how to format dialogue in essay

Writing Dialogue [20 Best Examples + Formatting Guide]

Have you ever found yourself cringing at clunky dialogue while reading a book or watching a movie? I know I have.

It’s like nails on a chalkboard, completely ruining the experience. But on the flip side, well-written dialogue can transform a story. It’s the magic that makes characters leap off the page, immersing us in their world.

As a writer, I’m fascinated by the mechanics of great dialogue.

So here are 20 of the best examples of writing dialogue that brings your story to life.

Example 1: Dialogue that Reveals Character

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One of the most powerful functions of dialogue is to shed light on your characters’ personalities.

The way they speak – their word choice, tone, even their hesitations – can tell us so much about who they are. Check out this example:

“Look, I ain’t gonna sugarcoat this,” the detective growled, his knuckles whitening as he gripped the chair. “You were spotted leaving the scene, and the murder weapon’s got your prints all over it.”

Without any lengthy description, we get a sense of this detective as a no-nonsense, direct type of guy.

Example 2: Dialogue that Builds Tension

Dialogue can become this amazing tool to ratchet up the tension in a scene.

Short, clipped exchanges and carefully placed silences can leave the reader on the edge of their seat.

Here’s how it might play out:

“Do you hear that?” Sarah whispered. “Hear what?” A scratching noise echoed from the attic. Sarah’s eyes widened. “It’s coming back.”

The suspense is killing me just writing that!

Example 3: Dialogue that Drives the Plot

Conversations aren’t just about characters sitting around and chatting.

Great dialogue should actively push the story forward. It can set up a conflict, reveal key information, or change the course of events.

Take a look at this:

“I’ve made my decision,” the king declared, the crown heavy on his brow. “We go to war.”

A single line, and the whole trajectory of the story shifts.

Formatting Tips: The Basics

Now, before we get carried away, let’s cover some essential dialogue formatting rules.

Think of these as the grammar of a good conversation.

• Quotation Marks:  Yep, those little squiggles are your best friend. They signal to the reader: “Hey! Someone’s talking!”
• New Speaker, New Paragraph:  Whenever a different character starts talking, give them a new paragraph. It’s all about keeping things easy to follow.
• Dialogue Tags:  These are the little phrases like “he said” or “she replied.” Use them, but try not to overuse them. A well-placed action beat can often do a better job of showing who’s speaking.

Example 4: Dialogue that Creates Humor

Dialogue can be ridiculously funny when done well.

The key? Snappy exchanges, playful misunderstandings, and just a dash of absurdity. Consider this:

“I saw the weirdest thing at the grocery store today,” Tom said, “A woman arguing with a head of lettuce.” “Was she winning?” Lily asked, a grin playing on her lips.

You can almost hear the deadpan delivery, can’t you?

Example 5: Dialogue that Shows Relationships

The way characters speak to each other says a ton about the dynamics between them.

Is there warmth, hostility, an underlying power struggle? Dialogue can paint a crystal-clear picture. Imagine this exchange:

“You didn’t do the dishes again?” Sarah sighed, hands planted on her hips. “Aw, c’mon babe. I was busy,” Mike whined, avoiding her gaze.

We instantly sense the long-suffering tone from Sarah and the playful guilt from Mike.

Example 6: Dialogue with Subtext

The most interesting dialogue often has layers. What the characters say might not be exactly what they mean.

This is where subtext comes in – the unspoken thoughts and feelings bubbling beneath the surface.

Take this snippet:

“It’s a nice ring,” Emily said, her voice flat. “You don’t like it?” Mark’s brow furrowed. Emily shrugged. “It’s fine.”

Is Emily truly indifferent? Or is she masking disappointment, perhaps a sense of something not being quite right? Subtext makes us read between the lines.

Formatting Tips: Getting Fancy

Now, let’s spice things up with a few more advanced formatting tricks:

• Ellipses (…):  These little dots are perfect for showing a character trailing off, hesitating, or searching for words. Example: “I…I don’t know what to say.”
• Em Dashes (—):  These guys can interrupt a thought or indicate a sudden change in direction. Example: “I was going to apologize, but then — well, you’re still being a jerk.”
• Internal Dialogue:  Instead of quotation marks, sometimes you’ll want to italicize a character’s inner thoughts. Example:  Why did I say that? I’m such an idiot.

Cautionary Note

It’s important to remember: dialogue shouldn’t feel like an interrogation. Avoid rigid “question-answer, question-answer” patterns. Real conversations flow and meander naturally.

Example 7: Dialogue with Dialects and Accents

Regional dialects and accents can bring so much flavor to your characters, but it’s a delicate balance.

You want to add authenticity without it becoming a caricature or making it hard to understand.

Here’s a subtle example:

“Well, I’ll be darned,” drawled the farmer, squinting at the sky. “Looks like a storm’s brewin’.”

Notice how just a few word choices and a slight change in pronunciation hint at the speaker’s background.

Example 8: Dialogue in Groups

Writing conversations with more than two people can get chaotic fast. The key is clarity.

Here are a few tips:

• Strong Dialogue Tags:  Sometimes, you need to be more specific than just “he said” or “she said”. Example: “Don’t be ridiculous,” scoffed Sarah.
• Action Beats:  Break up chunks of dialogue with actions that show who’s speaking. Example: Tom slammed his fist on the table. “I won’t stand for this!”

Example 9: Dialogue Over the Phone (or Other Technology)

Conversations where characters aren’t physically together pose unique challenges.

You can’t rely on body language cues. Instead, focus on conveying tone and potential misunderstandings.

For instance:

“Hello?” Sarah’s voice crackled through the phone. A long pause. “Sarah, is that you?” “Mom? Why are you whispering?”

Instantly there’s a sense of distance and something not being quite right.

Example 10: Inner Monologue with a Twist

We often think of internal dialogue as a single character reflecting, but sometimes our inner voices can argue.

This can be a powerful way to showcase internal conflict.

Here’s how it might look:

You should just tell him how you feel, one voice chimed. Are you crazy? the other shrieked back. He’ll never feel the same way .

This creates a vivid picture of a character torn between opposing desires.

Example 11: Dialogue With a Manipulative Character

Manipulative characters often use language as a weapon.

They might use guilt trips, flattery, or veiled threats to get what they want.

Consider this:

“After everything I’ve done for you…” The old woman sighed, a flicker of disappointment in her eyes. “Well, I guess I shouldn’t expect gratitude.”

Notice how she doesn’t directly ask for anything, instead hinting at a debt, leaving the listener feeling uneasy and obligated.

Example 12: Dialogue Across Time Periods

If you’re writing historical fiction or anything with time travel elements, you’ll need to capture the distinct speech patterns of different eras.

Imagine this exchange:

“Gadzooks! What manner of contraption is this?” The Victorian gentleman exclaimed, staring in bewilderment at the smartphone. “It’s a phone,” the teenager replied, barely suppressing a laugh. “Let me show you.”

This little snippet highlights the potential for both humor and linguistic challenges when worlds collide.

Formatting Tip: Dialogue Without Tags

Sometimes, for a rapid-fire or dreamlike effect, you might want to ditch the “he said” or “she asked” altogether.

It’s a bold move, but it can be effective if done sparingly.

Check this out:

“Where are you going?” “Away.” “When will you be back?” “I don’t know.” “Please don’t leave me.”

This creates a sense of urgency, the raw exchange forcing us to focus solely on the words themselves.

Example 13: Dialogue that Shows Transformation

A great way to showcase how a character develops is through shifts in how they speak.

Maybe they become bolder, quieter, or their vocabulary changes.

Let’s see an example:

Scene 1: “I-I don’t know,” Emily whimpered, cowering in the corner. Scene 2 (Later in the story): “That’s it. I’m not taking this anymore!” Emily declared, her chin held high.

The dialogue itself reflects her transformation from victim to someone ready to stand up for herself.

Example 14: Dialogue that’s Just Plain Weird

It’s okay to get strange sometimes.

Absurdist humor or unsettling conversations can add a unique flavor to your story. Just be sure it fits the overall tone.

“Do you believe in cucumbers?” the man asked, his eyes wide and unblinking. “Excuse me?” “Cucumbers, my dear. Agents of the underground vegetable kingdom.”

This immediately creates a sense of oddness and perhaps a touch of unease. Is this guy crazy, or is there something more going on?

Example 15: Dialogue with a Purpose

Remember, good dialogue isn’t just about being entertaining.

It should move your story along. Here are some functions dialogue can serve:

• Providing Exposition:  Sometimes, you need to inform the reader of backstory or world-building details. Trickle information through natural conversation rather than an information dump.
• Foreshadowing:  Subtle hints within a conversation can foreshadow future events or create a sense of unease for the reader.
• Revealing a Twist:  A single line of dialogue can completely flip the script and reframe everything that came before.

Example 16: Dialogue with Non-Verbal Elements

So much of communication happens beyond just words.

Sighs, laughs, and gestures can add richness to dialogue on the page.

“I’m fine,” she said, crossing her arms and looking away.

Notice how the body language contradicts her words, hinting at inner turmoil.

Example 17: Silence as Dialogue

Sometimes, what isn’t said is the most powerful thing of all.

A pregnant pause or a character refusing to speak can convey volumes.

Imagine this:

“So, will you help me or not?” Tom pleaded. Sarah stared at him, her lips a thin line. Finally, she turned and walked away.

The lack of a verbal response speaks louder than any words could.

Example 18: Dialogue With Humorous Effect

A well-timed O.S. voice can deliver a funny remark or punchline, undercutting the seriousness of a scene or taking a moment in an unexpected comedic direction.

INT. CLASSROOM – DAY The teacher drones on about the causes of the American Revolution, his voice as dull as the worn textbook in front of him. KEVIN tries to stifle his yawns, failing miserably. STUDENT (O.S.) Is he ever going to stop talking? My brain just turned to mush. Snickers ripple through the class. The teacher pauses, a look of annoyance flickering across his face. Kevin shoots a desperate look towards the source of the O.S. voice.

• Timing is everything. The best comedic O.S. lines act as a witty reaction to something else happening in a scene. The student’s comment comes right as Kevin’s boredom peaks.
• Subverting expectations is funny. The audience expects the scene to continue with a stern reprimand for speaking out of turn, but the script doesn’t give us that. This leaves room for further humor.
• Consider the tone of the voice – sarcastic, matter-of-fact, or outright whiny? This adds to the comedic effect.

Example 19: Dialogue With Unexpected Reveals

Think of this as a surprise twist using O.S. dialogue.

The audience (and maybe even some characters) are led to believe one thing, only for an O.S. voice to reveal something completely unexpected, shifting the scene’s dynamic.

INT. POLICE INTERROGATION ROOM – NIGHTDETECTIVE HARRIS paces in front of a nervous SUSPECT. Photos of the crime scene are scattered on the table. HARRIS Don’t lie to me! We’ve got witnesses who saw you at the scene. SUSPECT I – I swear, I had nothing to do with it! I was… I was with my girlfriend. Harris leans in, a triumphant glint in her eyes. She claps her hands sharply, startling the suspect. WOMAN (O.S.) That’s a lie! He was nowhere near me last night! The suspect whips around. His face pales as we hear the sound of the interrogation room door swinging open…

• The power lies in the build-up. The initial dialogue and the characters’ reactions should lead the audience to believe one outcome, making the O.S. interruption all the more impactful.
• Consider who speaks the O.S. line. Is it someone the audience recognizes, or a totally new character whose identity becomes a new mystery?
• Play with the proximity of the voice. Is it right outside the room, adding to the dramatic reveal as the door opens, or is it more distant – perhaps a voice over an intercom – for an even more unsettling effect?

Example 20: Dialogue With a “Haunted” Feeling

Explanation: O.S. can be used to create an eerie or unsettling atmosphere, particularly in horror or psychological thrillers. This could be unexplained voices, creepy whispers, or sounds that hint at a supernatural (or simply unnerving) presence.

INT. OLD MANSION – NIGHTSARAH explores the abandoned mansion, flashlight cutting through the thick dust. Cobwebs cling to every surface. A faint WHISPER drifts through the air, seeming to come from everywhere at once. Sarah freezes. VOICE (O.S.) Get out… leave this place… Sarah’s breath catches in her throat. She hesitantly follows the direction of the voice, her flashlight beam trembling.

• Less is more. The vaguer and more inexplicable the O.S. voice, the more chilling it becomes.
• Layer sounds for a full creepy effect. Combine whispers with unexpected bangs, creaks, or the faint sound of footsteps following behind Sarah.
• Play with audience expectations. If the script initially leads the audience to think the house is merely abandoned, the O.S. voices become that much more terrifying.

Here is a good video about writing dialogue:

Additional Dialogue Tips & Tricks

• Read Your Dialogue Aloud:  This is the best way to catch awkward phrasing or unnatural rhythms. Our ears often pick up on what our eyes might miss.
• Less is More:  Don’t feel the need to have every single interaction be profound. Sometimes a simple “Hey” or “Thanks” can do the job just fine.
• Eavesdrop:  Paying attention to real-life conversations is fantastic research. Note the pauses, the filler words, the way people interrupt each other.

Final Thoughts: Writing Dialogue

Phew! We did it!

Does that feel like a solid collection of dialogue examples? We haven’t covered absolutely every scenario, but I hope these illustrate the vast potential within dialogue to bring your stories to life.

Read This Next:

• How To Use Action Tags in Dialogue: Ultimate Guide
• How Do Writers Fill a Natural Pause in Dialogue? [7 Crazy Effective Ways]
• Can You Start a Novel with Dialogue?
• How To Write A Southern Accent (17 Tips + Examples)
• How to Write a French Accent (13 Best Tips with Examples)

How to Format Dialogue: Complete Guide

Dialogue formatting matters. Whether you’re working on an essay, novel, or any other form of creative writing. Perfectly formatted dialogue makes your work more readable and engaging for the audience.

In this article, you’ll learn the dialogue formatting rules. Also, we’ll share examples of dialogue in essays for you to see the details.

What is a Dialogue Format?

Dialogue format is a writing form authors use to present characters' communication. It's common for play scripts, literature works, and other forms of storytelling.

A good format helps the audience understand who is speaking and what they say. It makes the communication clear and enjoyable. In dialogue writing, we follow the basic grammar rules like punctuation and capitalization. They help us illustrate the speaker’s ideas.

General Rules to Follow When Formatting a Dialogue

Dialogue writing is an essential skill for both professionals and scholars . It shows your ability to express the issues and ideas of other people in different setups. The core rules of formatting are about punctuation. So, below is a quick reminder on punctuation marks’ names:

And now, to practice.

Please follow these rules for proper dialogue formatting:

•  Use quotation marks. Enclose the speaker’s words in double quotations. It helps readers distinguish between a character’s speech and a narrator’s comments.
•  Place punctuation inside quotation marks. All punctuation like commas, exclamations, or interrogation marks, go inside the double quotations.
•  Keep dialogue tags behind quotation marks. A dialogue tag is (1) words framing direct speech to convey the context and emotions of a conversation. For example, in (“I can’t believe this is you,” she replied.), the dialogue tag is “she replied.”
•  Use an ellipsis or em-dashes for pauses or interruptions. To show interruptions or pauses, end phrases with ellipses inside quotations. Em-dashes go outside quotations. No other extra marks are necessary here.
•  Remember a character’s voice.  Ensure that each character’s phrases reflect their background and personality.

5 More Rules to Know (+ Examples of Dialogue)

For proper formatting of dialogue in writing, stick to the following rules:

1. Each speaker’s saying comes in a new paragraph

Begin a new paragraph whenever a new character starts speaking. It allows you to differentiate speakers and make their conversation look more organized. (2)

“Has Mr. de Winter been in?” I said.    “Yes, Madam,” said Robert; “he came in just after two, and had a quick lunch, and then went out again. He asked for you and Frith said he thought you must have gone down to see the ship.”    “Did he say when he would be back again?” I asked.    “No, Madam.” — from Rebecca by Daphne du Maurier

2. Separate dialogue tags with commas

When using dialogue tags ( e.g., “she said,” “he replied,”), separate them with commas. 

For example:

“You’ve got to do something right now , ” Aaron said , “Mom is really hurting. She says you have to drive her to the hospital.” “Actually, Dad , ” said Caleb, sidling in with his catalog , “There’s someplace you can drive me, too.” “No, Caleb.” — from The Corrections by Jonathan Franzen

3. When quoting within dialogue, place single quotes

If a character cites somebody or something while speaking, we call it a reported dialogue. In this case, use single quotations within double ones you place for a direct speech. It will help readers see that it’s a quote.

John started to cry. “When you said, ‘I never wanted to meet you again in my life!’ It hurts my feelings.”

4. You can divide a character’s long speech into paragraphs

Dialogue writing is different when a person speaks for a longer time. It’s fine to divide it into shorter paragraphs. Ensure the proper quotation marks placing:

 The first quotation mark goes at the beginning of the dialogue. Each later paragraph also starts with it until that direct speech ends.

 The second quotation mark — the one “closing” the monologue — goes at the dialogue’s end.

Josphat took a deep breath and began. “ Here’s the things about lions. They’re dangerous creatures. They only know how to kill. Have you ever seen a lion in an open area? Probably not. Because if you had you’d be dead now. “ I saw a lion once. I was fetching firewood to cook lunch. All of a sudden I found myself face to face with a lion. My heart stopped. I knew it was my end on earth. If it wasn’t the poachers we wouldn’t be having this talk. ”

Yet, you can keep a long text as a whole by adding some context with dialogue tags. Like here:

As you can see, there’s no quotation mark at the end of the paragraph in red. It’s because the next “Ha! ha!” paragraph continues the character’s speech.

5. Use action beats

Describe actions to provide context and keep readers engaged. Help them “hear” your characters. Punctuation also helps here: exclamation (!) or interrogation with exclamations (?!) demonstrate the corresponding tone of your narrative.

He slammed the door and shouted , “I can’t believe you did that ! “

Mistakes to Avoid When Formatting Dialogue

A good dialogue is a powerful instrument for a writer to show the character’s nature to the audience. Below are the mistakes to avoid in formatting if you want to reach that goal.

 So, please don’t :

• Allow characters to speak for too long. Writing long paragraphs will bore the reader, making them skip through your speech. Short but sweet talk is the best. When writing, aim to be brief, dynamic, and purposeful. If your character speaks too much, generating opinion essays , ensure this speech makes sense and serves a bigger purpose.
• Overburden dialogue with exposition.  Avoid telling the story background or building sophisticated words in your characters’ speeches. Instead, reveal the narrative content in small bursts and blend it around the rest of the prose. Convey it through your character’s actions and thoughts rather than summaries and explanations.
• Create rhetorical flourishes. Make your characters sound natural. Let them speak the way they’d do if they were real people. Consider their age, profession, and cultural background — and choose lexical items that fit them most.
• Use repetitive dialogue tags. Constant “he asked” and “she said” sounds monotonous. Diversify your tags: use power verbs, synonyms, and dialogue beats.

Frequently Asked Questions by Students

How to format dialogue in an essay.

Formatting a dialogue in an essay is tricky for most students. Here’s how to do it: Enclose the speaker’s words with double quotations and start every other character’s line from a new paragraph. Stick to the citation styles like APA or MLA to ensure credibility. 

How to format dialogue in a novel?

 A dialogue in a novel follows all the standard rules for clarity and readability. Ensure to use attributions, quotation marks, and paragraph format. It makes your dialogue flow, grabbing the reader’s attention.

How to format dialogue in a book?

Dialogue formatting in a book is critical for storytelling. It helps the audience distinguish the hero’s words. Follow the general rules we’ve discussed above:

Use double quotations and isolate dialogue tags with commas. Remember to place the discussion in blocks for better readability.

How to format dialogue between two characters?

A two-character dialogue offers the best way to prove successful formatting skills. Ensure you use action beats, quotations, and attribution tags. It allows readers to follow the conversation and understand it better.

What is the purpose of dialogue in a narrative essay?  

Dialogue writing is the exchange of views between two or more people to reach a consensus. It reveals the character’s attitude and argumentation. Last but not least, it helps convey the descriptive nature of your narrative essay.

References:

• https://valenciacollege.edu/students/learning-support/winter-park/communications/documents/WritingDialogueCSSCTipSheet_Revised_.pdf
• https://www.ursinus.edu/live/files/1158-formatting-dialogue
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How To Format Dialogue (includes examples)

Beta Reader Instructions

After you type those magic words (THE END) into your manuscript, you will want to have a few beta readers review it. Here are the instructions I give my beta readers.

Till, ‘Til, Til or Until? Which is right?

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Taglines Make Characters Memorable

Taglines or catch phrases make it easy for readers to remember a character. When they are done right, even years later, we recall the character with clarity.

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I experimented with a number of plot development tools and techniques, but none of them worked well for me. So I created my own using a spreadsheet. I call it Scenes in Swimlanes.

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Writing A Narrative Essay

• Library Resources
• Books & EBooks
• What is an Narrative Essay?
• Choosing a Topic
• MLA Formatting

Using Dialogue

• Using Descriptive Writing
• OER Resources
• Copyright, Plagiarism, and Fair Use

Examples of Dialogue Tags

Examples of Dialogue Tags:

interrupted

Ebooks in Galileo

Additional Links & Resources

• Dialogue Cheat Sheet

Dialogue is an exchange of conversation between two or more people or characters in a story. As a literary style, dialogue helps to advance the plot, reveal a character's thoughts or emotions, or shows the character's reaction within the story. Dialogue gives life to the story and supports the story's atmosphere.

There are two types of dialogue that can be used in an narrative essay.

Direct dialogue  is written between inverted commas or quotes. These are the actual spoken words of a character 

Indirect dialogue  is basically telling someone about what another person said

Formatting Dialogue

Dialogue is an important part of a narrative essay, However formatting dialogue can be troublesome at times.

When formatting dialogue use these rules and examples to help with your formatting:

Place double quotation marks at the beginning an end of spoken words.  The quotations go on the  outside  of both the words and end-of-dialogue punctuation.

• Example:  "What is going on here?" John asked.

Each speaker gets a new paragraph that is indented.

      “hi,” said John as he stretched out his hand.

           "Good Morning, how are you?" said Brad shaking John’s hand.

                      "Good. Thanks for asking," John said.

Each speaker’s actions are in the same paragraph as their dialogue.

 A  dialogue tag  is anything that indicates which character spoke and describes how they spoke.

If the tag comes before the dialogue,  use a comma straight after the tag. If the dialogue is the beginning of a sentence, capitalize the first letter. End the dialogue with the appropriate punctuation (period, exclamation point, or question mark), but keep it INSIDE the quotation marks.

• Examples Before: 

James said, “I’ll never go shopping with you again!”

John said, “It's a great day to be at the beach.”

She opened the door and yelled, “Go away! Leave me alone!”

If the dialogue tag comes after the dialogue , Punctuation still goes INSIDE quotation marks. Unless the dialogue tag begins with a proper noun, it is  not  capitalized. End the dialogue tag with appropriate punctuation. Use comma after the quote unless it ends with a question mark or exclamation mark.

• Examples After: 

“Are you sure this is real life?” Lindsay asked.

“It’s so gloomy out,” he said.

“Are we done?” asked Brad . 

“This is not your concern!” Emma said.

If dialogue tag is in the middle of dialogue.  A comma should be used before the dialogue tag inside the closing quotation mark; Unless the dialogue tag begins with a proper noun, it is  not  capitalized. A comma is used after the dialogue tag, outside of quotation marks, to reintroduce the dialogue. End the dialogue with the appropriate punctuation followed by the closing quotation marks. 

When it is two sentences, the first sentence will end with a punctuation mark and the second begins with a capital letter.

• Examples middle: 

“Let’s run away,” she whispered, “we wont get another chance.”

“I thought you cared.” Sandy said, hoping for an explanation. “How could you walk away?”

“I can’t believe he’s gone,” Jerry whispered. “I’ll miss him.”

Questions in dialogue.  

if there is a dialogue tag, the question mark will act as a comma and you will then lowercase the first word in the dialogue tag 

• Example: What are you doing?" he asked.

if there is simply an action after the question, the question mark acts as a period and you will then capitalize the first word in the next sentence.

“Sarah, why didn't you text me back?” Jane asked.

“James, why didn’t you show up?” Carol stomped her feet in anger before slamming the door behind her.

If the question or exclamation ends the dialogue, do not use commas to separate the dialogue from dialogue tags.

• Example:  “Sarah, why didn't you text me back?” Jane asked.

If the sentence containing the dialogue is a question, then the        question mark goes outside of the quotation marks.

Did the teacher say, “The Homework is due Tomorrow”?

If you have to quote something within the dialogue.  When a character quotes someone else, use double-quotes around what your character says, then single-quotes around the speech they’re quoting.

• Example: 

"When doling out dessert, my grandmother always said, 'You may have a cookie for each hand.'"

Dashes & Ellipses:

Dashes ( — ) are used to indicate abruptly interrupted dialogue or when one character's dialogue is interrupted by another character.

Use an em dash  inside  the quotation marks to cut off the character mid-dialogue, usually with either (A) another character speaking or (B) an external action.

• Including the em dash at the end of the line of dialogue signifies that your character wasn't finished speaking.
• If the speaking character's action interrupts their own dialogue . 
• Use em dashes  outside  the quotation marks to set off a bit of action without a speech verb. 

Examples: 

• Heather ran towards Sarah with excitement. “You won’t believe what I found out—”
• "Is everything—" she started to ask, but a sharp look cut her off.
• "Look over there—" She snapped her mouth shut so she didn't give the secret away.
• "Look over there"—she pointed towards the shadow—"by the stairway."

Use ellipses (...) when a character has lost their train of thought or can't figure out what to say

• Example:  “You haven’t…” he trailed off in disbelief.

Action Beats

Action beats show what a character is doing before, during, or after their dialogue.

“This isn't right.” She squinted down at her burger. “Does this look like it is well done to you?”

She smiled. “I loved the center piece you chose.”

If you separate two complete sentences, you will simply place the action beat as its own sentence between two sets of quotes.

“I never said he could go to the concert.” Linda sighed and sat in her chair. “He lied to you again.”

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How to Write Dialogue: Rules, Examples, and 8 Tips for Engaging Dialogue

by Fija Callaghan

You’ll often hear fiction writers talking about “character-driven stories”—stories where the strengths, weaknesses, and aspirations of the central cast of characters stay with us long after the book is closed. But what drives character, and how do we create characters that leave long-lasting impressions?

The answer lies in dialogue : the device used by our characters to communicate with each other. Powerful dialogue can elevate a story and subtly reveal important information, but poorly written dialogue can send your work straight to the slush bin. Let’s look at what dialogue is in writing, how to properly format dialogue, and how to make your characters’ dialogue the best it can be.

What is dialogue in a story?

Dialogue is the verbal exchange between two or more characters. In most fiction, the exchange is in the form of a spoken conversation. However, conversations in a story can also be things like letters, text messages, telepathy, or even sign language. Any moment where two characters speak or connect with each other through their choice of words, they’re engaging in dialogue.

Why does dialogue matter in a story?

We use dialogue in a story to reveal new information about the plot, characters, and story world. Great dialogue is essential to character development and helps move the plot forward in a story.

Writing good dialogue is a great way to sneak exposition into your story without stating it overtly to the reader; you can also use tools like dialect and diction in your dialogue to communicate more detail about your characters.

Through a character’s dialogue, we can learn about their motivations, relationships, and understanding of the world around them.

A character won’t always say what they mean (more on dialogue subtext below), but everything they say will serve some larger purpose in the story. If your dialogue is well-written, the reader will absorb this information without even realizing it. If your dialogue is clunky, however, it will stand out and pull your reader away from your story.

Rules for writing dialogue

Before we get into how to make your dialogue realistic and engaging, let’s make sure you’ve got the basics down: how to properly format dialogue in a story. We’ll look at how to punctuate dialogue, how to write dialogue correctly when using a question mark or exclamation point, and some helpful dialogue writing examples.

Here are the need-to-know rules for formatting dialogue in writing.

Enclose lines of dialogue in double quotation marks

This is the most essential rule in basic dialogue punctuation. When you write dialogue in North American English, a spoken line will have a set of double quotation marks around it. Here’s a simple dialogue example:

“Were you at the party last night?”

Any punctuation such as periods, question marks, and exclamation marks will also go inside the quotation marks. The quotation marks give a visual clue to the reader that this line is spoken out loud.

In European or British English, however, you’ll often see single quotation marks being used instead of double quotation marks. All the other rules stay the same.

Enclose nested dialogue in single quotation marks

Nested dialogue is when one line of dialogue happens inside another line of dialogue—when someone is verbally quoting someone else. In North American English, you’d use single quotation marks to identify where the new dialogue line starts and stops, like this:

“And then, do you know what he said to me? Right to my face, he said, ‘I stayed home all night.’ As if I didn’t even see him.”

The double and single quotation marks give the reader clues as to who’s speaking. In European or British English, the quotation marks would be reversed; you’d use single quotation marks on the outside, and double quotation marks on the inside.

Every speaker gets a new paragraph

Every time you switch to a new speaker, you end the line where it is and start a new line. Here are some dialogue examples to show you how it looks:

“Were you at the party last night?” “No, I stayed home all night.”

The same is true if the new “speaker” is only in focus because of their action. You can think of the paragraphs like camera angles, each one focusing on a different person:

“Were you at the party last night?” “No, I stayed home all night.” She raised a single, threatening eyebrow. “Yeah, I wasn’t feeling that well, so I just stayed in and watched Netflix instead.”

If you kept the action on the same line as the dialogue, it would get confusing and make it look like she was the one saying it. Giving each character a new paragraph keeps the speakers clear and distinct.

Use em-dashes when dialogue gets cut short

If your character begins to speak but is interrupted, you’ll break off their line of dialogue with an em-dash, like this:

“Yeah, I wasn’t feeling that well, so I just stayed in and—” “Is that really what happened?”

Be careful with this one, because many word processors will treat your em-dash like the beginning of a new sentence and attach your closing quotation marks backwards:

“Yeah, I wasn’t feeling that well, so I just stayed in and—“

You may need to keep an eye out and adjust as you go along.

In this dialogue example, the new speaker doesn’t lead with an em-dash; they just start speaking like normal. The only time you’ll ever open a line of dialogue with an em-dash is if the speaker who’s been cut off continues with what they were saying:

“Yeah, I wasn’t feeling that well, so I just stayed in and—” “Is that really what happened?” “—watched Netflix instead. Yes, that’s what happened.”

This shows the reader that there’s actually only one line of dialogue, but it’s been cut in the middle by another speaker.

Each line of dialogue is indented

Every time you give your speaker a new paragraph, it’s indented from the left-hand side. Many word processors will do this automatically. The only exception is if your dialogue is opening your story or a new section of your story, such as a chapter; these will always start at the far left margin of the page, whether they’re dialogue or narration.

Long speeches don’t use use closing quotation marks until the end

Most writers favor shorter lines of dialogue in their writing, but sometimes you might need to give your character a longer one—for instance, if the character speaking is giving a speech or telling a story. In these cases, you might choose to break up their speech into shorter paragraphs the way you would if you were writing regular narrative.

However, here the punctuation gets a bit weird. You’ll begin the character’s dialogue with a double quotation mark, like normal. But you won’t use a double quotation mark at the end of the paragraph, because they haven’t finished speaking yet. But! You’ll use another opening quotation mark at the beginning of the subsequent paragraph. This means that you may use several opening double quotation marks for your character’s speech, but only ever one closing quotation mark.

If your character is telling a story that involves people talking, remember to use single quotation marks for your dialogue-within-dialogue as we looked at above.

Sometimes these dialogue formatting rules are easier to catch later on, during the editing process. When you’re writing, worry less about using the exact dialogue punctuation and more about writing great dialogue that supports your character development and moves the story forward.

How to use dialogue tags

Dialogue tags help identify the speaker. They’re especially important if you have a group of people all talking together, and it can get pretty confusing for the reader trying to keep everybody straight. If you’re using a speech tag after your line of dialogue—he said, she said, and so forth—you’ll end your sentence with a comma, like this:

“No, I stayed home all night,” he said.

But if you’re using an action to identify the person speaking instead, you’ll punctuate the sentence like normal and start a new sentence to describe the action taking place:

“No, I stayed home all night.” He looked down at his feet.

The dialogue tags and action tags always follow in the same paragraph. When you move your story lens to a new person, you’ll switch to a new paragraph. Each line where a new person speaks propels the story forward.

When to use capitals in dialogue tags

You may have noticed in the two examples above that one dialogue tag begins with a lowercase letter, and one—which is technically called an action tag—begins with a capital letter. Confusing? The rules are simple once you get a little practice.

When you use a dialogue tag like “he said,” “she said,” “he whispered,” or “she shouted,” you’re using these as modifiers to your sentence—dressing it up with a little clarity. They’re an extension of the sentence the person was speaking. That’s why you separate them with a comma and keep going.

With an action tag , you’re ending one sentence and beginning a whole new one. Each sentence represents two distinct moments in the story. That’s why you end the first sentence with a period, and then open the next one with a capital letter.

If you’re not sure, try reading them out loud:

“No, I stayed home all night,” he said. “No, I stayed home all night.” He looked down at his feet.

Since you can’t hear quotation marks out loud, the way you say them will show you if they’re one sentence or two. In the first example, you can hear how the sentence keeps going after the dialogue ends. In the second example, you can hear how one sentence comes to a full stop and another one begins.

But what if your dialogue tag comes before the dialogue, instead of after? In this case, the dialogue is always capitalized because the speaker is beginning a new sentence:

He said, “No, I stayed home all night.” He looked down at his feet. “No, I stayed home all night.”

You’ll still use a comma after the dialogue tag and a period after the action tag, just like if you’d separate them if you were putting your tag at the end.

If you’re not sure, ask yourself if your leading tag sounds like a full sentence or a partial sentence. If it sounds like a partial sentence, it gets a comma. If it reads like a full sentence that stands on its own, it gets a period.

External vs. internal dialogue

All of the dialogue we’ve looked at so far is external dialogue, which is directed from one character to another. The other type of dialogue is internal dialogue, or inner dialogue, where a character is talking to themselves. You’ll use this when you want to show what a character is thinking, but other characters can’t hear.

Usually, internal dialogue will be written in italics to distinguish it from the rest of the text. That shows the reader that the line is happening inside the character’s head. For example:

It’s not a big deal, she thought. It’s just a new school. It’ll be fine. I’ll be fine.

Here you can see that the dialogue tag is used in the same way, just as if it was a line of external dialogue. However, “she thought” is written in regular text because it’s not a part of what the character is thinking. This helps keep everything clear for the reader.

In your story, you can play with using contrasting internal and external dialogue to show that what your characters say isn’t always what they mean. You may also choose to use this internal dialogue formatting if you’re writing dialogue between two or more characters that isn’t spoken out loud—for instance, telepathically or by sign language.

8 tips for creating engaging dialogue in a story

Now that you’ve mastered the mechanics of how to write dialogue, let’s look at how to create convincing, compelling dialogue that will elevate your story.

1. Listen to people talk

To write convincingly about people, you’ll first need to know something about them. The work of great writers is often characterized by their insight into humanity; you read them and think, “Yes, this is exactly what people are like.” You can begin accumulating your own insight by listening to what real people say to each other.

You can go to any public place where people are likely to gather and converse: cafés, art galleries, political events, dimly lit pubs, bookshops. Record snippets of conversation, pay attention to how people’s voices change as they move from speaking to one person to another, try to imagine what it is they’re not saying, the words simmering just under the surface.

By listening to stories unfold in real time, you’ll have a better idea of how to recreate them in your writing—and inspiration for some new stories, too.

2. Give each spoken line a purpose

Here is something that actors have drilled into their heads from their first day at drama school, and writers would do well to remember it too: every single line of dialogue has a hidden motivation. Every time your character speaks, they’re trying to achieve something, either overtly or covertly.

Small talk is rare in fiction, because it doesn’t advance the plot or reveal something about your characters. The exception is when your characters are using their small talk for a specific purpose, such as to put off talking about the real issue, to disarm someone, or to pretend they belong somewhere they don’t.

When writing your own dialogue, ask yourself what the line accomplishes in the story. If you come up blank, it probably doesn’t need to be there. Words need to earn their place on the page.

3. Embrace subtext

In real life, we rarely say exactly what we really mean. The reality of polite society is that we’ve evolved to speak in circles around our true intentions, afraid of the consequences of speaking our mind. Your characters will be no different. If your protagonist is trying to tell their best friend they’re in love with them, for instance, they’ll come up with about fifty different ways to say it before speaking the deceptively simple words themselves.

To write better dialogue, try exploring different ways of moving your characters around what’s really being said, layering text and subtext side by side. The reader will love picking apart the conversation between your characters and deducing what’s really happening underneath (incidentally, this is also the place where fan fiction is born).

4. Keep names to a minimum

You may notice that on television, in moments of great upheaval, the characters will communicate exactly how important the moment is by saying each other’s names in dramatic bursts of anger/passion/fear/heartbreak/shock. In real life, we say each other’s names very rarely; saying someone’s name out loud can actually be a surprisingly intimate experience.

Names may be a necessary evil right at the beginning of your story so your reader knows who’s who, but after you’ve established your cast, try to include names in dialogue only when it makes sense to do so. If you’re not sure, try reading the dialogue out loud to see if it sounds like something someone would actually say (we’ll talk more about reading out loud below).

5. Prune unnecessary words

This is one area where reality and story differ. In life, dialogue is full of filler words: “Um, uh, well, so yeah, then I was like, erm, huh?” You may have noticed this when you practiced listening to dialogue, above. We won’t say there’s never a place for these words in fiction, but like all words in storytelling, they need to earn their place. You might find filler words an effective tool for showing something about one particular character, or about one particular moment, but you’ll generally find that you use them a lot less than people really do in everyday speech.

When you’re reviewing your characters’ dialogue, remember the hint above: each line needs a purpose. It’s the same for each word. Keep only the ones that contribute something to the story.

6. Vary word choices and rhythms

The greatest dialogue examples in writing use distinctive character voices; each character sounds a little bit different, because they have their own personality.

This can be tricky to master, but an easy way to get started is to look at the word choice and rhythm for each character. You might have one character use longer words and run-on sentences, while another uses smaller words and simple, single-clause sentences. You might have one lean on colloquial regional dialect, where another sounds more cosmopolitan. Play around with different ways to develop characters and give each one their own voice.

7. Be consistent for each character

When you do find a solid, believable voice for your character, make sure that it stays consistent throughout your entire story. It’s easy to set a story aside for a while, then return to it and forget some of the work you did in distinguishing your characters’ dialogue. You might find it helpful to write down some notes about the way each character speaks so you can refer back to it later.

The exception, of course, is if your character’s speech pattern goes through a transformation over the course of the story, like Audrey Hepburn in My Fair Lady . In this case, you can use your character’s distinctive voice to communicate a major change. But as with all things in writing, make sure that it comes from intention and not from forgetfulness.

8. Read your dialogue out loud

After you’ve written a scene between two or more characters, you can take the dialogue for a trial run by speaking it out loud. Ask yourself, does the dialogue sound realistic? Are there any moments where it drags or feels forced? Does the voice feel natural for each character? You’ll often find there are snags you miss in your writing that only become apparent when read out loud. Bonus: this is great practice for when you become rich and famous and do live readings at bookshops.

3 mistakes to avoid when writing dialogue

Easy, right? But there are also a few pitfalls that new writers often encounter when writing dialogue that can drag down an otherwise compelling story. Here are the things to watch out for when crafting your story dialogue.

1. Too much exposition

Exposition is one of the more demanding literary devices , and one of the ones most likely to trip up new writers. Dialogue is a good place to sneak in some information about your story—but subtlety is essential. This is one place where the adage “show, don’t tell” really shines.

Consider these dialogue examples:

“How is she, Doctor?” “Well Mr. Stuffington, I don’t have to remind you that your daughter, the sole heiress to your estate and currently engaged to the Baron of Flippingshire, has suffered a grievous injury when she fell from her horse last Sunday. We don’t need to discuss right now whether or not you think her jealous maid was responsible; what matters is your daughter’s well being. As to your question, I’m afraid it’s very unlikely that she’ll ever walk again.” Can’t you just feel your arm aching to throw the poor book across the room? There’s a lot of important information here, but you can find subtler ways to work it into your story. Let’s try again: “How is she, Doctor?” “Well Mr. Stuffington, your daughter took quite a blow from that horse—worse than we initially thought. I’m afraid it’s very unlikely that she’ll ever walk again.” “And what am I supposed to say to Flippingshire?” “The Baron? I suppose you’ll have to tell him that his future wife has lost the use of her legs.”

And so forth. To create good dialogue exposition, look for little ways to work in the details of your story, instead of piling it up in one great clump.

2. Too much small talk

We looked at how each line of dialogue needs a specific purpose above. Very often small talk in a story happens because the writer doesn’t know what the scene is about. Small talk doesn’t move the scene along unless it’s there for a reason. If you’re not sure, ask yourself what each character wants in this moment.

For example, imagine you’re in an office, and two characters are talking by the water cooler. How was your weekend, what did you think of the game, how’s your wife doing, are those new shoes, etc etc. Can’t you just feel the reader’s will to live slipping away?

But what about this: your characters are talking by the water cooler—Character A and Character B. Character A knows that his friend is inside Character B’s office looking for evidence of corporate espionage, so A is doing everything he can to stop B from going in. How was your weekend, what did you think of the game, how’s your wife doing, are those new shoes, literally anything just to keep him talking. Suddenly these benign little phrases have a purpose.

If you find your characters slipping into small talk, double check that it’s there for a purpose, and not just a crutch to keep you from moving forward in your scene. When writing dialogue, Make each line of dialogue earn its place.

3. Too much repetition

Variation is the spice of a good story. To keep your readers engaged, avoid using the same sentence structure and the same dialogue tags over and over again. Using “he said” and “she said” is effective and clear cut, but only for about three beats. After that, try switching to an action tag instead or letting the line of dialogue stand on its own.

You can also experiment with varying the length of your sentences or groupings of sentences. By changing up the rhythm of your story regularly, you’ll keep it feeling fresh and present for the reader.

Effective dialogue examples from literature

With all of these tips and tricks in mind, let’s look at how other writers have used good dialogue to elevate their stories.

Eleanor Oliphant is Completely Fine , by Gail Honeyman

“I’m going to pick up a carryout and head round to my mate Andy’s. A few of us usually hang out there on Saturday nights, fire up the playstation, have a smoke and a few beers.” “Sounds utterly delightful,” I said. “What about you?” he asked. I was going home, of course, to watch a television program or read a book. What else would I be doing? “I shall return to my flat,” I said. “I think there might be a documentary about komodo dragons on BBC4 later this evening.”

In this dialogue example, the author gives her characters two very distinctive voices. From just a few words we can begin to see these people very clearly in our minds—and with this distinction comes the tension that drives the story. Dialogue is an excellent place to show your character dynamics using speech patterns and word choices.

Pride and Prejudice , by Jane Austen

“My dear Mr. Bennet,” said his lady to him one day, “have you heard that Netherfield Park is let at last?” Mr. Bennet replied that he had not. “But it is,” returned she; “for Mrs. Long has just been here, and she told me all about it.” Mr. Bennet made no answer. “Do you not want to know who has taken it?” cried his wife impatiently. “You want to tell me, and I have no objection to hearing it.” This was invitation enough. “Why, my dear, you must know, Mrs. Long says that Netherfield is taken by a young man of large fortune from the north of England; that he came down on Monday in a chaise and four to see the place, and was so much delighted with it, that he agreed with Mr. Morris immediately; that he is to take possession before Michaelmas, and some of his servants are to be in the house by the end of next week.”

In this famous dialogue example, the author illustrates the relationship between these two characters clearly and succinctly. Their dialogue shows Mr. B’s stalwart, tolerant love for his wife and Mrs. B’s excitement and propensity for gossip. The author shows us everything we need to know about these people in just a few lines.

Dinner in Donnybrook , by Maeve Binchy

“Look, I thought you ought to know, we’ve had a very odd letter from Carmel.” “A what… from Carmel?” “A letter. Yes, I know it’s sort of out of character, I thought maybe something might be wrong and you’d need to know…” “Yes, well, what did she say, what’s the matter with her?” “Nothing, that’s the problem, she’s inviting us to dinner.” “To dinner?” “Yes, it’s sort of funny, isn’t it? As if she wasn’t well or something. I thought you should know in case she got in touch with you.” “Did you really drag me all the way down here, third years are at the top of the house you know, I thought the house had burned down! God, wait till I come home to you. I’ll murder you.” “The dinner’s in a month’s time, and she says she’s invited Ruth O’Donnell.” “Oh, Jesus Christ.”

This dialogue example is a telephone conversation between two people. The lack of dialogue tags or action tags allows the words to come to the forefront and immerses us in their back-and-forth conversation. Even though there are no tags to indicate the speakers, the language is simple and straightforward enough that the reader always knows who’s talking. Through this conversation the author slowly builds the tension from the benign to the catastrophic within a domestic setting.

Compelling dialogue is the key to a good story

A writer has a lot riding on their characters’ dialogue, and learning how to write dialogue is a critical skill for any writer. When done well, it can leaves a lasting impact on the reader. But when dialogue is clumsy and awkward, it can drag your story down and make your reader feel like they’re wasting their time.

But if you keep these tips in mind, listen to dialogue in your everyday life, and practice , you’ll be sure to create realistic dialogue that brings your story to life.

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Table of contents

• 1.1 Two Main Types of Dialogue
• 2.1 Essential Punctuation in Dialogue Writing
• 2.2 Quoting Something Within the Dialogue
• 2.3 New Speaker Indicator in Dialogue
• 2.4 Showing Interruption in Dialogue
• 2.5 Avoid using extra punctuation while using ellipses
• 2.6 Additional Tips on Writing Dialogue
• 3 New Speakers – New Paragraphs
• 4.1 Contextualizing Dialogue
• 4.2 Maintaining Flow and Relevance
• 4.3 Balancing Dialogue and Narrative
• 4.4 Subtext in Dialogue
• 4.5 Character Development Through Dialogue
• 5.1 Good Example 1: Use of Quotation Marks and Proper Punctuation
• 5.2 Bad Example 1: Incorrect Punctuation and Quotation Mark Use
• 5.3 Good Example 2: Integrating Dialogue Naturally into the Essay
• 5.4 Bad Example 2: Forced and Unrelated Dialogue
• 5.5 Good Example 3: Showing Character and Emotion through Dialogue
• 5.6 Bad Example 3: Overuse of Adverbs in Dialogue Tags
• 6 Craft Dynamic Dialogues: Let Your Reader Enjoy The Narrative of Your Essay

Adherence to basic guidelines is vital for creating successful interaction within an essay. This article outlines fundamental rules for effectively incorporating dialogue into an essay, ensuring it adds depth and authenticity. Today, we will talk about:

• How to write a dialogue in your essay;
• How to use quotation marks to create a format of dialogue writing;
• What are the subtleties of arranging paragraphs while beginning or continuing discourse;
• What are several approaches to assigning conversation to characters without being boring.

Now, let’s delve into the intricacies of each rule.

Purpose of Dialogue in Essays

Before we delve into how to write dialogue in an essay, we must first grasp why this literary element should be used. Dialogue is dynamic, elevating narratives by injecting life and authenticity into essays. Its role extends beyond mere conversation as a powerful tool to enhance clarity. Through dialogue, writers can open up the characters, making the narrative more interesting and relatable.

Additionally, it fosters a realistic touch, enabling readers to connect emotionally with the content. Indeed, the proper way to write dialogue is to unveil the nuances of characters’ personalities and relationships, which will foster a deeper understanding of the characters’ ideas, thoughts, and the essay’s context. Besides, it transforms it from static prose to dynamic.

Two Main Types of Dialogue

Dialogue writing in your text can differ based on the genre of the essay you work on. Whether crafting your persuasive, argumentative, or any other type of essay, you should know what types of dialogue you can use. There are two main options; knowing their differences is vital to using them effectively.

• Active Dialogue:
• This is when you place precise phrases inside quotation marks without altering the content. This is an excellent method to give readers a sharper and more direct understanding of a scenario:

Dan said, “I don’t want to go to dinner tonight.”

• Passive Dialogue:
• This is when you paraphrase someone else’s words to convey a general understanding of what they stated. When writing dialogue passively, add additional information or background to the paragraph:

Dan said he didn’t want to go to dinner as he was tired. Even though Joanna was disappointed to hear this, she agreed and suggested rescheduling it for next weekend.

Quotation Marks and Punctuation

Mastering the art of how to write dialogue in an essay necessitates following the correct punctuation conventions. Thus, a few simple but important rules are to be followed when adding voice to text. The good news is that you can always ask PapersOwl to help you with essay writing if you feel stuck. Rest assured, the academic writing process will be handled carefully, with separate speech tags and everything else needed.

However, students must grasp the intricacies of effectively writing dialogue between two characters within their essays to upgrade their work.

Essential Punctuation in Dialogue Writing

• The correct way to write dialogue is to enclose spoken words in double quotation marks and pay attention to the placement of commas and periods concerning the quotation marks:
• Correct: “I can’t believe you said that,” she exclaimed.
• Incorrect: “I can’t believe you said that”, she exclaimed.
• We use commas to write proper dialogue and to set off tags. These are also placed inside the quoting symbols:
• “I won’t have any more of this,” he said, “It has been too long since I’ve done anything of my own accord.”
• A period is placed after the closing quotation marks if the quote is located at the end of a sentence:
• Tiffany looked sadly at her brother and said, “I can’t believe we have ruined this cake so badly”.

Quoting Something Within the Dialogue

Use single quotation marks when quoting something within the dialogue for the proper dialogue format. This helps distinguish the inner quote from the main phrase.

For example:

• He said, “She told me, ‘I’ll be there by 3 PM.'”

New Speaker Indicator in Dialogue

When introducing a new speaker, the way to correctly write dialogue is to start on a new line and use a lowercase letter for the first word if it follows an action.

• She sighed. “I don’t know what to do.”
• He laughed. “You’ll figure it out.”

Showing Interruption in Dialogue

To indicate an interruption, use an em dash (—) and start a dialogue with a lowercase letter.

• “I was just trying to —.” And she cut him off. “I don’t want to hear it.”

Avoid using extra punctuation while using ellipses

While ellipses (…) can convey hesitation or trailing off, avoid adding extra punctuation around them. Let the ellipses carry the weight of the pause.

Dialogue example:

• Correct: “I’m not sure… maybe.”
• Incorrect: “I’m not sure…, maybe”.

Additional Tips on Writing Dialogue

There are also loads of other formatting rules that are better studied and remembered to uplift your dialogues in essays:

• When dealing with long speeches, break the dialogue into paragraphs for clarity. Begin each paragraph with an opening quotation mark, and only use a closing quotation mark at the end of the last paragraph:
• “In the grand tapestry of life, each thread weaves a story. Our experiences shape us, molding our characters into unique patterns. Challenges, like storms, may rattle us, but they also add texture to the narrative. And as we navigate this intricate design, remember:”

“Your journey is a masterpiece, with every twist and turn contributing to the beauty of your existence.”

• In a conversation beyond one paragraph, you should use opening quotations when it starts. However, the ending sign is used only when the conversation ends, even after several paragraphs.
• To sum up, while formatting dialogue, ensure that terminal punctuation (commas, periods, exclamation marks, or question marks) falls within the quotation marks, while colons and semicolons should be placed outside.

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New Speakers – New Paragraphs

There are different ways to write dialogue, but starting a new paragraph for each speaker improves clarity in conversation presentation. This technique graphically indicates a shift in speakers, making it easier for readers to follow dialogues.

Integrating Dialogue into an Essay

Dialogue can effectively present information and provide depth to an article. Thus, using conversation between characters, writers may engage readers and create a dynamic story that supports their goal. Besides, there are different reasons to use dialogues in various contexts.

Contextualizing Dialogue

To correctly write a dialogue within the narrative is vital for creating a vivid and immersive storytelling experience. Accordingly, the setting serves as a crucial backdrop, influencing the conversation’s tone, mood, and dynamics. Meanwhile, descriptive details about the environment, such as the time of day, the weather, or the specific location, not only ground the reader but also add layers of meaning to the dialogue in an essay.

Additionally, dialogue gains authenticity and resonance by seamlessly integrating setting details, allowing readers to engage more fully with the characters and their world. For instance, the backdrop of a bustling city or serene countryside significantly influences how dialogue in paragraphs is interpreted, deepening the overall narrative experience. This contextual richness elevates spoken words into an integral part of the larger story, enhancing the entire reading experience.

Maintaining Flow and Relevance

To maintain a seamless flow and relevance in dialogue, you should:

• Align each spoken word with the essay’s central argument or narrative.
• Avoid extraneous conversations that do not contribute to the core message.
• Prioritize purposeful dialogue in writing that propels the storyline or reinforces the essay’s thesis.
• Ensure a natural flow by considering dialogues’ pacing, tone, and timing, allowing them to unfold organically within the broader  narrative style and structure.

This strategic integration ensures that dialogue enhances the storyline and remains integral to the essay’s overarching purpose and coherence.

Balancing Dialogue and Narrative

Achieving a harmonious balance between dialogue and narrative involves strategic integration.

• Avoid extended monologues and instead effortlessly blend descriptive storytelling and exposition with dialogue.
• Insert dialogue in an essay to unfold character insights and advance the plot, while narrative provides context and depth.
• Create a rhythmic interplay between spoken words and descriptive elements, ensuring each complements the other.

This dynamic balance allows readers to interact with both characters and the surrounding universe, improving the narrative’s coherence and immersion.

Subtext in Dialogue

The subtext in dialogue sentences adds layers of meaning, allowing writers to convey underlying themes subtly.

• Utilize nuances, unsaid words, or indirect expressions to imply deeper emotions or unspoken tensions.
• Consider the characters’ motivations and the context of their conversation to infuse hidden meaning

Putting dialogue in an essay with subtext promotes engagement by encouraging readers to discern hidden subtleties and building a deeper connection with the story.

Character Development Through Dialogue

Character development thrives in the subtleties of dialogue, offering a window into personalities and relationships. Consequently, dialogue in text can effectively convey the thoughts and feelings of characters in a story. Moreover, it can create a stronger connection between readers and characters, helping them to understand their struggles, emotions, and motivations. We also advise the following:

• Employ distinctive speech patterns, vocabulary, and tones to convey individual traits authentically.
• Integrate narrative descriptions of characters’ movements and emotions during conversations to provide additional layers. For instance, a nervous character might fidget, while a confident one maintains steady eye contact.
• Write a dialogue in a story to unveil power dynamics, conflicts, or alliances, allowing readers to discern relationships organically.

By intertwining spoken words with nuanced actions and emotions, you breathe life into characters, fostering a deeper connection between readers and the personas within your narrative, resulting in a richer and more immersive storytelling experience.

Examples and Exercises

Writing dialogue in an essay can bring characters to life, illustrate points, and add interest to your writing. However, doing it well requires attention to detail, adherence to conventions, and purposeful integration into your essay’s narrative. Below, I will provide examples of both good and bad dialogue writing to highlight key points for effective dialogue inclusion in essays.

Good Example 1: Use of Quotation Marks and Proper Punctuation

• “I don’t understand why we have to move again,” Sarah said, her voice laced with frustration.
• “It’s because of my job,” her father explained. “We’ll get to explore a new place together.”

Why it’s good: This example correctly uses quotation marks to enclose the spoken words and includes proper punctuation, with the comma inside the quotation marks. The dialogue tags (“Sarah said,” “her father explained”) are used effectively to attribute the dialogue to specific characters.

Bad Example 1: Incorrect Punctuation and Quotation Mark Use

• I don’t understand why we have to move again. Sarah said, her voice laced with frustration.
• It’s because of my job. her father explained We’ll get to explore a new place together.

Why it’s bad: This example fails to use quotation marks, making it difficult to distinguish between the narrative and the dialogue. The punctuation is incorrectly placed outside the quotation marks, and the dialogue tags are awkwardly integrated, leading to confusion.

Good Example 2: Integrating Dialogue Naturally into the Essay

In the midst of their argument, Sarah’s realization about her family’s situation was profound. “Maybe it’s not about the moving but about finding where we belong together,” she mused. This moment of insight not only resolved their conflict but also underscored the essay’s theme of belonging.

Why it’s good: This dialogue is naturally integrated into the essay, contributing to the development of the theme. It shows how to use dialogue to reveal character development and thematic elements, enhancing the reader’s understanding of the essay’s message.

Bad Example 2: Forced and Unrelated Dialogue

Sarah liked ice cream. “I love chocolate,” she said. Meanwhile, her father was talking about moving because of his job.

Why it’s bad: This example includes dialogue that is unrelated to the essay’s focus, disrupting the flow of the narrative. The dialogue about ice cream does not contribute to the development of the theme or the characters in the context of moving due to a job change, making it feel forced and out of place.

Good Example 3: Showing Character and Emotion through Dialogue

As they packed the last box, Sarah’s father sighed, “I know this is hard on you.” Sarah looked up, teary-eyed, “It’s okay, Dad. I understand it’s for the best.”

Why it’s good: This example effectively uses dialogue to convey emotion and character relationships. It shows rather than tells the reader about the characters’ feelings, creating a more immersive and emotional connection to the narrative.

Bad Example 3: Overuse of Adverbs in Dialogue Tags

“I just can’t bear it anymore,” Sarah said sadly. “We will make it through this,” her father reassured her encouragingly.

Why it’s bad: The overuse of adverbs in dialogue tags (e.g., “said sadly,” “reassured her encouragingly”) can make the writing feel clumsy and over-explained. It’s often better to convey emotions through the dialogue itself or through descriptive action rather than relying on adverbs.

In summary, good dialogue writing in essays involves using proper punctuation, integrating dialogue naturally, and using it to reveal character and advance the theme. Avoid unrelated dialogue, incorrect punctuation, and over-reliance on adverbs in dialogue tags to maintain the quality and effectiveness of your essay’s narrative.

Craft Dynamic Dialogues: Let Your Reader Enjoy The Narrative of Your Essay

Several key conclusions emerge after discussing the conversation in writing. From mastering punctuation nuances to providing contextual richness through setting details, the art of creating dialogue extends beyond spoken words. Thus, to write dialogue in a narrative means finding a balance between dialogue and narrative, infusing subtext, and using conversations to shape characters are paramount.

Remember, writing dialogue is not merely a tool for communication; it is a dynamic way to enrich narratives. By acquiring these skills, you can tell fascinating stories in which every spoken word adds value to the larger picture of your essays. Just follow our guide, practice often, and you’ll never have to worry about this issue further!

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How to Write Dialogue in a Narrative Paragraph

Hayley Milliman

What is Dialogue?

How to write dialogue, how to punctuate your dialogue, periods and commas, question marks and exclamation points, final thoughts.

Dialogue is the written conversational exchange between two or more characters.

Conventional English grammar rules tell us that you should always start a new paragraph when someone speaks in your writing.

“Let’s get the heck out of here right now,” Mary said, turning away from the mayhem.

John looked around the pub. “Maybe you’re right,” he said and followed her towards the door.

Sometimes, though, in the middle of a narrative paragraph, your main character needs to speak.

Mary ducked away from flying fists. The fight at the pub was getting out of control. One man was grabbing bar stools and throwing them at others, and while she watched, another one who you could tell worked out regularly grabbed men by their shirt collars and tossed them out of the way. Almost hit by one flying person, she turned to John and said, “Let’s get the heck out of here right now.”

In my research, I couldn’t find any hard and fast rules that govern how to use dialogue in the middle of a narrative paragraph. It all depends on what style manual your publisher or editorial staff follow.

For example, in the Chicago Manual of Style , putting dialogue in the middle of paragraphs depends on the context. As in the above example, if the dialogue is a natural continuation of the sentences that come before, it can be included in your paragraph. The major caveat is if someone new speaks after that, you start a new paragraph and indent it.

On the other hand, if the dialogue you’re writing departs from the sentences that come before it, you should start a new paragraph and indent the dialogue.

The fight at the pub was getting out of control. One man was grabbing bar stools and throwing them at others, and another one who you could tell worked out regularly grabbed men by their shirt collars and tossed them out of the way.

Punctuation for dialogue stays consistent whether it’s included in your paragraph or set apart as a separate paragraph. We have a great article on how to punctuate your dialogue here: Where Does Punctuation Go in Dialogue?

It’s often a stylistic choice whether to include your dialogue as part of the paragraph. If you want your dialogue to be part of the scene described in preceding sentences, you can include it.

But if you want your dialogue to stand out from the action, start it in the next paragraph.

Dialogue is a fantastic way to bring your readers into the midst of the action. They can picture the main character talking to someone in their mind’s eye, and it gives them a glimpse into how your character interacts with others.

That said, dialogue is hard to punctuate, especially since there are different rules for different punctuation marks—because nothing in English grammar is ever easy, right?

We’re going to try to make this as easy as possible. So we’ll start with the hardest punctuation marks to understand.

For American English, periods and commas always go inside your quotation marks, and commas are used to separate your dialogue tag from the actual dialogue when it comes at the beginning of a sentence or in the middle. Here are a few examples:

Nancy said, “Let’s go to the park today since the weather is so beautiful.”

“Let’s go to the park today since the weather is so beautiful,” she said.

“Let’s go to the park today,” she said, “since the weather is so beautiful.”

British English puts the periods and commas inside the quotation marks if they’re actually part of the quoted words or sentence. Consider the following example:

• She sang “Somewhere Over the Rainbow”, the theme song from The Wizard of Oz.

In the above example, the comma after “Rainbow” is not part of the quoted material and thus belongs outside the quotation marks.

But for most cases when you’re punctuating dialogue, the commas and periods belong inside the quotation marks.

Where these punctuation marks go depends on the meaning of your sentence. If your main character is asking someone a question or exclaiming about something, the punctuation marks belongs inside the quotation marks.

Nancy asked, “Does anyone want to go to the park today?”

Marija said, “That’s fantastic news!”

“Please say you’re still my friend!” Anna said.

“Can we just leave now?” asked Henry.

But if the question mark or exclamation point is for the sentence as a whole instead of just the words inside the quotation marks, they belong outside of the quotes.

Does your physical therapist always say to his patients, “You just need to try harder”?

Do you agree with the saying, “All’s fair in love and war”?

Single Quotation Marks

Only use single quotation marks for quotes within quotes, such as when a character is repeating something someone else has said. Single quotes are never used for any other purpose.

Avery said, “I saw a sign that read ‘Welcome to America’s Greatest City in the Midwest’ when I entered town this morning.”

“I heard Mona say to her mom, ‘You know nothing whatsoever about me,’ ” said Jennifer.

Some experts put a space after the single quote and before the main quotation mark like in the above example to make it easier for the reader to understand.

Here’s a trickier example of single quotation marks, question marks, and ending punctuation, just to mix things up a little.

• Mark said, “I heard her ask her lawyer, ‘Am I free to go?’ after the verdict was read this morning.”

Perfectly clear, right? Let us know some of your trickiest dialogue punctuation situations in the comments below.

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Hayley is the Head of Education and Community at ProWritingAid. Prior to joining this team, Hayley spent several years as an elementary school teacher and curriculum developer in Memphis, TN. When Hayley isn't hunched over her keyboard, you can find her figure skating at the ice rink or hiking with her dog.

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Last updated on Sep 21, 2023

How to Write Fabulous Dialogue [9 Tips + Examples]

This post is written by author, editor, and bestselling ghostwriter Tom Bromley. He is the  instructor of Reedsy's 101-day course,  How to Write a Novel .

Good dialogue isn’t about quippy lines and dramatic pauses.

Good dialogue is about propelling the story forward, pulling the reader along, and fleshing out characters and their dynamics in front of readers. Well-written dialogue can take your story to a new level — you just have to unlock it.

In this article, I’ll break down the major steps of writing great dialogue, and provide exercises for you to practice your own dialogue on.

Here's how to write great dialogue in 9 steps:

1. Use quotation marks to signal speech

2. pace dialogue lines by three , 3. use action beats , 4. use ‘said’ as a dialogue tag  , 5. write scene-based dialogue, 6. model any talk on real life , 7. differentiate character voices, 8. "show, don't tell" information in conversation , 9. delete superfluous words, which dialogue tag are you.

Find out in just a minute.

Alfred Hitchcock once said, “Drama is life with all the boring bits cut out.”

Similarly, I could say that good dialogue in a novel is a real conversation without all the fluff — and with quotation marks. 

Imagine, for instance, if every scene with dialogue in your novel started out with:

'Hey, buddy! How are you doing?"

“Great! How are you?""

'Great! Long time no see! Parking was a nightmare, wasn’t it?"

Firstly, from a technical perspective, the quotation marks are inconsistent and incorrectly formatted. To learn about the mechanics of your dialogue and how to format it, we also wrote this full post on the topic that I recommend reading.

Secondly, from a novel perspective, such lines don’t add anything to the story. And finally, from a reading perspective, your readers will not want to sit through this over and over again. Readers are smart: they can infer that all these civilities occur. Which means that you can skip the small talk (unless it’s important to the story) to get to the heart of the dialogue from the get-go.  

For a more tangible example of this technique, check out the dialogue-driven opening to Barbara Kingsolver's novel, Unsheltered .

Screenwriter Cynthia Whitcomb once proposed an idea called the “Three-Beat Rule.” What this recommends, essentially, is to introduce a maximum of three dialogue “beats” (the short phrases in speech you can say without pausing for breath) at a time. Only after these three dialogue beats should you insert a dialogue tag, action beat, or another character’s speech.

Here’s an example from Jane Gardam’s short story, “Dangers”, in which the boy Jake is shooting an imaginary gun at his grandmother:

In theory, this sounds simple enough. In practice, however, it’s a bit more complicated than that, simply because dialogue conventions continue to change over time. There’s no way to condense “good dialogue” into a formula of three this, or two that. But if you’re just starting out and need a strict rule to help you along, then the Three-Beat Rule is a good place to begin experimenting.

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Let’s take a look at another kind of “beats” now — action beats.

Action beats are the descriptions of the expressions, movements, or even internal thoughts that accompany the speaker’s words. They’re always included in the same paragraph as the dialogue, so as to indicate that the person acting is also the person speaking.

On a technical level, action beats keep your writing varied, manage the pace of a dialogue-heavy scene, and break up the long list of lines ending in ‘he said’ or ‘she said’.

But on a character level, action beats are even more important because they can go a level deeper than dialogue and illustrate a character’s body language.

When we communicate, dialogue only forms a half of how we get across what we want to say. Body language is that missing half — which is why action beats are so important in visualizing a conversation, and can help you “show” rather than “tell” in writing.

Here’s a quick exercise to practice thinking about body language in the context of dialogue: imagine a short scene, where you are witnessing a conversation between two people from the opposite side of a restaurant or café. Because it’s noisy and you can’t hear what they are saying, describe the conversation through the use of body language only.

Remember, at the end of the day, action beats and spoken dialogue are partners in crime. These beats are a commonly used technique so you can find plenty of examples —  here’s one from  Never Let Me Go  by Kazuo Ishiguro . 

If there’s one golden rule in writing dialogue, it’s this: ‘said’ is your friend.

Yes, ‘said’ is nothing new. Yes, ‘said’ is used by all other authors out there already. But you know what? There’s a reason why ‘said’ is the king of dialogue tags: it works.

Pro-tip: While we cannot stress enough the importance of "said," sometimes you do need another dialogue tag. Download this free cheatsheet of 270+ other words for said to get yourself covered!

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Upgrade your dialogue with our list of 270 alternatives to “said.”

The thinking goes that ‘said’ is so unpretentious, so unassuming that it focuses readers’ attention on what’s most important on the page: the dialogue itself. As writer Elmore Leonard puts it: 

“Never use a verb other than ‘said’ to carry dialogue. The line of dialogue belongs to the character; the verb is the writer sticking his nose in. But ‘said’ is far less intrusive than ‘grumbled,’ ‘gasped,’ ‘cautioned,’ ‘lied.’”

It might be tempting at times to turn towards other words for ‘said’ such as ‘exclaimed,’ or ‘declared,’ but my general rule of thumb is that in 90% of scenarios, ‘said’ is going to be the most effective dialogue tag for you to use while writing dialogue.

So now that we have several guidelines in place, this is a good spot to pause, reflect, and say that there’s no wrong or right way to write dialogue. It depends on the demands of the scene, the characters, and the story. Great dialogue isn’t about following this or that rule — but rather learning what technique to use when . 

If you stick to one rule the whole time — i.e. if you only use ‘said,’ or you finish every dialogue line with an action beat — you’ll wear out readers. Let’s see how unnaturally it plays out in the example below with Sophie and Ethan: 

All of which is to say: don’t be afraid to make exceptions to the rule if the scene asks for it. The key is to know when to switch up your dialogue structure or use of dialogue tags or action beats throughout a scene — and by extension, throughout your book.

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Dialogue isn’t always about writing grammatically perfect prose. The way a person speaks reflects the way a person is — and not all people are straight-A honor students who speak in impeccable English. In real life, the way people talk is fragmented, and punctuated by pauses.

That’s something that you should also keep in mind when you’re aiming to write authentic dialogue.

It can be tempting to think to yourself, “ Oh, I’ll try and slip in some exposition into my dialogue here to reveal important background information.” But if that results in an info-dump such as this — “ I’m just going to the well, Mother — the well that my brother, your son, tragically fell down five years ago ” — then you’ll probably want to take a step back and find a more organic, timely, and digestible way to incorporate that into your story.

Kay Adams is Michael’s date at his sister’s wedding in this scene. Her interest in his family is natural enough that the expository conversation doesn’t feel shoehorned in. 

A distinctive voice for each character is perhaps the most important element to get right in dialogue. Just as no one person in the world talks the same as each other, no one person in your book should also talk similarly.

To get this part of writing dialogue down pat, you need to start out by knowing your characters inside out. How does your character talk? Do they come with verbal quirks? Non-verbal quirks?

Jay Gatsby’s “old sport,” for example, gives him a distinctive, recognizable voice. It stands out because no one else has something as memorable about their speech. But more than that, it reveals something valuable about Gatsby’s character: he’s trying to impersonates a gentleman in his speech and lifestyle.

Likewise, think carefully about your character’s voice, and use catchphrases and character quirks when they can say something about your character. 

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“Show, don’t tell” is one of the most oft-repeated rules in writing, and a conversation on the page can be a gold mine for “showing.”

Authors can use action beats and descriptions to provide clues for readers to read between the lines. Let’s revisit Sophie and Ethan in this example:

While Sophie claims she hasn’t been obsessing over this project all night, the actions in between her words indicate there’s nothing on her mind  but  work. The result is that you show , through the action beats vs. the dialogue, Sophie being hardworking—rather than telling it.

Show, Don't Tell

Master the golden rule of writing in 10 five-minute lessons.

As always when it comes to writing a novel: all roads lead back to The Edit, and the dialogue you’ve written is no exception.

So while you’re editing your novel at the end, you may find that a “less is more” mentality will be helpful. Remember to cut out the unnecessary bits of dialogue, so that you can focus on making sure the dialogue you  do  keep matters. Good writing is intentional and purposeful, always striving to keep the story going and readers engaged. The importance lies in quality rather than quantity. 

One point I haven’t addressed yet is repetition. If used well (i.e. with clear intention), repetition is a  literary device  that can help you build motifs in your writing. But when you find yourself repeating information in your dialogue, it might be a good time to revise your work. 

For instance, here’s a scene with Sophie and Ethan later on in the story: 

As I’ve mentioned before, good dialogue shows character — and dialogue itself is a playground where character dynamics play out. If you write and edit your dialogue with this in mind, then your dialogue will be sharper, cleaner, and more organic. 

I know that writing dialogue can be intimidating, especially if you don’t have much experience with it. But that should never keep you from including it in your work! Just remember that the more you practice — especially with the help of these tips — the better you’ll get.

And once you’re confident with the conversational content you can conjure up, follow along to the next part of our guide to see how you can punctuate and format your dialogue flawlessly .

As an editor and publisher, Tom has worked on several hundred titles, again including many prize-winners and international bestsellers. 

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Home / Book Writing / How to Format Dialogue (2024 Rules): The Ultimate Guide for Authors

How to Format Dialogue (2024 Rules): The Ultimate Guide for Authors

Dialogue is one of the most ever-present components of writing, especially in fiction. Yet even experienced authors sometimes format dialogue incorrectly.

There are so many rules, standards, and recommendations to format dialogue that it can be easy to get lost and not know what to do.

Thankfully, this article will help you know exactly what to do when formatting and writing dialogue, and I’ll even mention a tool that will make the whole process a lot easier, but more on that later.

• The basic rules for good dialogue
• Grammar rules for effective dialogue
• The difference between curly and straight quotes
• Common stylistic choices
• And other recommendations

Table of contents

• Basic Dialogue Rules
• 1. The Correct Use of Quotation Marks
• 2. The Correct Use of Dialogue Tags
• 3. The Correct Use of Question and Exclamation Marks
• 4. The Correct Use Of Em-Dashes And Ellipses
• 5. Capitalization Rules
• 6. Breaking Dialogue Into Multiple Paragraphs
• 7. Using Quotation Marks With Direct Dialogue vs Indirect Dialogue 
• Using Quotation Marks With Direct Dialogue vs Reported Dialogue
• Keyboard Shortcuts for PC or Windows
• Keyboard Shortcuts for Mac
• Formatting Quotes with Atticus
• Best Practice: Dialogue Tags
• If dialogue is interrupted by a tag and action…
• If dialogue is interrupted by just an action…
• Best Practices: She Said vs. Said She
• Best Practice: Using Beats to Break up Your Dialogue
• 1. Italicized With a Tag
• 2. Italicized Without a Tag
• 3. Not Italicized
• 1. Make It Clear Who Is Speaking
• 2. Focus on Character Voice
• 3. Don't Overdo Your Character Voice
• 4. Don't Info-Dump with Dialogue
• 5. Avoid Repetitive Dialogue Tags
• Final Thoughts on Formatting Dialogue

Why You Should Trust Me

So I've been writing and formatting books for a long time. 10+ years as of this writing.

But I actually found formatting to be a huge pain, which is why I actually created my own formatting software that solved all my problems. I called it Atticus.

But this isn't meant to be a sales pitch. I just want to make sure it's clear that I know what I'm talking about. The amount of research that went into not only formatting my own books, but also creating a formatting software is huge.

I researched everything, from tiny margin requirements, to the specific type of quotes to use (curly or straight, it makes a difference).

And yes, of course, that includes how to format dialogue.

So if all that makes sense, hopefully you'll come along with me as show you everything I've learned.

There are some basic rules that most people are aware of, but still need to be mentioned in an article about formatting dialogue.

The following are some of the very basic instructions you will need to follow:

• New speaker, new paragraph: whenever a new person speaks, you should start a new paragraph. This is true, even if your character is alone and talking out loud, or even if all they say is one word.
• Indent each paragraph: as with any paragraph, you should indent it. There are small exceptions, such as at the beginning of a chapter or scene break.
• Quotation marks go around the dialogue: use quotation marks at the beginning and end of your character's dialogue. Any punctuation that is part of the dialogue should be kept within the quotes.

Now that you have these basics in mind, let's dive into the specific rules of grammar and punctuation for formatting dialogue.

Dialogue Punctuation

To punctuate dialogue correctly, there are a few rules you should know:

• The correct use of quotation marks
• The correct use of dialogue tags
• The correct use of question and exclamation marks
• The correct use of em-dashes and ellipses
• Capitalization rules
• Breaking dialogue into multiple paragraphs
• Using quotation marks with direct dialogue versus indirect dialogue
• Using quotation marks with direct dialogue vs reported dialogue

Let's dive into each of these one by one…

For American writing, you will use a set of quotation marks (” “). These are placed directly before and after the dialogue spoken by your character.

Furthermore, the quotation marks are placed around any punctuation, such as a comma, question mark, or exclamation mark.

Example:  

“I love writing books!” said John.

You can use the same set of quotation marks around more than one sentence.

Example: 

“I love writing books! It makes me feel so accomplished.”

Note: the double quote is used heavily in American writing and in some other parts of the world, with single quotes used to quote dialogue within a larger quote. However these roles are often reversed outside of American writing, and some cultures even use angle brackets instead (<< >>).

A dialogue tag is simply a phrase at the beginning or end of your dialogue that tells us who is speaking. Dialogue tags are optional, but should be used when there are multiple people speaking and it is not clear which dialogue belongs to whom.

Your dialogue tag should use a comma to separate itself from the dialogue. If your dialogue tag appears at the beginning of your quote, the comma should appear after the dialogue tag and before your first quotation mark. If your dialogue tag is after your quote, the comma should appear after the dialogue, but before the closing quotation mark.

John said, “I love to write books.”

“I love to write books,” said John.

If a sentence of dialogue is interrupted by the dialogue tag, then you should use two commas that follow the above rules.

“I love to write books,” said John, “every single day.”

If you are using a question or exclamation mark, those are placed within the quotation marks, just as a comma would be.

“You like to write books?”

If you are following up the dialogue with a dialogue tag, you do not need to capitalize the first word of the dialogue tag.

“You like to write books?” said Lucy.

“You like to write books?” Said Lucy.

Both em-dashes and ellipses are used to show incomplete dialogue, but their uses very.

Em-dashes should be used when dialogue is interrupted by someone else's dialogue, or any other interruption that leads to an abrupt ending.

Note that the em-dash is contained within the quotation marks, and replaces any punctuation. If the em-dash appears at the start of the quote, the following word should not be capitalized.

“Have I ever told you—”

“Yes, yes you have.”

“—that I love writing books?”

Ellipses are used when the dialogue trails off, but there is not an obvious interruption.

“What was I saying just…

In most cases, you should capitalize the first word of your dialogue. This is true, even if the dialogue does not technically begin the sentence.

John said, “But I love to write books!”

John said, “but I love to write books!”

The exception to this is if you are starting in the middle of your character's sentence, such as after an em-dash, or anytime the first quoted word is not the first word of the character's full sentence.

Lucy rolled her eyes, ready to hear again just how much John “loved to write books.”

If you have especially long dialogue, you might want to divide that dialogue into multiple paragraphs.

When this happens, place the first quotation mark at the beginning of the dialogue, but do not place a quotation mark at the end of that first paragraph.

You also place a quotation mark at the beginning of each subsequent paragraph until the dialogue ends. The last paragraph of dialogue has a quotation mark at the beginning and the end.

John said, “I can't explain to you why I love writing books so much. Perhaps it has something to do with my childhood. I always loved writing books as a child and making up stories . My mom told me I should be playing outside, but I preferred writing.

“Or maybe it was in college when I started learning the rules of good creative writing and saw my characters come to life in a way that I had never seen in my youth. It excited me more.

“Or maybe I'm just weird.” 

Before I get into the specifics of how to use quotation marks with direct dialogue versus indirect dialogue, you have to understand what each is.

Direct dialogue is written between inverted commas or quotes. This is someone actually speaking the words you’ve written down. It looks like this:

“Hello, I like to write books,” he said.

Indirect dialogue is basically you telling someone about what another person said.

He said hello and that he liked to write books.

Note that no quotation marks are required because it’s not a direct quote — the speaker is paraphrasing.

However, most of the formatting and punctuation tips I work with in this article pertain to direct dialogue.

Besides direct dialogue and indirect dialogue, I also have reported dialogue.

Reported dialogue is when one line of dialogue is quoting something else.

With American usage of quotation marks, I place double quotation marks around the direct dialogue (a.k.a. the main quote), with single quotation marks around the reported dialogue (a.k.a. the quote within the quote).

“I was talking to John the other day, and he kept saying ‘I love writing books' all the time,” said Lucy.

Note that this is common for American writing, and is often reversed outside of North America. Check your local style guides to know exactly how to embed one quote within another.

Curly Quotes or Straight Quotes?

Some authors don't even realize this, but there is a big difference between straight quotes and curly quotes.

Straight quotes do not bend inward, but remain straight. They are identical, whether they are located at the beginning or end of your quote.

John said, “I just like to write books, okay?”

By default, most keyboards use straight quotes instead of smart quotes. It is also the standard for web-based writing, since it simplifies the HTML needed to render a webpage (notice that most quotes in this article are straight quotes).

Curly quotes (sometimes called smart quotes) curve inward toward the line of dialogue that they encapsulate.

John said, “I just like to write books, okay?”

Curly quotes are more common in publishing, fiction, and are generally considered the standard when doing dialogue.

How to Change Straight Quotes to Curly Quotes

Since most keyboards use straight quotes, and is the default for many programs, you will have to change them to smart quotes manually.

While some programs have this functionality, you can also use keyboard shortcuts. For example:

To use keyboard shortcuts for PC, hold down the alt key, then type the four-digit code using your number pad:

• Opening double quote shortcut: alt 0147
• Closing double quote shortcut: alt 0148
• Opening single quote shortcut: alt 0145 
• Closing single quote shortcut: alt 0146

Note that you must type these numbers in with your number pad, and not the top row of numbers on your keyboard. The top row will not work.

The same process applies here, but the commands are slightly different. With a Mac, hold down the different keys shown here:

• Opening double quote shortcut: Option + [
• Closing double quote shortcut: Option + Shift + [
• Opening single quote shortcut: Option + ]
• Closing single quote shortcut: Option + Shift + ]

The downside to using the short codes is that it can become extremely tedious, especially if you have to go through your entire book and replace all of the quotes.

Thankfully, there is an option to make this a lot easier…

When you use Atticus, you can automatically swap your straight quotes for curly quotes with the touch of a button.

To do this, look on the top writing toolbar, and you will see two icons on the right.

If you click the button labeled “Apply Smart Quotes”, it will give you the following pop-up:

Do this for each of your chapters, and you should see the little red warning icon change to a green icon, indicating that your entire book is free of straight quotes.

This saves you a ton of hassle, it is by far the easiest way to improve your quotes in a writing or formatting program.

We've already talked about the grammatical rules for dialogue tags above, but let's talk a little more about, because there are ways to use dialogue tags that are grammatically correct, but not great from a stylistic standpoint.

For example, should you use words other than “said” for your dialogue tag?

Technically, you can do this. You can use many words as a dialogue tag. For example:

“You like to write books?” asked Lucy.

“You like to write books?” scoffed Lucy.

“You like to write books?” snickered Lucy.

“You like to write books?” intoned Lucy.

In this case, I have used alternative dialogue tags in each example. It's common for newer writers to think that mixing up the dialogue tags like this is a good thing, but this is not the case.

In fact, most authors agree the best practice is to use just “said” and “asked”. 

You can use other words on occasion (I sometimes use “clarified”, “shouted”, or “whispered”), but these should be rare.

The reason for this is simple: readers expect to see the words “said” and “asked”. Their mind brushes right over it, taking the necessary attribution data, and nothing else. Using “said” over and over again will not seem repetitive, because it is expected.

Using unusual dialogue tags is a quick way to draw the reader out of the book.

Best Practice: Formatting Interruptions

I’ve talked, briefly, about em-dashes and ellipses above, but there are a few other considerations to make when formatting dialogue interruptions.

You can format it in two ways. First of all:

“I love writing books,” John said, rubbing his hands together, “but I don’t like editing them that much.”

In this first example, you write your starting dialogue, tag, and action as usual, but instead of finishing the sentence with a period, you place a comma, open a new quotation mark and continue the sentence with a conjunction. At the end of that sentence, you’d use a period and close the speech.

But you can also format that interruption by separating the spoken pieces into two separate sentences as follows:

“I love writing books,” John said, rubbing his hands together. “But I don’t like editing them that much.”

Here, the sentence ends after John has rubbed his hands together. Because of that, when you start your new line of dialogue, you format it with a capitalized ‘But’ and end it with a period.

Say your speaker is being erratic, or just doing something that would interrupt his speech, like taking a sip of water or coughing uncontrollably, you wouldn’t have a well-planned and inserted interruption. The text would look broken because the dialogue is being broken by the action.

You’d format that as follows:

“I love writing books”–John took a sip of water–“but I’m not a fan of editing them.”

Note: The em-dashes are outside of the dialogue for this type of formatting.

You might be surprised to learn that there is a best practice for the word order for your dialogue tags.

For example, should you say “Lucy said” or “said Lucy”?

It may be common for you to guess that “said Lucy” is an acceptable practice (at least I did), but while this is technically grammatically correct, it is actually discouraged.

The correct way to format this is “Lucy said”.

Think of it this way, would it feel more natural to say “she said” or “said she”? Since “she said” is more natural with pronouns, the logic is that “Lucy said” is the superior form of dialogue tag.

Instead of dialogue tags, one alternative that you can use are beats.

Beats are small actions to give to your characters, so it doesn't sound like the dialogue is being spoken between two talking heads in a void.

It helps to move the story along, creates a sense of realism, and gives you a chance to reduce the number of dialogue tags that you use, without confusing the reader.

“I love to write books!” John sat at the keyboard and cracked his knuckles.

You can also add a beat to your dialogue tag.

“I love to write books!” said John, then sat at the keyboard and cracked his knuckles.

Additionally, you can use a beat to interrupt the flow of dialogue. This is even encouraged at times, because it can create diversity in how you use your dialogue.

“I love to write books!” John sat at the keyboard and cracked his knuckles. “But I don't like editing them as much.”

Best Practice: Formatting Inner Dialogue

When you are formatting internal dialogue (particularly when writing from 3rd person point of view), there are three ways that you can format it.

It’s common to see inner dialogue treated the same as quoted dialogue, but with the entire inner dialogue italicized instead of using quotation marks.

I just love to write books, John thought. Why can’t Lucy understand this?

Likewise, you can often leave out the tag all together, as the reader is able to understand by the italics that this is a thought. However, you might want to accompany this with a beat.

John sat at his desk. I just love to write books. Why can’t Lucy understand this?

If you are writing from a deeper point of view, you might not need italics or a tag. This is especially common when writing in first-person point of view, where literally all of the prose represents that person’s thoughts.

I sat at my desk. I just love to write books. Why can’t Lucy understand this?

Other Tips for Formatting Dialogue

In addition to the above, there are a few miscellaneous tips that I would like to share:

When using dialogue, you never want the reader to be confused as to who is saying the dialogue. There are a couple of ways to do this.

• Use dialogue tags effectively
• Never leave out dialogue tags unless you only have two people, and it is obvious which one is speaking
• Use beats appropriately

Each character should have a unique way of speaking.

A good way to practice different voices is to record a conversation, such as around the dinner table, and transcribe it. Notice how everyone uses a different “flow” to our sentences, or have favorite words that I like to use.

Do they speak in short, choppy sentences? Or are they more prone to elegant, long-winded paragraphs?

Another great exercise is to write a conversation with two people, and don't use dialogue tags. Instead, try to make how they are speaking make it obvious who is actually talking.

Despite my recommendation above, it is possible to overdo character voice.

Examples of this include:

• Overdoing a heavy accent, where every word of their dialogue is spelled slightly different to convey the dialect.
• Including curse words in every other sentence, even if this is realistically based on someone you know.
• Including a lot of “ums” and “uhs” in your sentence. While these are common in real life, they can dramatically pull your reader out of the story.

While it is okay for the character to explain some of what is going on in their dialogue, you have to be careful with this.

Above all, make sure your dialogue naturally fits the character in the scene. Info dumping can easily lead to “Maid and Butler dialogue”, where it feels like the characters just talking for the benefit of the reader, and not for the actual situation they are in.

While it is important to use “said” and “asked” the most when doing your dialogue tags, there are other ways that you should use to diversify your tags, such as:

• Use beats instead
• Use dialogue tags before, after, and in the middle of your dialogue
• Remove dialogue tags when you have a back-and-forth conversation between two people and it is obvious who is saying what

This is not just relevant for dialogue tags, but also for your dialogue styles. If you have had three lines of dialogue in a row that all placed your dialogue tag in the middle of the dialogue, then you might want to change things up a bit.

While it is easy to get overwhelmed with all of the little tips and tricks to formatting dialogue, once you have enough practice, it becomes second nature.

Additionally, a tool like Atticus can make some of the technical bits so much easier, such as changing your street quotes to curly quotes.

In addition to formatting dialogue, Atticus is the number one software for writing and formatting a book. Plus, unlike other leading formatting software is, it is available on all platforms, and costs over $100 less than the leading alternative.

Dave Chesson

When I’m not sipping tea with princesses or lightsaber dueling with little Jedi, I’m a book marketing nut. Having consulted multiple publishing companies and NYT best-selling authors, I created Kindlepreneur to help authors sell more books. I’ve even been called “The Kindlepreneur” by Amazon publicly, and I’m here to help you with your author journey.

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How to Properly to Cite Dialogue in MLA

Last Updated: February 13, 2024 References

This article was reviewed by Gerald Posner and by wikiHow staff writer, Jennifer Mueller, JD . Gerald Posner is an Author & Journalist based in Miami, Florida. With over 35 years of experience, he specializes in investigative journalism, nonfiction books, and editorials. He holds a law degree from UC College of the Law, San Francisco, and a BA in Political Science from the University of California-Berkeley. He’s the author of thirteen books, including several New York Times bestsellers, the winner of the Florida Book Award for General Nonfiction, and has been a finalist for the Pulitzer Prize in History. He was also shortlisted for the Best Business Book of 2020 by the Society for Advancing Business Editing and Writing. There are 8 references cited in this article, which can be found at the bottom of the page. This article has been viewed 69,547 times.

When you're writing a paper about a work of literature, such as a play or story, you might need to quote from the dialogue. If you're using the citation style of the Modern Language Association (MLA), your Works Cited entry will be the same as it would be for any book, play, or other source. However, the format and in-text citation of dialogue can be a little tricky, especially when you're quoting several lines of dialogue directly.

In-Text Citation

Use this method if your quote is short (3 lines or fewer) and only includes speech from one character. [1] X Research source

• For example, you might write: Nick, the narrator of the story, clearly has class insecurity: "'You make me feel uncivilized, Daisy,' I confessed on my second glass of corky but rather impressive claret. 'Can't you talk about crops or something?'" (Fitzgerald 15)

• For example, you might write: Tom brings his racism full center when he exclaims that "civilization's going to pieces." (Fitzgerald 15)
• For example, you might write: Tom describes a book he's been reading and asserts "The idea is if we don't look out the white race will be — will be utterly submerged. It's all scientific stuff; it's been proved" (Fitzgerald 16).

Block Quotes

Use this method for quotes that are longer than 3 lines or include speech from more than one character.

• For example, you might write: "You don't have to read far into Fitzgerald's book to encounter outright racism:" and then follow with a block quote about Tom discussing his white supremacist thoughts.

• With dialogue from a novel or short story, retain the paragraph format that appears in the original source and use double quotation marks around the spoken dialogue.
• If you're quoting dialogue from a play, the margins are different. The entire quote is set off 1 in (2.5 cm) from the text of your paper. Each subsequent line beyond a character's first is indented an additional 0.25 in (0.64 cm) (about 3 spaces). [7] X Research source

• Don't use quotation marks anywhere in the dialogue when block-quoting dialogue from a play.
• For example, you might quote the dialogue before Romeo and Juliet's first kiss: ROMEO. Have not saints lips, and holy palmers too? JULIET. Ay, pilgrim, lips that they must use in prayer. ROMEO. O then, dear saint, let lips do what hands do. They pray: grant thou, lest faith turn to despair. JULIET. Saints do not move, though grant for prayers' sake. ROMEO. Then move not while my prayer's effect I take. (Shakespeare 1.5.112-117)

• For example, the last lines of your block quote might look like this: And I hope she'll be a fool — that's the best thing a girl can be in this world, a beautiful little fool." (Fitzgerald 19-20)

Works Cited

Use this method to organize information about the source in your Works Cited entry.

• Example: Fitzgerald, F. Scott.
• If there are 2 authors, list them in the order they appear on the title page of the book. Place a comma after the first author's first name, then type the word "and," followed by the second author's first and last name. (Example: Smith, John and Sally Ride)
• If there are 3 or more authors, list only the first author's name, add a comma after their first name, then type the abbreviation "et al." (Example: Smith, John, et al.)

• Book example: Fitzgerald, F. Scott. The Great Gatsby .
• Short story example: Fitzgerald, F. Scott. "The Diamond as Big as the Ritz."

• Short story example: Fitzgerald, F. Scott. "The Diamond as Big as the Ritz." The Short Stories of F. Scott Fitzgerald , edited by Matthew J. Bruccoli,
• For literary journals or other periodicals , include the volume and issue numbers as well.

• Book example: Fitzgerald, F. Scott. The Great Gatsby . Scribner, 2004.
• Short story example: Fitzgerald, F. Scott. "The Diamond as Big as the Ritz." The Short Stories of F. Scott Fitzgerald , edited by Matthew J. Bruccoli, Scribner, 1995.

• Book example: Fitzgerald, F. Scott. The Great Gatsby . Scribner, 2004. gutenberg.net.au/ebooks02/0200041h.html.
• Short story example: Fitzgerald, F. Scott. "The Diamond as Big as the Ritz." The Short Stories of F. Scott Fitzgerald , edited by Matthew J. Bruccoli, Scribner, 1995. public-library.uk/ebooks/28/56.pdf.

Template to Cite Dialogue in MLA

Expert Q&A

• If you're quoting Shakespeare , use the act, verse, and line numbers, rather than the page numbers of the specific edition you're using. With other plays, use the page number, as you would with any book. [15] X Research source Thanks Helpful 0 Not Helpful 0

• This article describes how to cite dialogue using MLA 8th edition (2016). If your instructor or supervisor has you using a different edition, the format might be different. Thanks Helpful 0 Not Helpful 0

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• ↑ https://www.monmouth.edu/resources-for-writers/documents/mla-citing-drama.pdf/
• ↑ https://style.mla.org/citing-dialogue-from-a-novel/
• ↑ https://libguides.msjc.edu/c.php?g=498977&p=3416596
• ↑ https://owl.purdue.edu/owl/research_and_citation/mla_style/mla_formatting_and_style_guide/mla_works_cited_page_books.html
• ↑ https://owl.purdue.edu/owl/research_and_citation/mla_style/mla_formatting_and_style_guide/mla_works_cited_page_basic_format.html
• ↑ https://style.mla.org/works-cited-a-quick-guide/
• ↑ https://dcc.libguides.com/c.php?g=904157&p=6508010
• ↑ http://msweinfurter.weebly.com/uploads/5/4/3/7/5437316/mla_in_text_citation_of_poetry_and_drama_godot_and_auden.pdf

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