logue sounds like real talk, but it isn’t. It’s the essence. In real dialogue we tend to interrupt
each other, repeat the last phrase, use jargon and colloquialisms. We might speak differently
to different people (teacher, peers, an enemy). Women may be more supportive in dialogue,
and men may be more competitive. Different cultures have their own general characteris-
tics. Emotions change dialogue. Keep it simple; less is more. The words must always be easily
understandable and clear to everyone. You might want to repeat important story points,
especially for preschoolers, but repeat with a twist.
Comedy Dialogue
The best comedy stems from character. Be sure you have funny, exaggerated characters
reacting to a funny situation and speaking in a funny way. Try to avoid straight lines wher-
ever you can. Use dialogue that plays off the characters and the situation. If there’s a fire,
“Let’s hotfoot it out of here!” Then play the next line off that. A straight man might serve
as a foil for the one-liners. Insults can be funny. Sometimes a character misses the joke, and
only the audience gets it. Sometimes the humor is in the contrast between what is said and
how it is said. Reactions are significant in comedy. Timing is important! The dialogue may
be delivered with a rhythm, often in a series of three. Comedy dialogue develops with a
setup and then a surprise punch line that comes at the end. Comedy scenes usually go out
on a laugh line, a button.
Writing the Dialogue
If you can listen to tapes of your established characters in advance, do it. Your story should
be set up in the first few words of dialogue. From the start, keep in mind your final end point,
and build the dialogue toward the climax. Write less than you think you need. See and hear
it as you write. Act it out in character. You’ll want to add a new dimension with your dia-
logue, but don’t make it so different that it doesn’t sound like the established characters.
Write the words so that the actor can contribute something with his voice (a gulp, an excited
squeal, a drawl). Think of Homer Simpson’s “Doh!” Give your actors attitude, emotion,
special phrasing. Character sneezes and sighs should be written with the dialogue so they’re
not missed during the recording session. If you’re writing only one line for an incidental
character, make that one line a jewel...something really memorable. Keep your language
appropriate for that series. If you’re writing an original script, decide ahead of time whether
you want your language up to date and fresh or classic for a longer shelf life for that show.
Dialogue for children can be whimsical and full of contradictions and nonsense. Be original
and clever!
Common Problems with Dialogue
- Too much dialogue! Tests show that cartoons are primarily seen, not heard.
- Not enough conflict, or the dialogue doesn’t grab us emotionally.
- Talking heads. Be sure there’s something to animate.
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