Writing Dialogue for Scripts provides expert insight into how dialogue works. It shows what to look out for in everyday speech, and how to apply dialogue in scripts for dramatic effect. Writers learn, on the whole by trial, error and practice, and this book will help guide them on their journey. A highly practical guide, the book includes much analysis and many examples of scripted dialogue from across different media: from Pulp Fiction to Goodfellas, The English Patient and The Constant Gardner, playwrights Arthur Miller, Caryl Churchill, Michael Frayn, Alan Bennett, Alan Ayckbourn to name just a few, as well as documentaries, TV and radio shows. Chapters deal with how conversation works, naturalistic and stylised dialogue, pace and variation, scripted narration, comic dialogue and presentation. Updates to this edition includes a look at recent films including The Constant Gardener, and Transamerica, TV shows such as Extras and the award winning play The History Boys. Extended material on storytelling style narration within scripts (such as Desparate Housewives) and documentary style dialogue (David Hare's The Permanent Way) and a new section on 'Highly Stylised Dialogue' dealing with the trend toward dialogue in fantasy sequences. 'An undisputed must-have for any student of writing' David Lane, Creative Writing Lecturer, City University
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" Oh it's delicious! " -- Reviews Gate, 12th August 2008
About the Author
Award-winning writer, Rib Davis, has had over 50 scripts performed on screen, radio and stage and has worked as a script reader for both the BBC and Arts Council of Great Britain.
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Most Helpful Customer Reviews
26 of 26 people found the following review helpful
By A Customer
Format:Paperback
An excellent book. The author begins by exploring how people really talk, then moves on to examine how we need to adapt this when writing fictional dialogue, to retain the essence of realism without the boredom factor. He goes on to look at the different styles of dialogue, from realism and heightened realism to the highly stylised dialogue written by people such as Oscar Wilde. Fascinating stuff, with gems of relevant info on every page.
Unlike many books on fiction writing, the author does not talk down to the reader. Neither does he include general fiction-writing info which is not strictly relevant to the title of the tome - a huge bonus, since it can be irritating when every fiction-writing guide you pick up, whatever its professed subject matter, tells you the same fundamental stuff you've read a thousand times before. Full marks for sticking to the subject and covering it in depth, rather than padding it out with "general" writing tips.
I strongly recommend this book.
24 of 24 people found the following review helpful
Format:Paperback
Although primarily aimed at scriptwriting, this book reveals how inexperienced writers tend to come out with atrocious lines when they attempt dialogue. The author presents good examples of the common pitfalls. I particularly like the section in Chapter Four when he examines a stretch of crap dialogue and then proceeds to fix the material up. I found this kind of practical advice very useful. In comparison,Stephen King's recent book on writing is a disappointing swindle.
7 of 7 people found the following review helpful
Format:Paperback
I think when I bought this book I was hoping for some real insights into dialogue and good techniques to use when writing. However after finishing I am not left with this feeling...But I don't think it's necessarily the author's fault.
To be fair I think writing advice on such a specialised topic is difficult and perhaps this is the most insight one can learn.
The author often slips into talking about what makes a good character/plot, and not specifically what makes good dialogue. But I can't blame him given that dialogue is so inherently linked to these other elements. I feel the overall message is: get the basics of the book right and to an extent the dialogue will come.
On top of that there are a few tips such as remembering to write how people speak i.e accents, verbal mannerisms etc. but that seemed fairly evident to me.
So in conclusion, it's probably the subject rather than the writing that makes this book unrewarding.
To be fair I think writing advice on such a specialised topic is difficult and perhaps this is the most insight one can learn.
The author often slips into talking about what makes a good character/plot, and not specifically what makes good dialogue. But I can't blame him given that dialogue is so inherently linked to these other elements. I feel the overall message is: get the basics of the book right and to an extent the dialogue will come.
On top of that there are a few tips such as remembering to write how people speak i.e accents, verbal mannerisms etc. but that seemed fairly evident to me.
So in conclusion, it's probably the subject rather than the writing that makes this book unrewarding.
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4.6 out of 5 stars
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Most Recent Customer Reviews
4.0 out of 5 stars
Essential Reading
As an aspiring writer (sit-coms) I can't recommend this book highly enough. Full of advice that when you read it might lead you to think "well that's obvious isn't it? Read more
Published 18 months ago by EinsteinsGhost
2.0 out of 5 stars
Not as good as it could have been.
There are far better books out there that are more rounded and more helpful. The problem with this book is that it is too specialised. Read more
Published on 24 Aug 2009 by J. Staniford
5.0 out of 5 stars
Gets to the heart of dialogue
This is not a book about screenwriting but a book about dialogue and one which does the job excellently. Read more
Published on 1 July 2008 by Stephen Ince
5.0 out of 5 stars
Very useful book
This is a great book. It gives great advice on how to write good dialogue dealing with many different styles of dialogue and how it changes between the different mediums of theatre... Read more
Published on 2 Mar 2006 by "orion801"
1.0 out of 5 stars
Really bad
Do not buy this book! It is a waste of money. There are a lot of books on screenwriting. Some are good. Some are bad. This is not a good one. Read more
Published on 21 Mar 2002
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