So, I want to talk about something crucial to writing, something that can really bring your stories to life: natural dialogue. It’s not just about getting words on a page; it’s about making it sound like real people are actually talking, with all their quirks, their stumbles, and their unique ways of speaking. My goal here is to help us move beyond just generic advice and really get into some practical ways to make our characters sound genuinely authentic.
What Makes Dialogue Sound “Off”?
Before we dive into what makes good dialogue, let’s identify what makes it sound bad. Stilted dialogue often has a few common problems:
- Info Dumps: Characters explaining things to each other they already know, just for the reader’s benefit. We’ve all seen it, and it feels so forced.
- Too Perfect: Everyone speaking in full, grammatically flawless sentences, always staying on topic. Real conversations just aren’t like that.
- No Hidden Meanings: Every word means exactly what it says, with no underlying emotions or unspoken intentions. People rarely say exactly what they mean.
- Interchangeable Voices: You can’t tell one character from another just by their speech patterns. They all sound the same!
- Fake Conversations: The rhythm just isn’t right. Too polite, no interruptions, perfect recall of details. It’s just not how we talk.
- Overuse of “Said”: Relying too much on basic dialogue tags without showing feeling or action.
My aim is to help us get past these issues, turning those mechanical exchanges into vibrant, lifelike interactions.
1. Make Their Voice Theirs: The Core of Authenticity
The most important thing for natural dialogue is that it comes directly from the character. How someone speaks is like a fingerprint – it tells you about their personality, their past, their education, their mood, and even what they want in that moment.
1.1. Dig Deep into Who They Are
Before a single word is written, really think about your character’s inner world.
* Their Background: Where did they grow up? A strict home, a chaotic one, or a privileged one? This affects how formal they are, what words they choose, and even what they consider appropriate to talk about.
* Their Education: This isn’t just about big words. It’s about sentence structure, how complex their thoughts are, and how confident they are in expressing themselves. Someone highly educated might use precise language, while someone with less formal schooling might use simpler terms or common phrases.
* How They’re Feeling (Right Now & Generally): Are they anxious, confident, angry, depressed? Anxiety might make them stammer, repeat themselves, or use short, choppy sentences. Confidence might show up in direct statements, maybe even interrupting others.
* What They Want: What do they want in this particular scene? People speak completely differently when they’re pleading, accusing, seducing, or comforting.
* Who They’re Talking To: We talk differently to our boss, our lover, our child, or an enemy. Friends might use inside jokes, shorthand. People in authority might get more formal or cautious language.
Let’s look at an example:
* Sounds forced: “Hello, John. I have compiled the essential data for the upcoming fiscal quarter, as per your request.” (Too formal, robotic, no character)
* Sounds real (Nervous Junior Analyst to a Tough Boss): “Uh, Mr. Harrison? Here’s… the numbers. For next quarter. I think they’re… good.” (See the hesitation, the less formal address, the chopped sentences, the need for approval?)
* Sounds real (Confident Seasoned CEO to Team): “Alright, folks. Q1’s looking strong. We nailed it. Let’s talk Q2 strategy – where are the quick wins?” (Direct, confident, using business talk, assuming authority, asking pointed questions.)
1.2. Their Unique Habits: The Spice of Life
Real people have their own verbal quirks. They’re rarely perfect and often unconscious.
* Filler Words & Pauses: “Um,” “uh,” “like,” “you know,” “so,” “well.” Use these sparingly so they don’t annoy the reader, but strategically for a character who’s hesitant, uncertain, or just has that specific verbal tic.
* Catchphrases/Exclamations: “Holy smoke,” “Bless your heart,” “Bloody hell,” “Absolutely.” These can define a character, but don’t overdo it.
* Preferred Sentence Structure: Short, punchy sentences for an impatient character; long, rambling ones for someone who loves to talk.
* Word Choice & Vocabulary: Do they use jargon from their job? Slang from their region or group? Formal language? Old-fashioned terms?
* Grammar “Mistakes”: Deliberately chosen grammatical deviations can be really effective in showing character (e.g., a rougher character saying “ain’t” or dropping the “g” in words ending in “ing”).
Another example:
* Sounds forced: “I disagree with your assessment regarding the optimal strategy.” (Generic, no voice)
* Sounds real (World-weary detective): “Look, pal, you wanna go that route? Suit yourself. Me? I’ve seen enough “optimal strategies” blow up in my face to last a lifetime.” (Slang, dismissive tone, rhetorical question, you can feel the weariness.)
* Sounds real (Overenthusiastic teen): “Oh my gosh, like, completely, you know? This is, like, totally the best idea ever!” (Filler words, exaggerated excitement, specific teenage vocabulary.)
2. Subtext: What’s Really Being Said
Most of human communication isn’t just about the words; it’s about what’s implied. Subtext adds layers of meaning, tension, and makes things feel real.
2.1. The Unsaid: What Lies Beneath?
Characters rarely spill their deepest desires or fears directly. They hint, they avoid, they posture, or they use sarcasm.
* Hidden Agendas: A character might say “I’m fine” while looking stiff and uncomfortable, clearly hiding distress.
* Power Plays: A boss might ask “Are you sure that’s the best approach?” to gently challenge an employee without giving a direct order.
* Hiding Emotions: Someone in pain might make jokes or be sarcastic to avoid showing vulnerability.
* Unresolved Conflict: A couple might talk about laundry to avoid talking about their failing relationship.
Example of subtext:
* Stilted (Direct and blunt): “I hate my mother, and I regret her interference in my life.”
* Sounds real (Subtextual):
“Mom called again,” Liam said, stirring his coffee with exaggerated slowness.
“Oh?” Maya kept her eyes on her tablet.
“Just wondering if I’d remembered to defrost the chicken for dinner. You know. Because I’m so…forgetful.” His voice was tight, a muscle flexing in his jaw.
Interpretation: Liam isn’t just saying his mom called; he’s showing frustration, feeling like a child, and resentment through his tone and body language, not just saying it outright.
2.2. Show, Don’t Just Tell (in Dialogue)
Pair dialogue with what the character does, how they react, and what they’re thinking internally to reveal what’s really going on.
* Body Language: Avoiding eye contact, clenched fists, a nervous laugh, a dismissive wave. These speak volumes.
* Tone Indicators: Voice cracking, a sigh, a sharp intake of breath, forced cheerfulness.
* Dialogue Tags with Action: Instead of “said angrily,” try, ” ‘Don’t even start,’ she snapped, slamming the door.”
Another example:
* Stilted: “I am feeling very annoyed by your behavior right now,” she said angrily.
* Sounds real: “You’re late again,” he said, not looking up from his newspaper. He folded a corner of the page down with a harsh crease.
“Only by a minute!”
He finally met her gaze, his eyes flat. “A minute is still late.” (The harsh folding of the paper, the flat gaze, and his unmoving posture show anger and disappointment far more effectively than an adverb ever could.)
3. The Rhythm of Real Talk
Real conversations aren’t perfectly planned debates. They’re messy, organic, and always changing.
3.1. Interruptions & Overlapping Talk: Embrace the Chaos
People interrupt each other. They finish each other’s sentences. They talk over each other, especially when they’re excited, angry, or really close.
* Why use it: Creates urgency, chaos, intimacy, or conflict.
* How to do it: Use em dashes (—) for abrupt interruptions, or slightly rephrase the second speaker’s line to show they’re cutting in.
Example of interruptions:
* Stilted:
“I believe we should invest in the new technology,” John said.
“Perhaps we should consider the risks first,” Mary replied.
* Sounds real:
“I’m telling you, the new tech—”
“Hold on, hold on. Have we even seen the risk assessment? Cause I heard—”
“It’s minimal! We stand to lose way more by sticking with—”
“Minimal? That’s what they said about Project X, and look what happened there!” (See the conflicting ideas, the impatience, and how thoughts overlap?)
3.2. False Starts & Hesitations: The Mind at Work
Our brains don’t always produce perfectly formed sentences instantly. We stumble, rephrase, or search for words.
* How to apply it: Use ellipses (…) for trailing thoughts, pauses for reflection, or words that are never quite said. Use sentence fragments for characters who are rushed, emotional, or not fully articulate.
* Why it works: Adds realism, shows uncertainty, hints at unspoken thoughts.
Another example:
* Stilted: “I am unsure about what to do next.”
* Sounds real: “I… I just don’t know. What to do next, I mean. It’s all… a bit much.” (Shows hesitation, searching for words, internal struggle.)
3.3. Varying Lengths & Pacing: The Dance of Conversation
Change up sentence and speech lengths within a conversation.
* Short bursts: For urgency, quick comebacks, or one-word answers.
* Longer passages: For explanations, emotional disclosures, or a character who likes to dominate the conversation.
* Pacing: Fast-paced exchanges when characters are excited or arguing. Slower, more deliberate exchanges for serious discussions or moments of reflection.
Example of varying lengths:
* Stilted:
“I wonder if it will rain today.”
“I hope not because I forgot my umbrella.”
“That is unfortunate.”
* Sounds real:
“Think it’ll rain?”
“God, I hope not. Left my umbrella at home, of course.” She sighed, rubbing her temples. “Typical.”
“Yeah. Wouldn’t be the first time.” He shrugged, glancing at the sky. (Uses a mix of short questions/exclamations and slightly longer thoughts, feels more natural.)
4. Pruning What Doesn’t Belong
Good dialogue isn’t just about what you put in; it’s about what you take out.
4.1. Cut Unnecessary Politeness & Greetings
In real life, people often skip long greetings or politeness when the context is already clear. Unless a character’s politeness is a defining trait or serves a specific purpose (like showing awkwardness in a formal situation), cut it.
Example:
* Stilted:
“Good morning, Bob. How are you today?”
“I am doing well, Janet. And yourself?”
“I am also doing well, Bob.”
* Sounds real:
“Morning, Bob.”
“Janet.” (Then they immediately get into the scene.)
Or, if they’re close: “Hey, you.”
“Coffee’s on.”
4.2. Avoid Blatant Exposition (Most of the Time)
Resist having characters explain plot points or backstory to each other that they would already know. This “on-the-nose” dialogue screams artificiality.
* Instead: Weave information naturally into the conversation, let characters react to facts they already know, or use subtext.
* Strategic Revelation: If exposition is absolutely necessary, embed it within conflict or a moment of character revelation. Maybe one character explains something to another because they’re impatient, condescending, or teaching.
Example of exposition:
* Stilted (Exposition): “As you know, Bob, our enemy, Lord Malakor, devastated the village of Eldoria ten years ago, killing your sister, Elara, and starting this long war between our kingdoms.”
* Sounds real (Woven into conflict/reaction):
“You seriously think Malakor will negotiate?” Bob’s voice was a low growl, his hand instinctively going to the hilt of his sword. “After Eldoria? After Elara?”
“He might. Times have changed,” the general said, though his eyes wouldn’t meet Bob’s.
“Times? He killed my sister! There’s no negotiation, only retribution.” (The reader learns the key facts through the emotional weight and implied history, not a dry explanation.)
4.3. Reduce Formal Language when Casual is Expected
Unless a character is naturally formal, or trying to be, conversations among friends, family, or colleagues shouldn’t sound like a parliamentary debate.
Example:
* Stilted: “I am in receipt of your communication and wish to acknowledge its contents.”
* Sounds real: “Got your note.” or “Okay, got it.”
5. The Power of Dialogue Tags & Action Beats
This is where the “show, don’t tell” principle really shines in dialogue.
5.1. The Humble “Said”: Your Best Friend
“Said” is invisible. It points the reader to the speaker without drawing attention to itself. Use it often. Don’t worry about repeating “said.”
* When to vary: When there’s a specific emphasis or a unique vocalization that’s crucial (e.g., “whispered,” “shouted,” “mumbled”). But use these sparingly.
5.2. Action Beats: The Hidden Gems
Much more effective than a string of adverbs is using an action beat. An action beat shows how a line is delivered, instead of just telling. It also keeps the character grounded in the scene.
Example:
* Stilted: “I want you to leave,” he said angrily.
* Sounds real: “I want you to leave.” He slammed his fist on the table, making the glasses jump. (The action shows anger and moves the scene forward.)
* Stilted: “I’m exhausted,” she said tiredly.
* Sounds real: “I’m exhausted.” She rubbed her eyes, a long sigh escaping her lips. (The action shows tiredness and invites reader empathy.)
5.3. Internal Monologue/Thought as Dialogue Tag
Sometimes, a character’s inner reaction or thought is the best way to “tag” their dialogue.
Example:
* Stilted: “I’m not sure if that’s a good idea,” he said, unsure.
* Sounds real: “I’m not sure if that’s a good idea.” Did she really expect him to go along with that? He couldn’t risk it. (Combines dialogue with inner thought, richer.)
6. Purpose-Driven Dialogue: Every Word Counts
Natural dialogue isn’t just random chatter. Even seemingly trivial exchanges serve a purpose.
6.1. It Moves the Plot Forward
Dialogue reveals new information, introduces conflict, or helps characters make decisions that push the story along.
6.2. It Reveals Character
In every line, a character should show us something about themselves – their beliefs, flaws, strengths, or current emotional state.
6.3. It Sets the Scene or Mood
Through dialect, slang, or references, dialogue can immerse the reader in a specific time, place, or culture. Think about a hushed tone in a library versus loud shouts in a busy market.
6.4. It Builds or Releases Tension
Arguments, veiled threats, confessions—these all build tension. A moment of shared laughter or understanding can release it.
Example:
* Generic Chit-Chat:
“The weather is nice today.”
“Yes, it is. Very sunny.”
* Purpose-Driven (Reveals character, hints at plot, creates tension):
“Nice day,” Mark said, squinting up at the cloudless sky. “Last one before the storm, maybe.”
Sarah shivered, though the sun was warm. “You really think it’s coming?”
“Always does, doesn’t it? After too much peace.” He didn’t look at her, but his hand went to the scar on his wrist. (This isn’t just about the weather; it hints at coming conflict, a character’s past trauma, and the harshness of their world.)
7. The Read-Aloud Test & Revising
This is the ultimate test for natural dialogue.
7.1. Read it Aloud (Seriously!)
This is the most crucial step. Your ear will catch what your eye misses.
* Does it flow naturally?
* Does it sound like real people talking?
* Do character voices sound different from each other?
* Are there awkward pauses or sudden changes in tone?
* Is it too formal or informal for the situation/character?
* Does it keep the reader interested?
7.2. Be a Ruthless Editor
- Cut the Fluff: Remove redundancies, unnecessary pleasantries, and words that don’t serve a clear purpose.
- Tighten Sentences: Make long, verbose phrases more concise.
- Check for Repetition: Not just words, but concepts or rhythms.
- Strengthen Verbs: Replace weak verbs or adverbs with stronger, more precise ones.
- Ensure Distinction: Go through a scene and try to figure out who’s speaking just by their lines, without looking at the tags. If you can’t, you need to work on their voices.
In Conclusion
Making dialogue sound natural and authentic isn’t a trick; it means really understanding human behavior and how we communicate. It requires empathy, sharp observation, and being willing to let your characters speak their truth, even if it’s messy, hesitant, or imperfect. By carefully developing individual voices, adding meaningful subtext, mastering the rhythm of real conversation, and relentlessly getting rid of anything that feels fake, you’ll elevate your writing from just words to compelling, living exchanges. The effort you put into making voices authentic really pays off, transforming flat stories into immersive, unforgettable experiences that truly reflect life itself.