So, personally, I have no idea what my characters are going to say until they say it. They are given the raw product and must simply refine it into something compelling. For these sorts of writers, it happens naturally. I just work a little magic on it to make it more compelling to read. I did not make Alex do something terrible, he just told me the terrible things he did. I did not create Alex, Alex informed me of his existence. These are writers who don't create stories, they just communicate them. For them, everything has a place, and everything must be in its place. There are those who see the story and the characters as a series of systems and tropes and archetypes and can put them together in very compelling ways. See, there are two kinds of writers, near as I can tell. Heart-wrenching moments will happen naturally. You don't need to invent drama, it will happen naturally. This is how you want your dialogue to feel and sound. They're talking over each other, past each other, slipping in and out of dialogue and conversate with ease with each other. There are a couple segments of these movies where the actors are just having conversations. If you need help, then I suggest you watch two movies to sort of see what that looks like. Dialogue will flow easily and smoothly once you're able to do this. know your characters inside and out so that you'll know how they will respond to any given situation and even each other.
you need to "get into the heads" of your characters. stand-alone things that happen at the edge of your story and don't hinge on anything to do with the Main Story. You see it in pretty much every single RPG ever made. Honestly, the easiest method is the "standalone" stuff. so having them not interact with the main quest makes the most sense) or you can write them as something that can only be done at specific points, and so all dialogue is relevant to the storyline. You can write your side quests as "stand alone" affairs like most RPG's do (because if your players don't do the sidequest, then it's effect on the narrative is zero. Your options are basically limited to "what comes next?" in terms of the story. Honestly, a lot of the writing you pick up from doing plays tends to transfer well into writing for games.īut, if you have no experience writing plays (and I really didn't until I started trying to write video games).
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