did this exercise raise for you?

Mentor Text: “ The Missing-Piece Son ” by Randa Jarrar

This essay centers on a conversation, as the opening lines tell you right away:

I don’t think anything would rattle the mother of a preteen boy quite like the words my 12-year-old uttered this spring: “Mom, we need to talk,” he said. “It’s something serious.”

There is a great deal to notice about how this writer uses dialogue, starting from this first sentence. For instance, why do you think she writes, “Mom, we need to talk,” he said. “It’s something serious.” rather than “Mom, we need to talk. It’s something serious,” he said ?

Here is the first paragraph in its entirety. Notice how the narrator tells you what her son says, but then immediately parses what it might mean:

I don’t think anything would rattle the mother of a preteen boy quite like the words my 12-year-old uttered this spring: “Mom, we need to talk,” he said. “It’s something serious.” The reversal of roles; the need for him to address me . The “serious” part. These were enough, in the very short time it took to follow him to his bedroom, to completely freak me out. He’d just returned to Michigan after visiting his father in New York. Had something catastrophic happened while he was there? Had he done drugs or had sex? I hoped he’d just left his iPod on the plane.

Read the full piece, paying close attention to who talks, what they say, and how the narrator continues this strategy of varying the spoken dialogue with her own thoughts.

For instance:

“We should think about this,” I said. “I’ve been thinking about it, Mom,” he said. “And I really want to.” Don’t go ! I thought. “Well, then you should do it,” I said. “Really, Mom? I can?” Please don’t ! “Absolutely.”

What is the effect of varying spoken conversation with thoughts about the conversation?

How does the writer help the reader keep track of who is talking? Does every line need what’s known as a dialogue tag — like “he said” and “she shouted” — after a character has spoken? What dialogue tags does this writer use? How does she help the reader understand what she’s thinking versus what is being said?

What do you learn about the son solely through what he says and how he says it? Imagine that this piece was told from the son’s point of view instead, and we had access to his thoughts as he spoke. How might this piece change? What do you imagine some of those thoughts might be?

What else do you notice about how dialogue works in this story? Does it help address any of the questions you had after you tried writing your own?

Now, take your study a bit further, and contrast what you just read with the related Lives essay, “ I Was 18 and Pregnant ,” also by Randa Jarrar.

What do you notice about how dialogue is used here? Why do you think the writer might have made different choices about its use in this piece? (Hint: How is “talk” — or lack thereof — a theme?)

What can you take away from the two essays together about when and how to include dialogue in a piece and when not to? Why?

Now Try This:

Take a fresh look at a narrative you’re working on, and see what you might borrow from this writer.

Are there places where you could tell your story more effectively through dialogue? Why? What can dialogue do in your piece that narration alone might not?

Are there places where a conversation is best simply described, or where only a line or two is needed? Why? How can you make the dialogue you add have the most impact?

Are there places where it might be useful to borrow the technique in “The Missing-Piece Son” and vary dialogue with the thoughts of a narrator? What could that add to the story?

Other Mentor Texts for Writing Dialogue

Below each title is an excerpt from the piece.

“ The Other Talk ,” a 2019 essay from the Rites of Passage column , by Shaquille Heath

In an earnest voice, he looked at me and said, “You’re black.” He said it so sternly that I thought that this remark may have been the end of the talk. “I’m sure you’ve already had encounters in life that tell you what this means,” he said, “but I want to talk to you about it.”

“ Arguing With God ,” a 2006 essay from a Times Magazine column called True-Life Tales, by Samantha M. Shapiro

“Forget about going to Boston next month,” my mother called to report. “The rabbi canceled Michael’s bar mitzvah.” “How is that possible?” I asked. “You know Michael’s a wild kid,” my mother said.

“ We Found Our Son in the Subway ,” a 2013 essay from the Opinion section’s Townies column, by Peter Mercurio

Danny called me that day, frantic. “I found a baby!” he shouted. “I called 911, but I don’t think they believed me. No one’s coming. I don’t want to leave the baby alone. Get down here and flag down a police car or something.”

“ The Man on Death Row Who Changed Me ,” a 2014 essay from the Lives column, by Bryan Stevenson

“I’m very sorry,” I blurted out. “I’m really sorry, I’m really sorry, uh, O.K., I don’t really know, uh, I’m just a law student, I’m not a real lawyer.”

“ When a Dating Dare Leads to Months of Soul Searching ,” a 2019 essay from the Modern Love column, by Andrew Lee

“If things don’t work out,” she said, “would it hurt your confidence?” “Hey, don’t worry about it,” I said. “I’ve got enough confidence for both of us. When my friends ask what happened, I’ll say, ‘She had everything going for her, but sometimes things get between people.’” I smiled. “‘Like racism.’”

Questions for Any Narrative Essay on Dialogue:

Where is dialogue used in this piece? Where is dialogue implied but not actually written out? (For example, “They talked about what happened in class that day and decided ...”) Who speaks and who doesn’t?

What do you notice about the places where the writer chooses to use dialogue? How does it advance the plot, deepen your understanding of a character, or emphasize a theme or idea? What do you learn through it? How would it be different if the writer did not use dialogue here, but just described a conversation instead?

Do the voices of each character sound distinct? How so? What do they tell you about those characters?

What else do you notice or admire about this essay? What lessons might it have for your own writing?

• How It Works
• Essay Examples

How to Write Dialogue in an Essay

Knowing how to insert source materials into an essay is a central theme of academic writing. Sources can be cited to support your argument, expand it or even to be used to dissect a counter-argument and examine its validity.

This skill is so essential the rules of using quotation marks of when quoting texts are pounded into the student’s head. So much so you know when to quote a textual source and the reason to do so.

One of the areas many students struggle with is when or how they should use dialogue in an essay. A high number of essay writers don’t even know the difference between dialogue and quotes, let alone the correct punctuation surrounding it. The main reason it happens is because a large number of academic subjects focus solely on claim-based essays where dialogue is not used. This article will look at why dialogue can be so effective within a narrative essay and why. The topics discussed will be:

What is dialogue?

When do you use dialogue?

Why use dialogue?

How to write dialogue?

And Where you can find more information on this subject.

Dialogue: A definition

Dialogue is defined as a literary technique that writers use to depict a conversation between two or more people. Dialogue is a device that is employed in all kinds of fiction – movie, plays, books and can even be used in essays. It's important not to confuse dialogue with quotations from an outside source. Dialogue is largely made up to create a more visual, dramatic effect. Whereas direct quotes can be verified through citations.

Quotation marks are used with quoting from source as well as to mark dialogue in an essay but the conventions around the two change. As such, it is important to know the difference between the two.

Here is a small table that documents the main differences.

One of the biggest mistakes an essay writer makes is when they use dialogue as a direct quote. This mistake occurs as we are trained to use speech as direct quotes in claim-based essays. As we are trained to do this in the majority of our subjects, we don't know that we can use crafted narration and create dialogue in narrative essays to give them more weight. Due to this, we do not understand the conventions around its use or why to use it.

Dialogue: When to Use it.

Dialogue is a big part of the movies, television, novels, and plays. It is important to keep in mind that when it comes to essay writing, a dialogue only really appears in one type of essay – the narrative essay.

A narrative essay differs from most kinds of essay writing. Other types of essays often aim to make a claim about something. If we look at an argumentative essay , for example, it makes a claim that one point of view is right. And an expository essay will make claims about how a model or idea works. A narrative essay doesn't make claims like this. It is an essay that is used to relate stories and experience to the reader, and as such, it is much more story like in nature. These experiences include conversations the writer has had with other people.

Presenting conversations you had with friends as dialogue in an argumentative essay or expository piece wouldn’t do much to strengthen your argument and would undermine your creditability. It is better to use direct quotes from the source – even if it is spoken material. Direct quotes will be seen as the conventional norm as these types of essay expect the writer to be objective and scientific in their discussion.

Dialogue: Why do you use dialogue

Narrative essays use dialogue as a device – much like written fiction. They add depth, tension and character development to nonfiction writing. It also helps move the story along. As it is reported speech, you would be unlikely to remember all the details; so, you will have to recreate them from memory – remember to use the words, tones, and emotions that report it in the correct flavor. Readers will trust realistic dialogue that captures the situation.

Dialogue: How to format

This section will demonstrate the correct formatting conventions to use when inserting your dialogue into a narrative essay. This section will look at the correct usage of the quotation marks, and where to put other punctuation marks. This will be looking at the U.S rules of grammar – the formations and convention in other variants of English might differ.

Quotations Marks

There are three main rules that surround the usage of quotation marks:

Double quotation marks are used to signify that a person is using speech.

Example: - When I was young, my father warned me, “Look in both direction before you cross the road.”

Single quotation marks are used to mark quotes in quotes.

Example: - “I remember read Oscar Wilde’s quote ‘I can resist everything except temptation’ and feeling so inspired,” the creative writer coach said.

When dialogue extends across several paragraphs, use quotation marks at the start of each paragraph, but only use the closing quotation make when the speech ends.

Example: - Rupert nodded and said, "Yeah I think you're correct. If we lay the carpet before painting the ceiling, we'll need dust sheets.

But if we do the ceiling before laying the new carpet it should be fine.”

If the quote is at the end of a sentence, always put the full stop inside the quotation marks.

Incorrect: - The bus driver said, “This is your stop”.

Correct: - The bus driver said, “This is your stop.”

Question marks and exclamation should be placed inside the quotation mark if they apply to the person's speech.

Incorrect: - The boy screamed, “Watched out the ceiling is falling”!

Correct: - The boy screamed, “Watched out the ceiling is falling!”

When the quote is simply embedded in a larger sentence that is a question or exclamation the punctuation should be placed outside the speech marks.

Incorrect : -How did you feel when the newscaster said, “JFK had been shot?”

Correct: - How did you feel when the newscaster said, “JFK had been shot”?

If a speech tags fall before the quote use a comma before the quotation marks to separate them.

Incorrect: - My brother said “I’m telling mom that you stole the cookies from the jar.”

Correct: - My brother said, “I’m telling mom that you stole the cookies from the jar.”

If the speech tag comes after the quotation marks, then the coma should be placed in the speech marks

Incorrect: - “Just be back in time for tea” My mum warned me before I went to play.

Correct: - “Just be back in time for tea,” My mum warned me before I went to play.

When a sentence is interrupted with a speech tag, a comma should be placed after the first segment of speech and at the end of the speech tag.

Incorrect: - “No” Karen said wrinkling her nose in disgust “That’s just all kinds of wrong.”

Correct: - “No,” Karen said wrinkling her nose in disgust, “That’s just all kinds of wrong.”

It is important to learn how to use quotation marks and punctuation correctly. These rules act as a convention between reader and writer, and as such, using them will make your work easier to read and understand. Without following these rules, your dialogue might be confusing and messy to the reader, which means it will not convey the message you want it to.

Dialogue: Where to find more resources

Here is a collection of some great links that will aid you in crafting the perfect narrative essay , and making sure you get your dialogue quotation spot on. You’ll be writing an amazing narrative essay in no time at all.

• How to Write a Thesis Proposal
• How to Write an Exemplification Essay
• Homework Tips For Students
• A Few General Facts about How To Write 5 Paragraph Essay ?
• Essay Topics for Middle School

• Essay Topics
• Homework Help
• Essay Types
• Essay Examples
• Become a Tutor

How to Write a Dialogue in an Essay with Example

This article will reveal all you need to know about how to write a dialogue, types of dialogues in an essay, and formatting . In addition, in this article, you will find several examples of English essay dialogue and dialogue between two characters.

What Is a Dialogue?

The definition of a dialogue is as simple as it gets. Dialogue is a conversation or discussion between two or more people in a book, play, or film. If you are wondering where the surprise part is coming in, here it is: it is not just any conversation. If you include a dialogue in an essay, it has to convey some kind of conflict, emotional tension, a surprising fact, or an interesting turn of events.

Dialogues in essays are not focused on mundane things because mundane things are just not interesting to read about.

There is a range of things NOT to include in your dialogue, such as:

• Throat-clearing sentences – parts of dialogue that do not add to the plot, but simply take space
• Rambling – this is the least relevant and interesting type of dialogue, which your readers are most likely to skip
• Words like “um”, “hm”, “like”, “sorta”, “kinda” – while it is important to speak the language of your readers to engage with them, avoid making them feel like they listen to a discussion between two people on the street.
• Profanities and slang – keep it classy instead of crassy.

  It is surely rare to hear people in real life speaking like characters in Sir Arthur Conan Doyle’s books, but this doesn’t mean dialogues shouldn’t be refined to sound realistic.

Types of Dialogues

While choosing how to convey the words of characters in an essay for the readers, you have two options: active and passive dialogue . Active dialogue includes quotes and quotation marks, while passive dialogue implies paraphrasing of the quotes and telling them from the narrator.

Examples of these types of dialogue are below:

1 Active dialogue example

Peter asked, “Joanna, can you take kids to your mother tonight?”

“Sure, I will drive them there as soon as they get back home from school,” she replied.

2 Passive dialogue example

Peter asked Joanna whether she would be able to take kids to her mother tonight. Joanna was exhausted by a long ride, however, agreed anyway, taking the chance to avoid the serious talk she needed to have with her husband.

From these short dialogues, we can see that active dialogue allows readers to imagine the situation much better, while passive dialogue can provide more details just by adding extra facts to the narration.

How to Put a Dialogue in an Essay?

The purpose of a dialogue in an essay is to create a more vivid picture for the audience. The functions of a dialogue in an essay include:

• Providing extra information about characters
• Unravel interesting or surprising plot twists and details about the story
• Attract readers’ attention

If your dialogue meets at least one of these criteria, it is a good dialogue to put in an essay. In fact, dialogues can help you tell a lot of information about the story and characters in a relatively short abstract. Adding descriptions of how people say something or why they say it is the key to describing their own behavior.

How to Format a Dialogue

Now let’s move on to the most intriguing part of writing a dialogue – punctuation and formatting . When you stumble upon a dialogue in any narrative essay or text, punctuation might seem to have a lot of different styles, which is confusing.

Of course, common errors in English are still relevant here, but dialogues have evolved their own punctuation rules.

There are three simple steps you need to follow in order to format your dialogue correctly in an essay:

1 In a dialogue, commas, exclamation marks, and question marks are inside the quotation marks:

“How could you do this? Moving a couch across the room isn’t a job for a fourteen-year-old girl!” Diane’s mom yelled in despair. “These macaroons are just exquisite! I would love it if you would give me a recipe,” my aunt asked me. “This movie was so scary that I could barely look at the screen!” her son complained after watching Jaws.

2 Use commas to set off dialogue tags, such as “he said” or “she exclaimed”:

“Enough of this,” he said, “I am absolutely tired of repairing this car! I will rather save up and buy a new one.” “Pepsi has too much sugar in it, this is diabetes in a can,” the grandmother said in a sad voice. “I have been reading The New York Times for years now,”the teacher said. “This newspaper has never disappointed me.”

3 If your quotation is at the end of the sentence, put a period inside the quotation marks as well:

Uncle Joe frowned, scratched his forehead, and finally replied, “I have no idea why my car keys are in the fridge.” He then told her the biggest lie he could ever tell, “I never left the wet towel on the bathroom floor.” Sarah pointed at zebra and asked her father, “Daddy, I have never seen a black and white horse.”

Pay attention to the following: if one person’s speech takes more than one paragraph, use opening quotation marks at the beginning of each paragraph, however, do not use closing marks till the end of the speech .

My new neighbor always seems to be the most enthusiastic to tell me about her perfumes. One day, I asked her, “How did you come to like and wear perfumes?” She replied, “I have always wondered about where perfumes came from. This huge industry has grown from our scent preferences, experience with different smells, and scent associations. Probably, this is connected to our evolution as species, where detecting specific smell would mean choosing safe food. “Until recently, I have never been wearing perfumes myself, but admired them from a distance. Now I have a small collection of fragrances. I have learned a lot about fragrance industry and notes used in perfumery.”

How to Write a Dialogue Between Two Characters

Now that you know all about the purpose of a dialogue in an essay as well as how to write it and use punctuation, learning how to write a dialogue between two characters will be a piece of cake.

The rules you should follow are:

• Give your characters a setting . Just like in movies, mise-en-scene is often as important as the dialogue itself. Set the scene for the dialogue by briefly describing where and when the dialogue takes place. This will help your readers imagine the picture more vividly.
• Keep it realistic . Unless it suits your essay style, there is no need to be smarty pants and write dialogues with words and scientific facts that are hard to understand for an average reader. While writing a dialogue, reread it several times and make sure it doesn’t make you think “nobody talks like that!”
• Let the dialogue flow naturally . Put yourself into your characters’ shoes and imagine how you would react to something being said to you. This is how you will find the way for the dialogue to seem natural and flow seamlessly.
• Don’t overuse it . While dialogue is a great tool for an essay, turning an essay into a play script with only quotes is another mistake you want to avoid.
• Make your characters human . Add details about feelings and emotions into the dialogue, both from the narrator and from the dialogue itself. Let your audience understand the tone and mood of the dialogue.
• Give the dialogue a purpose . By all means, discussion about whether a cake is tasty or not can be passionate, emotional, and tense altogether. However, this is not something to include in a dialogue. Your dialogue should have a purpose in the plot and affect the characters involved in it.
• Make sure to indicate who is who . This might seem like a rookie mistake in writing a dialogue in an essay, however, it happens. Have you ever read a long dialogue where you couldn’t understand anymore who talks? If your dialogue in an essay is longer than 5-6 quotes, make sure to add narrator’s text that will clarify who says those lines.

In a dialogue between two characters, it is easy to do because the readers do not need to remember many names or attributes. To avoid repetitions, use “he” or “she”, or specific features and roles, such as family member name (aunt, uncle, grandmother, nephew, etc.), significant appearance characteristic (blonde girl, tall man, lady in red, etc.), and specific roles people have (student, cashier, sale associate, doctor, nurse, etc.). In case you use any of those, make sure that you mention these attributes earlier in the text to avoid confusion.

Following these tips will help you write a truly meaningful dialogue between two characters and help readers understand additional information about them, their mood, features, preferences, role in the story, and relationships between them.

English Essay Dialogue Example

John finally returned home after a long day at work. It was raining cats and dogs and his raincoat was soaked. He opened the door, entered his apartment, and put his bag on the floor. suddenly , his phone started ringing. John took it out of his pocket and picked up. “Dad, itl burned down… I am so sorry,” he heard his daughter’s sad voice. She was crying. “What are you talking about?! Jen, are you alright?” “Dad, your summer cottage, it burned down to the ground” she was clearly devastated. John asked, “How did this happen?” “Just an accident, dad. You must have left the fire in the fireplace,” Jen replied. At this moment, John sighed with relief, even though his daughter might have thought he was very upset by the loss. She had no clue that her father insured their summer cottage and now the word “accident” meant lining his pocket from insurance money for sure.

So, now you know everything you need to write a dialogue in your essay successfully! Still, I strongly recommend to consider whether you need it at all — even when tutors assign such a creative writing, they are very meticulous in its evaluation. Moreover, pay attention to editing — due to sophisticated punctuation, dialogues are a never-ending source of students’ errors.

Did you know that Homework Lab is a student task sharing platform? You can work on tasks on your own or ask professional Geeks for help. Join anytime, anywhere for free.

If you have any questions about dialogues unanswered, please share your comment — I will get back and resolve any issues you have 😎.

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What is Dialogue — A Writer’s Guide to Spoken Words

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M ovies are a visual medium first and foremost, which means making on-screen imagery as effective as possible. And if you’re making a narrative feature, you will more than likely be needing dialogue. Movies didn’t start with traditional dialogue tracks, but these days, virtually every movie in existence has it. But what is dialogue, why does it matter, what makes good vs. bad dialogue, and how can you make the most of it?

What Does Dialogue Mean?

The definition of dialogue.

Dialogue as written text was developed a very long time ago, becoming a genre by the time Plato had made it his own. These days, it refers to many other things, including conversations among people. But we’re going to keep our focus on cinema when we provide a dialogue definition.

DIALOGUE DEFINITION

What is dialogue.

Dialogue is a written or spoken exchange of words between one or more characters. Most narrative stories feature this verbal communication, which is often easily identifiable by either quotations in literature or dedicated spaces in scripts. Dialogue has various uses, though it is most often for the purposes of advancing the plot and building character. For example, it lets the audience learn more about a character, their history, feelings, and viewpoints.

Dialogue Characteristics:

• Used for advancing the plot
• Captures the "voice" of a character
• An opportunity for subtext and verbal irony

Written Dialogue

Dialogue in screenplays.

Good dialogue tends to make or break a script, as the majority of what your reader will be doing is reading it. And of course, good dialogue on paper has to translate on-screen as well. 

You can get an idea of this from YouTuber Now You See It’s video below where he quickly but succinctly covers dialogue examples in film.

What does dialogue mean?

So, what is dialogue in a screenplay? Using Taika Waititi’s JoJo Rabbit screenplay as an example, and implementing it into StudioBinder’s screenplay software , we can see dialogue examples and how they are used.

The excerpt below shows off the introduction of a setting , which is extremely common and notable in any script.

Setting Introduction in Dialogue Example  •   Read Full Scene Here

This is a very common and standardized way to present dialogue in your screenplay. As you see, the dialogue is laid out very clearly, so much so that each block has plenty of space. You will also notice that character names are capitalized, which leaves no doubt as to who is speaking and when.

You should also understand what the dialogue is meant to do. Are we advancing the plot in some way? Are we learning more about a character? Or are the characters speaking just for the sake of speaking? As a result, you can make types of dialogue very subtle, very obvious, or something in-between.

The  Scott Pilgrim vs. the World script is chock-full of great dialogue examples, some of which are made to make clear what is going on in the story. The example below comically lays out what our main plot is all about.

Main Plot Through Dialogue Example  •   Read Full Scene Here

Even though this scene is pretty obvious in its intentions, the use of a beat also drives home the fact that Scott is more interested in Ramona making their relationship official than the reality of having to fight her evil exes. This is the power dialogue often can have, one which can creep up on the audience in unexpected ways.

For something more subtle and grounded, look at the excerpt below. Courtesy of Wes Anderson & Owen Wilson’s The Royal Tenenbaums , the scene is a quick set-up with a brief exchange. 

Expressing Character Through Dialogue Example  •   Read Ful Scene Here

It may not seem like much, but these two lines say a whole lot about Royal, his character, and how he views himself. Dialogue can be very expressive and informative if you have a character talk a lot, but minimal dialogue can be just as effective.

When writing a screenplay, you will have to decide what types of dialogue you want. Avoiding too much talking is important, but maybe it’s a character quirk. Not enough speaking can be frustrating in some movies, while it can be part of the appeal in another. What’s important is that your dialogue choices make sense for the story you want to tell.

Related Posts

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• Quentin Tarantino Quotes and Tips on Filmmaking →

Scene Studies

Notable dialogue examples in film.

At the end of the day, no matter who reads your script, most people will watch the movie. At this point, dialogue is supported by performances, editing, and direction.

If anyone (else) is famous for how they can pull off dialogue, it’s writer-director Quentin Tarantino . As is part of Tarantino’s directing style , he loads his movies with characters talking, to the point of excess, depending who you ask.

But even though his movies are also known for being extremely violent, it’s the dialogue that is often singled out and praised by viewers, critics, and fans.

Take a look at our video below to get an idea of how effective Tarantino’s dialogue is. Using suspense and misdirection, as well as top notch character writing, he creates a unique and unforgettable confrontation.

Effective conversation goes a long way  •   Subscribe on YouTube

The right kind of dialogue can go a long way in helping a movie get critical acclaim. Almost anything you watch will have dialogue, and you can easily see how effective it is, what purpose it serves, and how you too can implement techniques into your own projects.

Screenwriting Tips for Dialogue

Now that you have a basic definition of dialogue down, it’s time to learn how you can best approach writing it yourself. Our guide goes over many tips for writing better dialogue, along with many examples from film scripts and clips.

Up Next: Dialogue Tips →

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Iowa Reading Research Center

Dialogic Reading: Having a Conversation about Books

(View and download versions of this post in languages besides English at the bottom of this page)

Parents and teachers alike nearly universally accept the importance of reading to children. Even  pediatricians and hospitals encourage it . However, reading aloud can have greater educational value than serving as a filler activity before bedtime or lunch.

It is easy to simply take a book of a shelf, read it, and maybe ask a few questions at the end of the story without giving much thought to the selection of the book or the purpose of reading the story. Maybe it is the child’s favorite, or it is just the right length for the time allotted. Maybe it fits with the class theme of the week. However, these are all adult-directed examples. The adult selects the book, reads the story, and asks the questions or leads the discussion.

A more engaging and productive alternative is interactive reading or dialogic reading. Dialogic reading involves an adult and child having a dialogue around the text they are reading. Their conversation includes defining new vocabulary, improving verbal fluency, introducing story components, and developing narrative skills.

When parents and teachers properly plan and execute dialogic reading, research suggests it can be particularly effective at improving skills such as print awareness, oral language, and comprehension. Most importantly, it helps model how good readers think about the text as they are reading it. The benefits of dialogic reading are not just for young children. Although the concept originated with picture book reading for preschoolers (Whitehurst et al., 1988), a wide body of research has extended its use to other ages and populations including students with disabilities (What Works Clearinghouse, 2010), struggling readers (Swanson et al., 2011), and English language learners (Brannon & Dauksas, 2014).

Different Levels of Questions in Dialogic Reading

A traditional implementation of dialogic reading involves repeatedly reading the same book and interacting around three levels of questions (Flynn, 2011).

• Level 1  questions are basic “wh” type questions focused on what can immediately be seen (or read) in the text. Level 1 also includes introducing new vocabulary. For example, while pointing to a picture, the adult reader may ask, “What type of feet does this animal have?” Here the adult is looking for a specific, correct response to expand the child’s oral vocabulary.
• Level 2  questions are open-ended and are used to solicit the child’s feedback. For example, the adult reader might ask, “What is happening in this part of the story?” Here the adult is trying to encourage the child to share what he or she is thinking about and make meaning from the text.
• Level 3  questions are more advanced and introduce concepts like text features and story components. For example, the adult reader might ask, “Who was the main character and how did he feel?” This also may include questions that distance the student from the text and connect the story to their own life. For example, “How would you feel if that happened to you?”

Differences Between Correct Ways and Incorrect Ways to Utilize Dialogic Reading

Dialogic reading....

• Is not  "teacher reads, students listen"
• Is not  teacher led
• Is not  limited to narrative text with questions and discussions at the end
• Is not  only for very young children
• Is  interactive
• Is  student centered
• Is  conducted with narrative and expository text with questions and discussion throughout
• Is  an activity requiring careful planning
• Is  for students at all levels

Although several strategies exist to facilitate the three tiers of questions in dialogic reading, the two most popular are known by the acronyms  CROWD  and  PEER . Both have been covered in previous IRRC blog posts, and this post will expand on the two strategies and provide another resource to help with planning a dialogic reading activity.

Covering the Various Question Tiers with CROWD

CROWD is used to remember the types of questions to ask:  c ompletion,  r ecall,  o pen-ended, “ w h” questions, and  d istancing. An extension of CROWD is CROWD-HS, which is used to encourage distancing prompts related to  h ome and  s chool. Here is an example of CROWD-HS questions for the well-known story of  The Three Little Pigs .

C ompletion question: “I’ll huff, and I’ll puff, and I’ll __________ ___________ _________ ___________.”

Answer: Blow your house down.

R ecall question: Which house couldn’t the Big Bad Wolf blow down?

Answer: The one made of bricks.

O pen-ended question: Why do you think the first pig built his house out of straw?

Answer: It was the easiest to build. He was lazy.

“ W h” question: What kind of animal was after the pigs?

Answer: Wolf.

D istancing: How do you think the pigs felt when the wolf tried to get them?

Answer: (Answers will vary.) Scared, angry, sad.

H ome question: If you had to build a playhouse at home, what kind would you build?

Answer: (Answers will vary.) Tree house, tent, fort.

S chool question: The wolf was a bully. He was mean to the three little pigs.  What should you do if someone is bullying you at school?

Answer: (Answers will vary.) Tell a teacher. Tell them to stop. Ignore them.

Prompting More Dialogue with PEER+PA

CROWD-HS is helpful for remembering the types of questions to ask, but remember that the point is to foster a dialogue about the text, not prompt one-word answers. The PEER ( p rompt,  e valuate,  e xpand, and  r epeat) strategy can be used to help the adult encourage deeper responses. An extension of PEER is PEER+PA, which is used to remind the adult to  p raise the child for engaging in conversation and help the child  a pply the response so it is meaningful. These components are applied throughout the dialogue with the child. Here is an example of using PEER+PA with one of the above CROWD-HS questions:

P rompt the child to say something about the book.

Adult: What kind of animal was after the three little pigs?

Child: Wolf.

E valuate the child’s response.

Adult thinks to self, “Yes, it was a wolf, but we can add more to that response.”

E xpands the child’s response.

Adult: Yes, it was a big, bad wolf!

R epeat the prompt.

Child: A big, bad wolf!

P raise and  A pply the child’s response.

Adult: That’s right! The big bad wolf was after the three little pigs. Good job remembering the story! How would you feel if you saw a big bad wolf?

Child: (Answers will vary.) I’d be scared and run away.

Teaching Vocabulary Through Dialogic Reading

Recall that an important goal of dialogic reading is to expand the oral language skills of students, particularly vocabulary. One way to do this is to engage in pre-reading activities to teach key vocabulary. Just as there are levels of questions to facilitate dialogue about the text, it is easy to think about vocabulary words in three tiers:

• Tier 1  words are basic vocabulary words that should be in the child’s receptive and expressive vocabularies. Tier 1 words in the story of The Three Little Pigs would include: house, pig, wolf.
• Tier 2  words occur with high frequency in texts for mature language users. These words should be taught to help expand the receptive and expressive vocabularies of the child. A Tier 2 word in the story of The Three Little Pigs might be eldest (some versions of the story characterize the first pig as the eldest of the three).
• Tier 3  words are domain specific and best learned when needed in a content area or in a specific context. These words are less likely to occur in a story like The Three Little Pigs. However, a more sophisticated version of the story might include the Tier 3 word for the bricklaying tool the third pig used: trowel.

Although some words can be introduced during dialogic reading, it is important to carefully identify and pre-teach any words that might otherwise interfere with a student’s comprehension of the book. The adult reader can identify Tier 2 words that will be helpful for understanding the current text and that the child is likely to use or read in other settings.

Now that we are swimming in levels, tiers, and alphabet soup, how do we keep our heads above water, bring it all together, and actually engage in dialogic reading? The most important thing is to adequately prepare! This includes selecting appropriate text that encourages dialogue, identifying vocabulary to pre-teach, thinking of CROWD-HS questions, and anticipating child responses with which you can use PEER+PA to expand the dialogue. The  Interactive Reading Guide  below can be put in every book to help you plan the vocabulary and questions you will include. The questions should be asked throughout the text, not just at the end, so do not forget to record a page number for each! This will make it easier for you or someone else to locate the targets for the conversation starters while implementing dialogic reading.

Bookmarks/Book Inserts to Aid in Dialogic Reading

Set of Three Interactive Reading Guide Book Inserts for Download

Set of Four CROWD Bookmarks for Download

Set of Four PEER Bookmarks for Download

Brannon, D., & Dauksas, L. (2014). The effectiveness of dialogic reading in increasing English language learning preschool children’s expressive language.  International Research in Early Childhood Education ,  5 , 1-10.

Flynn, K. S. (2011). Developing children’s oral language skills through dialogic reading: Guidelines for implementation.  Teaching Exceptional Children ,  44 , 8-16. doi: 10.1177/004005991104400201

Stephenson, J. (2010). Book reading as an intervention context for children beginning to use graphic symbols for communication.  Journal of Developmental and Physical Disabilities ,  22 , 257-271. doi: 10.1007/s10882-009-9164-6

Swanson, E., Vaughn, S., Wanzek, J., Petscher, Y., Heckert, J., Cavanaugh, C., . . . Tackett, K. (2011). A synthesis of read-aloud interventions on early reading outcomes among preschool through third graders at risk for reading difficulties.  Journal of Learning Disabilities ,  44 , 258-275. doi: 10.1177/0022219410378444 |  Full article

What Works Clearinghouse (2010).  What Works Clearinghouse intervention report early childhood education interventions for children with disabilities: Dialogic reading.  Washington, DC: Institute for Education Sciences. Retrieved from  http://ies.ed.gov/ncee/wwc/InterventionReport/136

Whitehurst, G. J., Falco, F. L., Lonigan, C. J., Fischel, J. E., DeBaryshe, B. D., Valdez-Menchaca, M. C, & Caulfield, M. (1988). Accelerating language development through picture book reading. Fischel, J. E., DeBaryshe, B. D., Valdez-Menchaca, M. C, & Caulfield, M. (1988). Accelerating language development through picture book reading.  Development Psychology ,  24 , 552-559. doi: 10.1037/0012-1649.24.4.552

Translations

In order to provide this post and information about dialogic reading in the home to more families in Iowa, we have provided the following versions of the post and associated bookmarks and inserts, translated from English.

Dialogic Reading: Having a Conversation about Books (Lees in Dialoog: 'N Gesprek Oor Boeke)

Interactive reading guide book inserts (Interaktiewe Leesgids)

CROWD bookmarks (VOOWD Boekmerk)

PEER bookmarks (VEBH Boekmerk)

Dialogic Reading: Having a Conversation about Books (القراءة الحوارية: التحدث حول الكتب)

Interactive reading guide book inserts (مجموعة من ثلاثة فواصل تفاعلية للقراءة لتنزيلها)

CROWD bookmarks (مجموعة من علامات مميزة من CROWD لتنزيلها)

PEER bookmarks (مجموعة من علامات مميزة من PEER لتنزيلها.)

Dialogic Reading: Having a Conversation about Books (Dijaloško čitanje: razgovaranje o knjigama)

Interactive reading guide book inserts (Komplet tri knjižna umetka za Vodič za interaktivno čitanje koji možete preuzeti)

CROWD bookmarks (Komplet četiri CROWD knjižne oznake koje možete preuzeti)

PEER bookmarks (Komplet četiri PEER knjižne oznake koje možete preuzeti)

Dialogic Reading: Having a Conversation about Books (ဒိုုင္ယာေလာဂ်စ္ ရီးဒင္း - စာအုုပ္မ်ားအေၾကာင္း အျပန္အလွန္ေျပာဆိုုေဆြးေႏြးျခင္း )

Interactive reading guide book inserts (ေဒါင္းလုုတ္ လုုပ္ရန္ ျပန္လွန္ဆက္သြယ္စာဖတ္ပံုုလမ္းညႊန္ စာအုုပ္တြင္းထည့္သြင္းသည့္အရာသံုုးခုုပါ ဆက္)

CROWD bookmarks (ေဒါင္းလုုတ္လုုပ္ရန္ CROWD စာအုုပ္မွတ္ ေလးခုုပါ ဆက္)

PEER bookmarks (ေဒါင္းလုုတ္လုုပ္ရန္ PEER စာအုုပ္မွတ္ ေလးခုုပါ ဆက္)

Dialogic Reading: Having a Conversation about Books (Lecture dialogique : Conversation à propos de livres)

Interactive reading guide book inserts (Inserts de livre du guide de lecture interactive à télécharger)

CROWD bookmarks (marques-pages CMOGD à télécharger)

PEER bookmarks (marques-pages IEER à télécharger)

Dialogic Reading: Having a Conversation about Books (Dialogisches Lesen: Ein Gespräch Über Bücher)

Interactive reading guide book inserts (Satz von drei interaktiven Leseführer Buchzeichen zum Herunterladen)

 CROWD bookmarks (Satz von vier CROWD Lesezeichen zum Herunterladen)

PEER bookmarks (Satz von vier PEER Lesezeichen zum Herunterladen)

Interactive reading guide book inserts

CROWD bookmarks

PEER bookmarks

Dialogic Reading: Having a Conversation about Books (대화식 독서: 책에 관해 대화하기)

Interactive reading guide book inserts (다운로드를 위한 세 가지 대화식 독서 가이드 책 표식 세트)

CROWD bookmarks (다운로드를 위한 네 가지 CROWD 북마크 세트)

PEER bookmarks (다운로드를 위한 네 가지 PEER 북마크 세트)

Dialogic Reading: Having a Conversation about Books (ການອ່ານແບບໂຕ້ຕອບ: ດຳເນີນການສົນທະນາກ່ຽວກັບປຶ້ມ)

Interactive reading guide book inserts (ຊຸດແນວສອດຂັ້ນໜ້າປຶ້ມແນະນຳການອ່ານແບບສື່ສານຕອບກັບສາມຢ່າງສຳລັບການດາວໂຫຼດ)

CROWD bookmarks (ຊຸດເຄື່ອງໝາຍຂັ້ນໜ້າປຶ້ມ CROWD ສີ່ຢ່າງສຳລັບການດາວໂຫຼດ)

PEER bookmarks (ຊຸດເຄື່ອງໝາຍຂັ້ນໜ້າປຶ້ມ PEER ສີ່ຢ່າງສຳລັບການດາວໂຫຼດ)

Chinese (Mandarin)

Dialogic Reading: Having a Conversation about Books (对话式阅读：开启一场与书籍的对话)

Interactive reading guide book inserts (提供下载的一套三个互动式阅读指南插件)

CROWD bookmarks (提供下载的一套四个CROWD书签)

PEER bookmarks (提供下载的一套四个PEER书签)

Marshallese

Dialogic Reading: Having a Conversation about Books (Riit im Bwebwenato: Kōnono kōn Bok ko)

Interactive reading guide book inserts (Guide n̄an Riit Ippān Doon)

CROWD bookmarks (CROWD Kakōļļe in Bok)

PEER bookmarks (PEER Kakōļļe in Bok)

Dialogic Reading: Having a Conversation about Books (वार्तालापपूर्ण पढाइ (Dialogic Reading): पुस्तकहरूका विषयमा कुराकानी गर्नु)

Interactive reading guide book inserts (तीन वटा सहभागी मुलक पढाइ गाइड पुस्तक डाउनलोड)

CROWD bookmarks (चार वटा क्राउड (CROWD) बुकमार्क्सहरू डाउनलोड)

PEER bookmarks (चार वटा पियर (PEER) बुकमार्क्सहरू डाउनलोड)

Serbo-Croatian

Dialogic Reading: Having a Conversation about Books (Aqrinta Wadahadalka: Lahaanshaha Wada sheekeysiga Ku saabsan Buuggaagta)

Interactive reading guide book inserts (Daji Sadex jaheynada Aqrinta Isdhaxgalka ee Gelinada Buugga ee Dajisashada)

CROWD Boookmarks (Daji Afar Aastaamaha buugga CROWD ee Dajisashada)

PEER bookmarks (Daji Afar Aastaamaha buugga PEER ee Dajisashada)

Dialogic Reading: Having a Conversation about Books (Lectura dialógica: Conversemos sobre los libros)

Interactive reading guide book inserts (Conjunto de tres inserciones en la Guía de lectura interactiva para descargar)

CROWD bookmarks (Conjunto de cuatro marcadores CROWD para descargar)

PEER bookmarks (Conjunto de cuatro marcadores PEER para descargar)

Dialogic Reading: Having a Conversation about Books (Usomaji wa Majibizano: Kuwa na Mazungumzo Kuhusu Vitabu)

Interactive reading guide book inserts (Seti ya Vitabu Vitatu vya Mwongozo wa Usamaji wa Kuingiliana kwaajili ya Kupakua)

CROWD bookmarks (Seti ya Alama za CROWD nne kwaajili ya Kupakua)

PEER bookmarks (Seti ya Alama za PEER nne kwaajili ya Kupakua)

Dialogic reading: Having a Conversation about Books (Đọc sách Đối thoại: Thực hiện Đối thoại về Sách)

Interactive reading guide book inserts (Bộ Ba Chèn sách Hướng dẫn Đọc Tương tác để Tải xuống)

CROWD bookmarks (Bộ Bốn Đánh dấu sách CROWD để Tải xuống)

PEER bookmarks (Bộ Bốn Đánh dấu sách PEER để Tải xuống)

• dialogic reading
• translated posts

Berkley Center

Christian perspectives on transforming interreligious encounter: essays in honor of leo d. lefebure.

Author: Peter Phan

May 1, 2024

This volume underscores the urgency of interreligious dialogue for contemporary society, aiming to foster interfaith understanding, justice, and peace. The initial section focuses on novel approaches to engaging with the religious Other through non-Christian sacred texts. Contributors explore the Jewish-Christian relationship, offer Christian interpretations of Hindu, Buddhist, and Confucian scriptures, and discuss the Quran's potential to refine Christian theology. The dangers of comparative theology are warned against, and alternative perspectives, such as Asian liberation theology, are proposed for situating religion critically, as well as share the insights on Christian engagement with Zen practice. The second part explores the transformation of key Christian doctrines through interreligious encounters. Contributors delve into topics such as the conditions for faith and divine revelation, formulating a Christology in dialogue with Asian traditions, and understanding the Spirit as a source of questioning. They investigate the communitarian dimension of religious faith, discuss the Catholic Church's stance on interreligious dialogue, examine the role of biblical hermeneutics in decolonizing theology, and reflect on the existential threat of ecological destruction. The third part pays tribute to Leo Lefebure, emphasizing his impact on Catholic theology and comparative theology, and concludes with Lefebure's epilogue, providing him with the last word. This volume was published by Rowman & Littlefield in May 2024 and edited by Faculty Fellow Peter Phan and Anh Q. Tran, with an epilogue by Faculty Fellow Leo Lefebure and a chapter from Research Fellow Debora Tonelli.

External Link

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