Key Takeaways
1. Dialogue Encompasses All Character Speech, Not Just Conversation
Dialogue: Any words said by any character to anyone.
Expanded definition. Traditional views limit dialogue to talk between characters. This book broadens the scope to include all character speech, whether spoken aloud to others, thought internally to oneself, or addressed directly to the reader or audience.
Three modes. Character talk operates on three distinct tracks: duologue/trialogue/multilogue (to others), inner dialogue (to oneself), and narratized dialogue (to reader/audience). All require the writer to create a unique, character-specific voice.
Verbal action. Regardless of the mode, all character speech is a performative action. Words are deeds, driven by a character's needs and desires, propelling the scene and the character's journey.
2. Dialogue Serves Three Core Functions: Exposition, Characterization, and Action
Dialogue, dramatized and narratized, performs three essential functions: exposition, characterization, action.
Exposition delivery. Dialogue subtly conveys necessary background information about setting, history, and characters. This must be paced and timed carefully, often smuggled in unnoticed through narrative drive or used as "ammunition" in conflict.
Character revelation. Dialogue is crucial for creating and expressing a character's unique personality (characterization) and revealing their deeper moral and psychological being (true character) through their choices and actions under pressure.
Driving the plot. Dialogue is a primary vehicle for character action—mental, physical, and verbal. What characters say and how they say it drives the plot forward, creating action/reaction beats that progress scenes.
3. Effective Dialogue Reveals Subtext: The Unsaid and Unsayable
Dialogue unites these realms because the spoken word resonates through all three spheres.
Layers of meaning. Dialogue operates on multiple levels: the "said" (explicit words), the "unsaid" (conscious thoughts/feelings withheld), and the "unsayable" (subconscious drives beyond awareness).
Transparency. Skillful dialogue creates transparency, allowing readers/audiences to intuit the unsaid and sense the unsayable beneath the surface words. This makes them feel like mind readers, gaining deep insight into characters.
Action vs. activity. Dialogue is not just the activity of talking; it's the action taken through talk. The subtextual action (e.g., comforting, bribing, ridiculing) is the true meaning behind the textual activity (the words spoken).
4. Dialogue Form and Quantity Vary Greatly Across Media and Genres
All dialogue, dramatized and narratized, performs in the grand symphony of story, but from stage to screen to page, its instruments and arrangements vary considerably.
Medium dictates style. Theatre favors auditory dialogue (poetic, heightened language), film favors visual storytelling (concise, naturalistic dialogue), and television balances both. Prose offers the widest range, from naturalistic scenes to extensive inner monologues and narration.
Genre influences form. Action genres use less dialogue; personal/private conflict genres use more. Nonrealistic genres (fantasy, farce) allow for highly stylized, sometimes on-the-nose dialogue, while realism demands subtext.
Credibility is key. Regardless of medium or genre, dialogue must sound plausible and vernacular within the story's specific world, not necessarily imitate real-life banality.
5. Craft Expressive Dialogue Through Specificity, Economy, and Imagery
Vigorous writing is concise.
Omit needless words. Economy is paramount; every word must count. Avoid clutter, generic terms, passive voice, and overly long speeches unless intentionally characterizing pretentiousness or other specific traits.
Specificity and imagery. Use concrete, specific nouns and verbs, and evocative modifiers and tropes (metaphors, similes) to make dialogue vivid and character-specific. Sensory language resonates deeply.
Avoid clichés. Shun tired phrases and predictable exchanges. Strive for originality by exploring numerous options and choosing the most unexpected yet truthful expression for the character and moment.
6. Avoid On-the-Nose Writing; Dialogue Should Imply, Not State
Dialogue should imply, not explain, its subtext.
Show, don't tell. On-the-nose writing explicitly states a character's full thoughts and feelings, eliminating subtext and making dialogue flat and unactable. Real people rarely say exactly what they mean or feel.
The trialogue. A powerful technique to avoid on-the-nose dialogue is the "trialogue," where two characters in conflict funnel their struggle through a "third thing" (an object, idea, memory, or other character) rather than confronting the core issue directly.
Conflict and implication. The greater the conflict and pressure, the more characters tend to imply rather than state their true intentions and feelings, forcing the reader/audience to read between the lines.
7. Dialogue Problems Are Fundamentally Story and Scene Design Problems
Dialogue problems are story problems.
Subtext is foundational. Weak dialogue often stems from flaws in the underlying story structure, character motivation, or scene design, not just poor word choices. Fixing dialogue requires addressing these deeper issues.
Scene progression. Scenes must progress through beats of action/reaction, each topping the last, building to a turning point where the value at stake changes charge. Repetitious beats or lack of a turning point make dialogue dull.
Behavioral steps. Character behavior, including dialogue, follows steps: desire, sense of antagonism, choice of action, action/reaction, and expression. Understanding these steps is crucial for writing truthful dialogue.
8. Character-Specific Dialogue is Built on Unique Voice and Vocabulary
Ideally, every character is a walking dictionary of his or her unique collection of words.
Voice is a result. A distinctive character voice isn't self-consciously created; it emerges naturally from the character's unique blend of personality, experience, knowledge, culture, and emotional state.
Vocabulary reveals character. A character's word choices (nouns, verbs, modifiers) reveal their knowledge, background, and personality. Specific, image-rich vocabulary makes a character's inner life transparent.
Culture and locution. A character's cultural background, education, and life experiences shape their locution—their specific way of naming things and modifying those names, creating a one-of-a-kind verbal style.
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FAQ
What is Dialogue: The Art of Verbal Action for Page, Stage, and Screen by Robert McKee about?
- Comprehensive dialogue exploration: The book examines dialogue as a core storytelling tool across prose, stage, film, and television, expanding its definition to include all forms of character speech.
- Dialogue as action: McKee frames dialogue as intentional verbal action, not just conversation, with every line serving a character’s desires and advancing the story.
- Structured approach: The book is organized into sections covering dialogue theory, common flaws, character-specific techniques, and scene analyses.
- Focus on depth: It emphasizes subtext, complexity, and the psychological layers beneath spoken words.
Why should I read Dialogue: The Art of Verbal Action for Page, Stage, and Screen by Robert McKee?
- Master storytelling through dialogue: The book provides essential insights for writers seeking to use dialogue for exposition, characterization, and dramatic action.
- Applicable across media: Whether writing novels, plays, screenplays, or TV scripts, McKee’s advice adapts to each medium’s unique demands.
- Practical guidance: It identifies common dialogue pitfalls and offers concrete solutions to elevate your writing.
- Enhances character and scene: The book teaches how to craft unique voices and dynamic scenes through dialogue.
What are the key takeaways from Dialogue: The Art of Verbal Action for Page, Stage, and Screen by Robert McKee?
- Dialogue is verbal action: Every line is an intentional act, not just talk, driven by character needs and story momentum.
- Three layers of meaning: Dialogue operates on the said (surface), the unsaid (subtext), and the unsayable (subconscious drives).
- Medium-specific techniques: Dialogue must adapt to the strengths and limitations of stage, screen, television, and prose.
- Character-specificity is crucial: Distinctive vocabulary, syntax, and cultural references make each character’s voice authentic.
How does Robert McKee define dialogue in Dialogue: The Art of Verbal Action for Page, Stage, and Screen?
- Expanded definition: Dialogue is “any words said by any character to anyone,” including speech to others, inner dialogue, and direct address to the audience or reader.
- Dialogue as performative act: Every line is a verbal action taken to fulfill a character’s desire or need.
- Dramatized vs. narratized: Dramatized dialogue occurs in scenes between characters, while narratized dialogue includes soliloquies, asides, and voice-overs.
- Three tracks of dialogue: McKee highlights dialogue spoken to others, to oneself, and to the audience/reader.
What are the main functions of dialogue according to Robert McKee in Dialogue: The Art of Verbal Action for Page, Stage, and Screen?
- Exposition: Dialogue conveys essential story facts, integrated naturally to avoid info-dumping or confusion.
- Characterization: It reveals a character’s unique voice, personality, and true nature, distinguishing between appearance and reality.
- Action: Dialogue is a form of action, with each line carrying intention and influencing the scene’s progression.
- Subtextual revelation: Dialogue often communicates more through what is left unsaid than what is spoken.
What are the three spheres of content in dialogue as described by Robert McKee?
- The Said (Surface): The explicit words spoken, reflecting vocabulary, diction, and immediate intentions.
- The Unsaid (Subtext): Hidden thoughts and feelings that the character chooses not to express openly, sensed by the audience.
- The Unsayable (Subconscious): Deep, often unarticulated drives and needs that motivate character choices and actions.
- Layered communication: These spheres work together to create rich, multi-dimensional dialogue.
How does Dialogue: The Art of Verbal Action for Page, Stage, and Screen address the differences in dialogue across page, stage, screen, and television?
- Theatre prioritizes voice: Stage dialogue is auditory and often poetic, with conventions like soliloquies and asides.
- Film emphasizes image: Screen dialogue is concise, naturalistic, and supports visual storytelling.
- Television blends elements: TV uses more intimate, dialogue-driven scenes due to format and budget.
- Prose offers flexibility: Literature allows for dramatized, narratized, inner, and indirect dialogue, enabling deep psychological exploration.
What are common dialogue flaws identified by Robert McKee and how can writers fix them?
- Incredibility: Avoid empty talk and lines that don’t fit character or setting; ground dialogue in believable desires.
- Melodrama: Prevent excessive emotionalism by balancing heightened feelings with credible psychology.
- Clichés and generic language: Replace overused phrases with fresh, character-specific speech.
- On-the-nose writing: Use subtext to imply inner conflicts rather than stating them outright.
- Repetition and poor rhythm: Vary sentence design and carefully place key words for clarity and impact.
What is the “Principle of Creative Limitation” in dialogue writing according to Robert McKee?
- Constraint breeds creativity: Imposing limits on language use forces writers to dig deeper for originality.
- Disciplined technique: Mastering difficult, image-rich dialogue leads to more authentic and resonant voices.
- Avoiding generic writing: Easy, undisciplined dialogue results in flat, forgettable lines.
- Building creative muscle: Embracing limitations enhances imagination and skill.
How does Robert McKee recommend creating character-specific dialogue in Dialogue: The Art of Verbal Action for Page, Stage, and Screen?
- Unique vocabulary and syntax: Each character’s speech should reflect their education, background, and personality.
- Iceberg technique: Submerge unspoken thoughts beneath the surface, letting subtext inform what is said.
- Cultural influences: Use references and language rooted in each character’s cultural background.
- Paralanguage and figurative speech: Employ gestures, tone, and metaphors to add depth and individuality.
What is the “Five Steps of Behavior” method for dialogue design in Robert McKee’s book?
- Desire: The character identifies what they want, both consciously and subconsciously.
- Sense of Antagonism: The character recognizes internal or external forces blocking their desire.
- Choice of Action: The character selects a tactic to achieve their intention.
- Action: The character executes the chosen action, verbally or physically.
- Expression: Dialogue is crafted to express the character’s action, shaped by their intentions and tactics.
What are the best quotes from Dialogue: The Art of Verbal Action for Page, Stage, and Screen by Robert McKee and what do they mean?
- “Dialogue: Any words said by any character to anyone.” This broadens the definition of dialogue to include inner speech and direct address, emphasizing its role as action.
- “Voice is not a choice; it’s a result.” A writer’s unique style emerges from deep engagement with character and story, not from forced attempts at originality.
- “Dialogue is the final step, the frosting of text atop layers and layers of subtext.” Authentic dialogue is grounded in the story’s emotional and psychological depth.
- “A character’s vocabulary names what he knows, what he sees, and what he feels.” Word choice reveals a character’s intellect and emotional life.
- “To write in-character, use the legendary acting coach Constantin Stanislavski’s concept of the ‘Magic If.’” Writers should imagine themselves as their characters to create truthful, compelling dialogue.
Review Summary
Dialogue by Robert McKee is highly praised for its comprehensive and insightful approach to writing dialogue. Readers appreciate McKee's in-depth analysis, practical tips, and focus on subtext. Many consider it essential reading for writers, though some find it overly academic. The book covers various forms of dialogue, including prose and screenwriting. While some reviewers note its complexity and occasional repetitiveness, most agree it offers valuable tools for improving dialogue skills. The audiobook narration receives mixed reviews.
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