DIALOGUE

On writing great dramatic dialogue; a compilation of guidance from classical and contemporary experts.

ARISTOTLE

Does the dialogue . .

Does the dialogue . .

represent a character's effort to remove an obstacle to getting what he wants?
provide exposition only by having one character use information to propel another into action?
use "forwards" to increase the thirst for what is coming up?

Does the dialogue . .

Does the dialogue . .

grow from the character and the conflict, and, in turn, reveal the character and carry the action?
derive from characters permitted to grow dialectically until the slowly rising conflict has proved the premise?
show naturally and without strain, what has happened to the characters that is important to the action of the play?
build up as the story builds up?
convey the rhythm and meaning of each scene by sound as well as sense?
reveal character by telling what he is and hinting at what he will be?
reveal background and foreshadow upcoming events?
save words?
sacrifice "brilliance" for character?
make clever language part of the play?
stem from the character and not the author?
let the character speak in the language of his own world?
not break away from character and divert attention to itself?
avoid pedantry?

Does the dialogue . .

Does the dialogue . .

contribute to dramatic incident?
avoid talk for the sake of talk?
maintain comprehensibility and interest?
match character?
link the beginning of one speech to the speech just ended?
allot the most important things being said to the opening and close of a speech?
convey only one important dramatic idea or ruling emotion in any speech?
never mirror a complete reversal in emotion inside a single speech?

Does the dialogue . .

Do the characters . .