A lot of dialogue comes from references you build up overtime from listening in real life and in films, which is what I believe is part of what he describes by saying “you’ve got to have a feel for it.” In films, you can tell how dialogue written in the 1930s-40s is completely different from today’s dialogue (Casablanca versus Dunkirk). So what is considered “good dialogue” changes overtime. Arguably, the best method of obtaining references is by looking online at scripts, erasing the character names (as he recommends), and study the sentence lengths, vocabulary, and grammatical structure of character speak. This can reveal ways in how to differentiate characters and identify patterns in a character’s speech, which can help a writer keep the character’s way of talking consistent throughout the script.
They know the characters intimately and how to write for them. It's like an actor taking on a role. If you've watched a series for a season, I'm sure you could write a character or several in the show because you know their voices and characteristics.
It's about knowin' the art of technical accuracy in writin'... A plumber will be able to know how a connection was done by just lookin'... It's the same way🤷🏽♂️ I believe when you know the art well, the art will obey u at will
I write novels and dialogue is my most difficult challenge in writing characters. Using the first draft to get to know my characters without being too judgmental about the dialogue and then using the second draft to refine it after learning about them is a wonderful idea. Lessens my anxiety over editing for sure. Thanks Mark.
It's about writing the personality, people maintain a personality, if they are always happy, the will maintain that happy attitude even after a conflict. Someone who is arrogant will still be arrogant, unless there is reason for a personality shift.
The point of actors internalizing is a good one. Because when the actors looking at a script, they spend time with one character. While as a writer, you spend time with all. So being open to changes, and ideas is good
Yes, it's all about collaboration and that's when it gets really good! My best experiences in screenwriting has been working with directors, producers, and actors to elevate the material to the next level. Thanks for watching and joining the conversation.
When you have a table read with actors, what is the most important things to focus on and listen for? Also, what are some good questions to ask when the reading is finished? Love these videos, thank you for all the time and work you all put into these. I'm learning so much. Thanks!
After years of experience you can listen and just know what dialogue sounds better based upon the rhythm and flow, and if the characters remain true to their "voices" throughout. As Sorkin says, "It's like music." During a table read, you're blessed to have live actors who interpret the lines (mostly without direction) and it may be not what you originally intended, but you can be surprised in a good way. Look for lines that are "on the nose" meaning characters are saying exactly what they mean. Listen for places where you can cut dialogue and just have the actors react without speaking. Also listen if your dialogue is hard to read for the actor -- the specific word order or length that may be difficult or confusing. Speaking of length, so much of dialogue is overwritten with long speeches -- keep it short maybe no more than three lines. Listen for repetition where you say the same thing but just in a different way. Cut dialogue when possible and make sure it's necessary in a scene. Talking heads are never a good way to go because too many times a character asks, "So tell me how it started" and then comes the information dump. After you should ask questions that relate to character's motivations and if they track for the actors and if there are scenes where the wanted to say more or less, and why. Thanks for watching and commenting.
@@MarkSandersonakaScriptcat thank you so much. I really appreciate it. I'm trying to put a zoom table read together and I will keep all these things in mind. Thanks!
I think I find myself where Mark says: second draft. If I am having trouble writing expressions in place of dialogue (I do try to practice minimal dialogue) then I will add a bunch of words so when I step away (another great tip from Mark) I can come back to reread it and see what I can omit or clarify and reduce those words!
First draft - be with your characters Second draft.- redefining, recalibrating Strive for - constantly evolving over time Techniques - speaks aloud, table reads, see whether that are the right sounds for them ESPECIALLY the tone. Note: People don't say what they mean, subtext matters more Something you don't want to do - take every character's name off and every character sounds the same.
@@MarkSandersonakaScriptcat Hi Mark, I actually just summarize what you said in the video lol. And it was awesome advice! Really help me a lot with my writing. I am actually writing a game story about a homeless man in Bangkok, Thailand, who finds happiness through talking to a stray dog, and my dialogue just got a lot better from your advice!
When I first started...I imagined actors playing my characters when I would rewrite the dialogue...like the Samuel L. voice and cadence...or the bold straightforward delivery of Jack Nicholson...I guess it was my way to make sure the characters didn't all 'sound' the same...
Well dialogue and plot seem to be my strong hold so it's like I'm always thinkin' of what to be said at every point by the characters...durin' the whole writing's process... So when do I think about dialogue?? Before, During and After the whole writin' Process...✌🏽
@@blainemarcano Ah, thanks so much, Blaine! Please let me know if you liked the book when done -- and if you did - a short review on Amazon would be most appreciated and helps! My book is about the writer's journey and surviving in the business. Other good books about the actual craft are Truby's THE ANATOMY OF STORY, Vogler's THE WRITER'S JOURNEY, McKee's STORY are good ones. Also Save the Cat is basic and good, but not an exact formula for success more of a general overview of the way he studied many films and broke them down into their structures. Wishing you all the success on your screenwriting journey - keep filling those blank pages!
