Dialogue Rules

Structure

1. Every time you switch to a different speaker, start a new paragraph.
2. Each speaker’s actual words and any actions of that speaker, or any attribution showing who’s talking, form a single paragraph.
3. Even if the speaker says only one word, with no accompanying attribution or action, it is a separate paragraph.
4. Start a new paragraph when you wish to draw the reader’s attention to a different character, even if that character doesn’t actually speak.
5. Don’t change paragraphs while one character is speaking. (If the paragraph is getting lengthy or the character changes the subject, you can shift the focus momentarily to the other character–- putting in a paragraph showing that character’s reaction–- in order to add a break.)

DO THIS:

Jane said, "What makes you think you can get by with treating me like this?"

"I–"

"Don’t interrupt me, John. I’m not finished." She flung a plate at the wall. "You can’t do this and expect me not to make a fuss."

"You’ve made it perfectly clear that you’re upset."

She glared at him.

"Now can we talk about this?" John asked.

NOT THIS:

Jane said, "What makes you think you can get by with treating me like this?" "I–" "Don’t interrupt me, John."

"I’m not finished." She flung a plate at the wall.

"You can’t do this and expect me not to make a fuss."

"You’ve made it perfectly clear that you’re upset." She glared at him. "Now can we talk about this?" John asked.

Attribution

Attribution is the way you tell your reader who is speaking. If you’ve paragraphed properly and started a new paragraph with each new speaker, then you won’t need to tell the reader who’s speaking in every single paragraph. Every third or fourth paragraph will be often enough.

There are several ways to tell the reader who’s speaking.

Said: The simple verb “said” (he said, she said) has the advantage of almost disappearing from the narrative. It accomplishes the purpose without being intrusive. No matter what your third-grade English instructor told you, “said” is often the very best choice.

Other verbs: Some verbs (whispered, shouted) help to clarify how the words are said. Others are overblown (he gritted) or silly (she orated) or impossible (He grinned, “Watch this.” — You can grin and then speak, but you can’t “grin” words.)

Adverbs: Some adverbs (she said slowly, he said wryly) help to clarify how the words are said and can illustrate non-literal meanings which may not be apparent from the words themselves, as when a character is being sarcastic. Others are redundant (“I hate you!” she said angrily) or silly (she muttered hastily) or trite (she said sensuously).

Explanations: Telling how the words are spoken can sometimes be useful, but phrases to interpret speeches can easily slide into cliche or purple prose. (His words were as cool and clear as ice water. His deep voice simmered with barely-controlled passion.) Generally it’s better to make the speaker’s actual words show the mood, rather than to explain it.

Actions: Adding a character’s action to a paragraph containing his speech can help the reader picture the scene as well as showing who’s speaking.

Using character’s names: Occasionally, one character may call the other by name, but it’s better not to overuse this technique because we seldom do so in real conversation.

Use a combination of attribution methods, so no one method becomes rhythmic and repetitive. Don’t attribute more than once in a paragraph.

DO THIS: “Don’t interrupt me, John. I’m not finished.” She flung a plate at the wall. “You can’t do this and expect me not to make a fuss.”

NOT THIS: “Don’t interrupt me, John,” she said. “I’m not finished.” She flung a plate at the wall. “You can’t do this and expect me not to make a fuss,” she continued.

If you’re introducing a speaker who’s new to the conversation, begin with the attribution.

DO THIS: John suddenly spoke up. “I think you’re both full of hot air.”

NOT THIS: “I think you’re both full of hot air.” John suddenly spoke up.

Punctuation

The exact words of the speaker are enclosed in quotation marks. Double quotes are standard in the United States, single quotes in the United Kingdom.

If the speaker didn’t say those exact words, then there will be no quotation marks. A direct thought will be marked in italics or underlined in the manuscript. An indirect thought will be part of the narrative. A paraphrased or summarized comment substituted for the exact words will be part of the dialogue.

DIRECT THOUGHT: She thought, I wonder if he’s looking at me.

INDIRECT THOUGHT: She wondered if he was looking at her.

DIRECT QUOTE: He said, “Damn it.”

INDIRECT QUOTE: He swore.

Use quotation marks only at the beginning and end of the quoted material. Do not use quotation marks around each sentence unless the sentence is separated from other quoted material by attribution or action.

DO THIS: “Don’t interrupt me, John. I’m not finished. You can’t do this and expect me not to make a fuss.”

DO THIS: “Don’t interrupt me, John. I’m not finished.” She flung a plate at the wall. “You can’t do this and expect me not to make a fuss.”

NOT THIS: “Don’t interrupt me, John.” “I’m not finished.” “You can’t do this and expect me not to make a fuss.”

Separate the speech from the attribution using commas.

DO THIS: “Don’t interrupt me, John,” she said.

DO THIS: She said, “Don’t interrupt me, John.”

NOT THIS: She said. “Don’t interrupt me, John.”

NOT THIS: “Don’t interrupt me, John.” she said.

If the attribution falls in the middle of the character’s sentence, separate both pieces of the sentence from the attribution by commas.

DO THIS: “You can’t do this,” she said, “and expect me not to make a fuss.”

NOT THIS: “You can’t do this,” she said. “And expect me not to make a fuss.”

6. If the attribution is a complete sentence (more than he said), separate it from the quoted words with periods.

DO THIS: Jane stamped her foot. “Don’t interrupt me, John.”

DO THIS: “Don’t interrupt me, John.” Jane stamped her foot.

NOT THIS: Jane stamped her foot, “Don’t interrupt me, John.”

NOT THIS: “Don’t interrupt me, John,” Jane stamped her foot.

Copyright 2013 Leigh Michaels