how to write a speech about a novel

A Guide to Writing Dialogue, With Examples

“Guess what?” Tanika asked her mother. 

“What?” her mother replied.

“I’m writing a short story,” Tanika said. 

“Make sure you practice writing dialogue!” her mother instructed. “Because dialogue is one of the most effective tools a writer has to bring characters to life.” Give your writing extra polish Grammarly helps you communicate confidently Write with Grammarly

What is dialogue, and what is its purpose?

Dialogue is what the characters in your short story , poem , novel, play, screenplay, personal essay —any kind of creative writing where characters speak—say out loud. 

For a lot of writers, writing dialogue is the most fun part of writing. It’s your opportunity to let your characters’ motivations, flaws, knowledge, fears, and personality quirks come to life. By writing dialogue, you’re giving your characters their own voices, fleshing them out from concepts into three-dimensional characters. And it’s your opportunity to break grammatical rules and express things more creatively. Read these lines of dialogue: 

• “NoOoOoOoO!” Maddie yodeled as her older sister tried to pry her hands from the merry-go-round’s bars.
• “So I says, ‘You wanna play rough? C’mere, I’ll show you playin’ rough!’”
• “Get out!” she shouted, playfully swatting at his arm. “You’re kidding me, right? We couldn’t have won . . . ” 

Dialogue has multiple purposes. One of them is to characterize your characters. Read the examples above again, and think about who each of those characters are. You learn a lot about somebody’s mindset, background, comfort in their current situation, emotional state, and level of expertise from how they speak. 

Another purpose dialogue has is exposition, or background information. You can’t give readers all the exposition they need to understand a story’s plot up-front. One effective way to give readers information about the plot and context is to supplement narrative exposition with dialogue. For example, the protagonist might learn about an upcoming music contest by overhearing their coworkers’ conversation about it, or an intrepid adventurer might be told of her destiny during an important meeting with the town mystic. Later on in the story, your music-loving protagonist might express his fears of looking foolish onstage to his girlfriend, and your intrepid adventurer might have a heart-to-heart with the dragon she was sent to slay and find out the truth about her society’s cultural norms. 

Dialogue also makes your writing feel more immersive. It breaks up long prose passages and gives your reader something to “hear” other than your narrator’s voice. Often, writers use dialogue to also show how characters relate to each other, their setting, and the plot they’re moving through. 

It can communicate subtext, like showing class differences between characters through the vocabulary they use or hinting at a shared history between them. Sometimes, a narrator’s description just can’t deliver information the same way that a well-timed quip or a profound observation by a character can. 

In contrast to dialogue, a monologue is a single, usually lengthy passage spoken by one character. Monologues are often part of plays. 

The character may be speaking directly to the reader or viewer, or they could be speaking to one or more other characters. The defining characteristic of a monologue is that it’s one character’s moment in the spotlight to express their thoughts, ideas, and/or perspective. 

Often, a character’s private thoughts are delivered via monologue. If you’re familiar with the term internal monologue , it’s referring to this. An internal monologue is the voice an individual ( though not all individuals ) “hears” in their head as they talk themselves through their daily activities. Your story might include one or more characters’ inner monologues in addition to their dialogue. Just like “hearing” a character’s words through dialogue, hearing their thoughts through a monologue can make a character more relatable, increasing a reader’s emotional investment in their story arc. 

Types of dialogue

There are two broad types of dialogue writers employ in their work: inner and outer dialogue.  

Inner dialogue is the dialogue a character has inside their head. This inner dialogue can be a monologue. In most cases, inner dialogue is not marked by quotation marks . Some authors mark inner dialogue by italicizing it.

Outer dialogue is dialogue that happens externally, often between two or more characters. This is the dialogue that goes inside quotation marks. 

How to structure dialogue

Dialogue is a break from a story’s prose narrative. Formatting it properly makes this clear. When you’re writing dialogue, follow these formatting guidelines: 

• All punctuation in a piece of dialogue goes inside the quotation marks.
• Quoted dialogue within a line of dialogue goes inside single quotation marks (“I told my brother, ‘Don’t do my homework for me.’ But he did it anyway!”). In UK English, quoted dialogue within a line of dialogue goes inside double quotation marks.
• Every time a new character speaks, start a new paragraph. This is true even when a character says only one word. Indent every new paragraph. 
• When a character’s dialogue extends beyond a paragraph, use quotation marks at the beginning of the second and/or subsequent paragraph. However, there is no need for closing quotation marks at the end of the first paragraph—or any paragraph other than the final one. 
• Example: “Thank you for—”                                                                                                                        “Is that a giant spider?!”
• “Every night,” he began, “I heard a rustling in the trees.”
• “Every day,” he stated. “Every day, I get to work right on time.”

Things to avoid when writing dialogue

When you’re writing dialogue, avoid these common pitfalls: 

• Using a tag for every piece of dialogue: Dialogue tags are words like said and asked . Once you’ve established that two characters are having a conversation, you don’t need to tag every piece of dialogue. Doing so is redundant and breaks the reader’s flow. Once readers know each character’s voice, many lines of dialogue can stand alone. 
• Not using enough tags: On the flip side, some writers use too few dialogue tags, which can confuse readers. Readers should always know who’s speaking. When a character’s mannerisms and knowledge don’t make that abundantly obvious, tag the dialogue and use their name. 
• Dense, unrealistic speech: As we mentioned above, dialogue doesn’t need to be grammatically correct. In fact, when it’s too grammatically correct, it can make characters seem stiff and unrealistic. 
• Anachronisms: A pirate in 1700s Barbados wouldn’t greet his captain with “what’s up?” Depending on how dedicated you (and your readers) are to historical accuracy, this doesn’t need to be perfect. But it should be believable. 
• Eye dialect: This is an important one to keep in mind. Eye dialect is the practice of writing out characters’ mispronunciations phonetically, like writing “wuz” for “was.” Eye dialect can be (and has been) used to create offensive caricatures, and even when it’s not used in this manner, it can make dialogue difficult for readers to understand. Certain well-known instances of eye dialect, like “fella” for “fellow” and “‘em” for “them,” are generally deemed acceptable, but beyond these, it’s often best to avoid it. 

How to write dialogue

Write how people actually speak (with some editing).

You want your characters to sound like real people. Real people don’t always speak in complete sentences or use proper grammar. So when you’re writing dialogue, break grammatical rules as you need to. 

That said, your dialogue needs to still be readable. If the grammar is so bad that readers don’t understand what your characters are saying, they’ll probably just stop reading your story. Even if your characters speak in poor grammar, using punctuation marks correctly, even when they’re in the wrong places, will help readers understand the characters.

Here’s a quick example: 

“I. Do. Not. WANT. to go back to boarding school!” Caleb shouted. 

See how the period after each word forces your brain to stop and read each word as if it were its own sentence? The periods are doing what they’re supposed to do; they just aren’t being used to end sentences like periods typically do. Here’s another example of a character using bad grammar but the author using proper punctuation to make the dialogue understandable: 

“Because no,” she said into the phone. “I need a bigger shed to store all my stuff in . . . yeah, no, that’s not gonna work for me, I told you what I need and now you gotta make it happen.”

Less is more

When you’re editing your characters’ dialogue, cut back all the parts that add nothing to the story. Real-life conversations are full of small talk and filler. Next time you read a story, take note of how little small talk and filler is in the dialogue. There’s a reason why TV characters never say “good-bye” when they hang up the phone: the “good-bye” adds nothing to the storyline. Dialogue should characterize people and their relationships, and it should also advance the plot. 

Vary up your tags, but don’t go wild with them

“We love basketball!” he screamed.

“Why are you screaming?” the coach asked.

“Because I’m just so passionate about basketball!” he replied.

Dialogue tags show us a character’s tone. It’s good to have a variety of dialogue tags in your work, but there’s also nothing wrong with using a basic tag like “said” when it’s the most accurate way to describe how a character delivered a line. Generally, it’s best to keep your tags to words that describe actual speech, like:

You’ve probably come across more unconventional tags like “laughed” and “dropped.” If you use these at all, use them sparingly. They can be distracting to readers, and some particularly pedantic readers might be bothered because people don’t actually laugh or drop their words. 

Give each character a unique voice (and keep them consistent)

If there is more than one character with a speaking role in your work, give each a unique voice. You can do this by varying their vocabulary, their speech’s pace and rhythm, and the way they tend to react to dialogue.

Keep each character’s voice consistent throughout the story by continuing to write them in the style you established. When you go back and proofread your work, check to make sure each character’s voice remains consistent—or, if it changed because of a perspective-shifting event in the story, make sure that this change fits into the narrative and makes sense. One way to do this is to read your dialogue aloud and listen to it. If something sounds off, revise it. 

Dialogue examples

Inner dialogue.

As I stepped onto the bus, I had to ask myself: why was I going to the amusement park today, and not my graduation ceremony? 

He thought to himself, this must be what paradise looks like. 

Outer dialogue

“Mom, can I have a quarter so I can buy a gumball?”

Without skipping a beat, she responded, “I’ve dreamed of working here my whole life.”

“Ren, are you planning on stopping by the barbecue?” 

“No, I’m not,” Ren answered. “I’ll catch you next time.”

Here’s a tip: Grammarly’s  Citation Generator  ensures your essays have flawless citations and no plagiarism. Try it for citing dialogue in Chicago , MLA , and APA styles.

Dialogue FAQs

What is dialogue.

Dialogue is the text that represents the spoken word. 

How does dialogue work?

Dialogue expresses exactly what a character is saying. In contrast, a narrator might paraphrase or describe a character’s thoughts or speech. 

What are different kinds of dialogue?

Inner dialogue is the dialogue a character has inside their own head. Often, it’s referred to as an inner monologue. 

Outer dialogue is a conversation between two or more characters. 

How is dialogue formatted?

Inner dialogue simply fits into the narrative prose. 

Outer dialogue is marked by quotation marks and a few other formatting guidelines. These include:

• A new, indented paragraph every time a new character speaks
• Punctuation inside the quotation marks
• Em dashes to communicate interruption

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Last updated on Jul 24, 2023

15 Examples of Great Dialogue (And Why They Work So Well)

About the author.

Reedsy's editorial team is a diverse group of industry experts devoted to helping authors write and publish beautiful books.

About Martin Cavannagh

Head of Content at Reedsy, Martin has spent over eight years helping writers turn their ambitions into reality. As a voice in the indie publishing space, he has written for a number of outlets and spoken at conferences, including the 2024 Writers Summit at the London Book Fair.

Great dialogue is hard to pin down, but you know it when you hear or see it. In the earlier parts of this guide, we showed you some well-known tips and rules for writing dialogue. In this section, we'll show you those rules in action with 15 examples of great dialogue, breaking down exactly why they work so well.

1. Barbara Kingsolver, Unsheltered 

In the opening of Barbara Kingsolver’s Unsheltered, we meet Willa Knox, a middle-aged and newly unemployed writer who has just inherited a ramshackle house. 

     “The simplest thing would be to tear it down,” the man said. “The house is a shambles.”      She took this news as a blood-rush to the ears: a roar of peasant ancestors with rocks in their fists, facing the evictor. But this man was a contractor. Willa had called him here and she could send him away. She waited out her panic while he stood looking at her shambles, appearing to nurse some satisfaction from his diagnosis. She picked out words.      “It’s not a living thing. You can’t just pronounce it dead. Anything that goes wrong with a structure can be replaced with another structure. Am I right?”      “Correct. What I am saying is that the structure needing to be replaced is all of it. I’m sorry. Your foundation is nonexistent.”

Alfred Hitchcock once described drama as "life with the boring bits cut out." In this passage, Kingsolver cuts out the boring parts of Willa's conversation with her contractor and brings us right to the tensest, most interesting part of the conversation.

By entering their conversation late , the reader is spared every tedious detail of their interaction.

Instead of a blow-by-blow account of their negotiations (what she needs done, when he’s free, how she’ll be paying), we’re dropped right into the emotional heart of the discussion. The novel opens with the narrator learning that the home she cherishes can’t be salvaged. 

By starting off in the middle of (relatively obscure) dialogue, it takes a moment for the reader to orient themselves in the story and figure out who is speaking, and what they’re speaking about. This disorientation almost mirrors Willa’s own reaction to the bad news, as her expectations for a new life in her new home are swiftly undermined.

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2. Jane Austen, Pride and Prejudice  

In the first piece of dialogue in Pride and Prejudice , we meet Mr and Mrs Bennet, as Mrs Bennet attempts to draw her husband into a conversation about neighborhood gossip.

     “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.”

Austen’s dialogue is always witty, subtle, and packed with character. This extract from Pride and Prejudice is a great example of dialogue being used to develop character relationships . 

We instantly learn everything we need to know about the dynamic between Mr and Mrs Bennet’s from their first interaction: she’s chatty, and he’s the beleaguered listener who has learned to entertain her idle gossip, if only for his own sake (hence “you want to tell me, and I have no objection to hearing it”).

There is even a clear difference between the two characters visually on the page: Mr Bennet responds in short sentences, in simple indirect speech, or not at all, but this is “invitation enough” for Mrs Bennet to launch into a rambling and extended response, dominating the conversation in text just as she does audibly.

The fact that Austen manages to imbue her dialogue with so much character-building realism means we hardly notice the amount of crucial plot exposition she has packed in here. This heavily expository dialogue could be a drag to get through, but Austen’s colorful characterization means she slips it under the radar with ease, forwarding both our understanding of these people and the world they live in simultaneously.

3. Naomi Alderman, The Power

In The Power , young women around the world suddenly find themselves capable of generating and controlling electricity. In this passage, between two boys and a girl who just used those powers to light her cigarette.

     Kyle gestures with his chin and says, “Heard a bunch of guys killed a girl in Nebraska last week for doing that.”      “For smoking? Harsh.”      Hunter says, “Half the kids in school know you can do it.”      “So what?”      Hunter says, “Your dad could use you in his factory. Save money on electricity.”      “He’s not my dad.”      She makes the silver flicker at the ends of her fingers again. The boys watch.

Alderman here uses a show, don’t tell approach to expositional dialogue . Within this short exchange, we discover a lot about Allie, her personal circumstances, and the developing situation elsewhere. We learn that women are being punished harshly for their powers; that Allie is expected to be ashamed of those powers and keep them a secret, but doesn’t seem to care to do so; that her father is successful in industry; and that she has a difficult relationship with him. Using dialogue in this way prevents info-dumping backstory all at once, and instead helps us learn about the novel’s world in a natural way.

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4. Kazuo Ishiguro, Never Let Me Go

Here, friends Tommy and Kathy have a conversation after Tommy has had a meltdown. After being bullied by a group of boys, he has been stomping around in the mud, the precise reaction they were hoping to evoke from him.

     “Tommy,” I said, quite sternly. “There’s mud all over your shirt.”      “So what?” he mumbled. But even as he said this, he looked down and noticed the brown specks, and only just stopped himself crying out in alarm. Then I saw the surprise register on his face that I should know about his feelings for the polo shirt.      “It’s nothing to worry about.” I said, before the silence got humiliating for him. “It’ll come off. If you can’t get it off yourself, just take it to Miss Jody.”      He went on examining his shirt, then said grumpily, “It’s nothing to do with you anyway.”

This episode from Never Let Me Go highlights the power of interspersing action beats within dialogue . These action beats work in several ways to add depth to what would otherwise be a very simple and fairly nondescript exchange.  Firstly, they draw attention to the polo shirt, and highlight its potential significance in the plot. Secondly, they help to further define Kathy’s relationship with Tommy. 

We learn through Tommy’s surprised reaction that he didn’t think Kathy knew how much he loved his seemingly generic polo shirt. This moment of recognition allows us to see that she cares for him and understands him more deeply than even he realized. Kathy breaking the silence before it can “humiliate” Tommy further emphasizes her consideration for him. While the dialogue alone might make us think Kathy is downplaying his concerns with pragmatic advice, it is the action beats that tell the true story here.

5. J R R Tolkien, The Hobbit  

The eponymous hobbit Bilbo is engaged in a game of riddles with the strange creature Gollum.

     "What have I got in my pocket?" he said aloud. He was talking to himself, but Gollum thought it was a riddle, and he was frightfully upset.       "Not fair! not fair!" he hissed. "It isn't fair, my precious, is it, to ask us what it's got in its nassty little pocketses?"      Bilbo seeing what had happened and having nothing better to ask stuck to his question. "What have I got in my pocket?" he said louder. "S-s-s-s-s," hissed Gollum. "It must give us three guesseses, my precious, three guesseses."      "Very well! Guess away!" said Bilbo.      "Handses!" said Gollum.      "Wrong," said Bilbo, who had luckily just taken his hand out again. "Guess again!"      "S-s-s-s-s," said Gollum, more upset than ever. 

Tolkein’s dialogue for Gollum is a masterclass in creating distinct character voices . By using a repeated catchphrase (“my precious”) and unconventional spelling and grammar to reflect his unusual speech pattern, Tolkien creates an idiosyncratic, unique (and iconic) speech for Gollum. This vivid approach to formatting dialogue, which is almost a transliteration of Gollum's sounds, allows readers to imagine his speech pattern and practically hear it aloud.

We wouldn’t recommend using this extreme level of idiosyncrasy too often in your writing — it can get wearing for readers after a while, and Tolkien deploys it sparingly, as Gollum’s appearances are limited to a handful of scenes. However, you can use Tolkien’s approach as inspiration to create (slightly more subtle) quirks of speech for your own characters.

6. F Scott Fitzgerald, The Great Gatsby

The narrator, Nick has just done his new neighbour Gatsby a favor by inviting his beloved Daisy over to tea. Perhaps in return, Gatsby then attempts to make a shady business proposition.

     “There’s another little thing,” he said uncertainly, and hesitated.      “Would you rather put it off for a few days?” I asked.      “Oh, it isn’t about that. At least —” He fumbled with a series of beginnings. “Why, I thought — why, look here, old sport, you don’t make much money, do you?”      “Not very much.”      This seemed to reassure him and he continued more confidently.       “I thought you didn’t, if you’ll pardon my — you see, I carry on a little business on the side, a little side line, if you understand. And I thought that if you don’t make very much — You’re selling bonds, aren’t you, old sport?”      “Trying to.” 

This dialogue from The Great Gatsby is a great example of how to make dialogue sound natural. Gatsby tripping over his own words (even interrupting himself , as marked by the em-dashes) not only makes his nerves and awkwardness palpable but also mimics real speech. Just as real people often falter and make false starts when they’re speaking off the cuff, Gatsby too flounders, giving us insight into his self-doubt; his speech isn’t polished and perfect, and neither is he despite all his efforts to appear so.

Fitzgerald also creates a distinctive voice for Gatsby by littering his speech with the character's signature term of endearment, “old sport”. We don’t even really need dialogue markers to know who’s speaking here — a sign of very strong characterization through dialogue.

7. Arthur Conan Doyle, A Study in Scarlet  

In this first meeting between the two heroes of Conan Doyle’s Sherlock Holmes stories, Sherlock Holmes and John Watson, John is introduced to Sherlock while the latter is hard at work in the lab.

      “How are you?” he said cordially, gripping my hand with a strength for which I should hardly have given him credit. “You have been in Afghanistan, I perceive.”      “How on earth did you know that?” I asked in astonishment.      “Never mind,” said he, chuckling to himself. “The question now is about hemoglobin. No doubt you see the significance of this discovery of mine?”     “It is interesting, chemically, no doubt,” I answered, “but practically— ”      “Why, man, it is the most practical medico-legal discovery for years. Don’t you see that it gives us an infallible test for blood stains. Come over here now!” He seized me by the coat-sleeve in his eagerness, and drew me over to the table at which he had been working. “Let us have some fresh blood,” he said, digging a long bodkin into his finger, and drawing off the resulting drop of blood in a chemical pipette. “Now, I add this small quantity of blood to a litre of water. You perceive that the resulting mixture has the appearance of pure water. The proportion of blood cannot be more than one in a million. I have no doubt, however, that we shall be able to obtain the characteristic reaction.” As he spoke, he threw into the vessel a few white crystals, and then added some drops of a transparent fluid. In an instant the contents assumed a dull mahogany colour, and a brownish dust was precipitated to the bottom of the glass jar.      “Ha! ha!” he cried, clapping his hands, and looking as delighted as a child with a new toy. “What do you think of that?”

This passage uses a number of the key techniques for writing naturalistic and exciting dialogue, including characters speaking over one another and the interspersal of action beats. 

Sherlock cutting off Watson to launch into a monologue about his blood experiment shows immediately where Sherlock’s interest lies — not in small talk, or the person he is speaking to, but in his own pursuits, just like earlier in the conversation when he refuses to explain anything to John and is instead self-absorbedly “chuckling to himself”. This helps establish their initial rapport (or lack thereof) very quickly.

Breaking up that monologue with snippets of him undertaking the forensic tests allows us to experience the full force of his enthusiasm over it without having to read an uninterrupted speech about the ins and outs of a science experiment.

Starting to think you might like to read some Sherlock? Check out our guide to the Sherlock Holmes canon !

8. Brandon Taylor, Real Life

Here, our protagonist Wallace is questioned by Ramon, a friend-of-a-friend, over the fact that he is considering leaving his PhD program.

     Wallace hums. “I mean, I wouldn’t say that I want to leave, but I’ve thought about it, sure.”     “Why would you do that? I mean, the prospects for… black people, you know?”        “What are the prospects for black people?” Wallace asks, though he knows he will be considered the aggressor for this question.

Brandon Taylor’s Real Life is drawn from the author’s own experiences as a queer Black man, attempting to navigate the unwelcoming world of academia, navigating the world of academia, and so it’s no surprise that his dialogue rings so true to life — it’s one of the reasons the novel is one of our picks for must-read books by Black authors . 

This episode is part of a pattern where Wallace is casually cornered and questioned by people who never question for a moment whether they have the right to ambush him or criticize his choices. The use of indirect dialogue at the end shows us this is a well-trodden path for Wallace: he has had this same conversation several times, and can pre-empt the exact outcome.

This scene is also a great example of the dramatic significance of people choosing not to speak. The exchange happens in front of a big group, but — despite their apparent discomfort —  nobody speaks up to defend Wallace, or to criticize Ramon’s patronizing microaggressions. Their silence is deafening, and we get a glimpse of Ramon’s isolation due to the complacency of others, all due to what is not said in this dialogue example.

9. Ernest Hemingway, Hills Like White Elephants

In this short story, an unnamed man and a young woman discuss whether or not they should terminate a pregnancy while sitting on a train platform.

     “Well,” the man said, “if you don’t want to you don’t have to. I wouldn’t have you do it if you didn’t want to. But I know it’s perfectly simple.”      “And you really want to?”      “I think it’s the best thing to do. But I don’t want you to do it if you really don’t want to.”      “And if I do it you’ll be happy and things will be like they were and you’ll love me?”      “I love you now. You know I love you.”      “I know. But if I do it, then it will be nice again if I say things are like white elephants, and you’ll like it?”      “I’ll love it. I love it now but I just can’t think about it. You know how I get when I worry.”      “If I do it you won’t ever worry?”      “I won’t worry about that because it’s perfectly simple.”

This example of dialogue from Hemingway’s short story Hills Like White Elephants moves at quite a clip. The conversation quickly bounces back and forth between the speakers, and the call-and-response format of the woman asking and the man answering is effective because it establishes a clear dynamic between the two speakers: the woman is the one seeking reassurance and trying to understand the man’s feelings, while he is the one who is ultimately in control of the situation.

Note the sparing use of dialogue markers: this minimalist approach keeps the dialogue brisk, and we can still easily understand who is who due to the use of a new paragraph when the speaker changes .

Like this classic author’s style? Head over to our selection of the 11 best Ernest Hemingway books .

10. Madeline Miller, Circe

In Madeline Miller’s retelling of Greek myth, we witness a conversation between the mythical enchantress Circe and Telemachus (son of Odysseus).

     “You do not grieve for your father?”        “I do. I grieve that I never met the father everyone told me I had.”           I narrowed my eyes. “Explain.”      “I am no storyteller.”      “I am not asking for a story. You have come to my island. You owe me truth.”       A moment passed, and then he nodded. “You will have it.” 

This short and punchy exchange hits on a lot of the stylistic points we’ve covered so far. The conversation is a taut tennis match between the two speakers as they volley back and forth with short but impactful sentences, and unnecessary dialogue tags have been shaved off . It also highlights Circe’s imperious attitude, a result of her divine status. Her use of short, snappy declaratives and imperatives demonstrates that she’s used to getting her own way and feels no need to mince her words.

11. Andre Aciman, Call Me By Your Name

This is an early conversation between seventeen-year-old Elio and his family’s handsome new student lodger, Oliver.

     What did one do around here? Nothing. Wait for summer to end. What did one do in the winter, then?      I smiled at the answer I was about to give. He got the gist and said, “Don’t tell me: wait for summer to come, right?”      I liked having my mind read. He’d pick up on dinner drudgery sooner than those before him.      “Actually, in the winter the place gets very gray and dark. We come for Christmas. Otherwise it’s a ghost town.”      “And what else do you do here at Christmas besides roast chestnuts and drink eggnog?”      He was teasing. I offered the same smile as before. He understood, said nothing, we laughed.      He asked what I did. I played tennis. Swam. Went out at night. Jogged. Transcribed music. Read.      He said he jogged too. Early in the morning. Where did one jog around here? Along the promenade, mostly. I could show him if he wanted.      It hit me in the face just when I was starting to like him again: “Later, maybe.”

Dialogue is one of the most crucial aspects of writing romance — what’s a literary relationship without some flirty lines? Here, however, Aciman gives us a great example of efficient dialogue. By removing unnecessary dialogue and instead summarizing with narration, he’s able to confer the gist of the conversation without slowing down the pace unnecessarily. Instead, the emphasis is left on what’s unsaid, the developing romantic subtext. 

Furthermore, the fact that we receive this scene in half-reported snippets rather than as an uninterrupted transcript emphasizes the fact that this is Elio’s own recollection of the story, as the manipulation of the dialogue in this way serves to mimic the nostalgic haziness of memory.

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12. George Eliot, Middlemarch

Two of Eliot’s characters, Mary and Rosamond, are out shopping,

     When she and Rosamond happened both to be reflected in the glass, she said laughingly —      “What a brown patch I am by the side of you, Rosy! You are the most unbecoming companion.”      “Oh no! No one thinks of your appearance, you are so sensible and useful, Mary. Beauty is of very little consequence in reality,” said Rosamond, turning her head towards Mary, but with eyes swerving towards the new view of her neck in the glass.      “You mean my beauty,” said Mary, rather sardonically.       Rosamond thought, “Poor Mary, she takes the kindest things ill.” Aloud she said, “What have you been doing lately?”      “I? Oh, minding the house — pouring out syrup — pretending to be amiable and contented — learning to have a bad opinion of everybody.”

This excerpt, a conversation between the level-headed Mary and vain Rosamond, is an example of dialogue that develops character relationships naturally. Action descriptors allow us to understand what is really happening in the conversation. 

Whilst the speech alone might lead us to believe Rosamond is honestly (if clumsily) engaging with her friend, the description of her simultaneously gazing at herself in a mirror gives us insight not only into her vanity, but also into the fact that she is not really engaged in her conversation with Mary at all.

The use of internal dialogue cut into the conversation (here formatted with quotation marks rather than the usual italics ) lets us know what Rosamond is actually thinking, and the contrast between this and what she says aloud is telling. The fact that we know she privately realizes she has offended Mary, but quickly continues the conversation rather than apologizing, is emphatic of her character. We get to know Rosamond very well within this short passage, which is a hallmark of effective character-driven dialogue.

13. John Steinbeck, The Winter of our Discontent

Here, Mary (speaking first) reacts to her husband Ethan’s attempts to discuss his previous experiences as a disciplined soldier, his struggles in subsequent life, and his feeling of impending change.

     “You’re trying to tell me something.”      “Sadly enough, I am. And it sounds in my ears like an apology. I hope it is not.”      “I’m going to set out lunch.”

Steinbeck’s Winter of our Discontent is an acute study of alienation and miscommunication, and this exchange exemplifies the ways in which characters can fail to communicate, even when they’re speaking. The pair speaking here are trapped in a dysfunctional marriage which leaves Ethan feeling isolated, and part of his loneliness comes from the accumulation of exchanges such as this one. Whenever he tries to communicate meaningfully with his wife, she shuts the conversation down with a complete non sequitur. 

We expect Mary’s “you’re trying to tell me something” to be followed by a revelation, but Ethan is not forthcoming in his response, and Mary then exits the conversation entirely. Nothing is communicated, and the jarring and frustrating effect of having our expectations subverted goes a long way in mirroring Ethan’s own frustration.

Just like Ethan and Mary, we receive no emotional pay-off, and this passage of characters talking past one another doesn’t further the plot as we hope it might, but instead gives us insight into the extent of these characters’ estrangement.

14. Bret Easton Ellis , Less Than Zero

The disillusioned main character of Bret Easton Ellis’ debut novel, Clay, here catches up with a college friend, Daniel, whom he hasn’t seen in a while. 

     He keeps rubbing his mouth and when I realize that he’s not going to answer me, I ask him what he’s been doing.      “Been doing?”      “Yeah.”      “Hanging out.”      “Hanging out where?”      “Where? Around.”

Less Than Zero is an elegy to conversation, and this dialogue is an example of the many vacuous exchanges the protagonist engages in, seemingly just to fill time. The whole book is deliberately unpoetic and flat, and depicts the lives of disaffected youths in 1980s LA. Their misguided attempts to fill the emptiness within them with drink and drugs are ultimately fruitless, and it shows in their conversations: in truth, they have nothing to say to one another at all.

This utterly meaningless exchange would elsewhere be considered dead weight to a story. Here, rather than being fat in need of trimming, the empty conversation is instead thematically resonant.

15. Daphne du Maurier, Rebecca

The young narrator of du Maurier’s classic gothic novel here has a strained conversation with Robert, one of the young staff members at her new husband’s home, the unwelcoming Manderley.

     “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.”      “Perhaps he went to the beach another way,” I said; “I may have missed him.”      “Yes, Madam,” said Robert.      I looked at the cold meat and the salad. I felt empty but not hungry. I did not want cold meat now. “Will you be taking lunch?” said Robert.      “No,” I said, “No, you might bring me some tea, Robert, in the library. Nothing like cakes or scones. Just tea and bread and butter.”      “Yes, Madam.”

We’re including this one in our dialogue examples list to show you the power of everything Du Maurier doesn’t do: rather than cycling through a ton of fancy synonyms for “said”, she opts for spare dialogue and tags. 

This interaction's cold, sparse tone complements the lack of warmth the protagonist feels in the moment depicted here. By keeping the dialogue tags simple , the author ratchets up the tension —  without any distracting flourishes taking the reader out of the scene. The subtext of the conversation is able to simmer under the surface, and we aren’t beaten over the head with any stage direction extras.

The inclusion of three sentences of internal dialogue in the middle of the dialogue (“I looked at the cold meat and the salad. I felt empty but not hungry. I did not want cold meat now.”) is also a masterful touch. What could have been a single sentence is stretched into three, creating a massive pregnant pause before Robert continues speaking, without having to explicitly signpost one. Manipulating the pace of dialogue in this way and manufacturing meaningful silence is a great way of adding depth to a scene.

Phew! We've been through a lot of dialogue, from first meetings to idle chit-chat to confrontations, and we hope these dialogue examples have been helpful in illustrating some of the most common techniques.

If you’re looking for more pointers on creating believable and effective dialogue, be sure to check out our course on writing dialogue. Or, if you find you learn better through examples, you can look at our list of 100 books to read before you die — it’s packed full of expert storytellers who’ve honed the art of dialogue.

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How to Format Dialogue in a Story

Last Updated: December 23, 2023 Fact Checked

This article was co-authored by Diya Chaudhuri, PhD . Diya Chaudhuri holds a PhD in Creative Writing (specializing in Poetry) from Georgia State University. She has over 5 years of experience as a writing tutor and instructor for both the University of Florida and Georgia State University. There are 10 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 454,365 times.

Whether you are writing fiction or nonfiction, satire or drama, writing the dialogue may have its challenges. The parts of a story where characters speak stand out from the other elements of a story, starting with the quotation marks that are nearly universally applied. Here are some of the most common and established steps for making sure that your story looks right when you have to figure out how to properly format dialogue.

Things You Should Know

• Break and indent paragraphs involving 2 or more speakers.
• Use quotation marks around all words spoken by a character.
• Break a long speech into multiple paragraphs.

Getting the Punctuation Right

• Even if a speaker only utters half a syllable before they’re interrupted by someone else, that half-syllable still gets its own indented paragraph.
• In English, dialogue is read from the left side of the page to the right, so the first thing readers notice when looking at a block of text is the white space on the left margin. [2] X Research source

• A single set of quotation marks can include multiple sentences, as long as they are spoken in the same portion of dialogue. For example: Evgeny argued, "But Laura didn’t have to finish her dinner! You always give her special treatment!"
• When a character quotes someone else, use double-quotes around what your character says, then single-quotes around the speech they’re quoting. For example: Evgeny argued, “But you never yell ‘Finish your dinner’ at Laura!”
• The reversal of roles for the single and double-quotation mark is common outside of American writing. Many European and Asian languages use angle brackets (<< >>) to mark dialogue instead.

• Use a comma to separate the dialogue tag from the dialogue.
• If the dialogue tag precedes the dialogue, the comma appears before the opening quotation mark: Evgeny argued, “But Laura didn’t have to finish her dinner!”
• If the dialogue tag comes after the dialogue, the comma appears before (inside) the closing quotation mark: “But Laura didn’t have to finish her dinner,” argued Evgeny.
• If the dialogue tag interrupts the flow of a sentence of dialogue, use a pair of commas that follows the previous two rules: “But Laura,” Evgeny argued, “never has to finish her dinner!”

• If the question or exclamation ends the dialogue, do not use commas to separate the dialogue from dialogue tags. For example: "Why did you order mac-and-cheese pizza for dinner?" Fatima asked in disbelief.

• For example, use a dash to indicate an abruptly ended speech: "What are y--" Joe began.
• You can also use dashes to indicate when one person's dialogue is interrupted by another's: "I just wanted to tell you--" "Don't say it!" "--that I prefer Rocky Road ice cream."
• Use ellipses when a character has lost her train of thought or can't figure out what to say: "Well, I guess I mean..."

• For example: Evgeny argued, "But Laura didn’t have to finish her dinner!" The “b” of “But” does not technically begin the sentence, but it begins a sentence in the world of the dialogue, so it is capitalized.
• However, if the first quoted word isn’t the first word of a sentence, don’t capitalize it: Evgeny argued that Laura “never has to finish her dinner!”

• Use an opening quotation mark where you normally would, but don’t place one at the end of the first paragraph of the character’s speech. The speech isn’t over yet, so you don’t punctuate it like it is!
• Do, however, place another opening quotation mark at the beginning of the next paragraph of speech. This indicates that this is a continuation of the speech from the previous paragraph.
• Place your closing quotation mark wherever the character’s speech ends, as you normally would.

Making Your Dialogue Flow Naturally

• When you have a long dialogue that’s clearly being held between only two people, you can choose to leave out the dialogue tags entirely. In this case, you would rely on your paragraph breaks and indentations to let the reader know which character is speaking.
• You should leave out the dialogue tags when more than two characters are speaking only if you intend for the reader to be potentially confused about who is speaking. For example, if four characters are arguing with one another, you may want the reader to get the sense that they’re just hearing snatches of argument without being able to tell who’s speaking. The confusion of leaving out dialogue tags could help accomplish this.

• Place dialogue tags in the middle of a sentence, interrupting the sentence, to change the pacing of your sentence. Because you have to use two commas to set the dialogue tag apart (see Step 3 in the previous section), your sentence will have two pauses in the middle of the spoken sentence: “And how exactly,” Laura muttered under her breath, “do you plan on accomplishing that?”

• Some examples of pronouns include I, me, he, she, herself, you, it, that, they, each, few, many, who, whoever, whose, someone, everybody, and so on.
• Pronouns must always agree with the number and gender of the nouns they’re referring to. [9] X Research source [10] X Research source
• For example, the only appropriate pronouns to replace “Laura” are singular, feminine ones: she, her, hers, herself.
• The only appropriate pronouns to replace “Laura and Evgeny” are plural, gender neutral ones (because English loses gender when pluralized): they, their, theirs, themselves, them.

Community Q&A

• Remember that less is often more. One common mistake that writers make when creating dialogue is to write things in longer sentences than people would actually say them. For example, most people use contractions and drop inessential words in everyday conversation. Thanks Helpful 0 Not Helpful 0
• Be very careful if you attempt to include an accent in your dialogue. Often, this will necessitate extra punctuation to show accent sounds ( danglin' instead of dangling , for example), and can end up visually overwhelming your reader. Thanks Helpful 0 Not Helpful 0

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• ↑ http://edhelper.com/ReadingComprehension_33_85.html
• ↑ http://www.merriam-webster.com/dictionary/white%20space
• ↑ https://stlcc.edu/student-support/academic-success-and-tutoring/writing-center/writing-resources/quotation-marks-dialogue.aspx
• ↑ https://blog.reedsy.com/guide/how-to-write-dialogue/tags/
• ↑ http://learn.lexiconic.net/dialoguepunctuation.htm
• ↑ http://englishplus.com/grammar/00000106.htm
• ↑ http://www.chompchomp.com/terms/propernoun.htm
• ↑ http://www.grammarbook.com/grammar/pronoun.asp
• ↑ http://facweb.furman.edu/~moakes/Powerwrite/pronouns.htm
• ↑ https://www.sjsu.edu/writingcenter/docs/handouts/Pronouns.pdf

About This Article

To format dialogue in a story, insert a paragraph break and indent every time a new speaker starts talking. Then, put what they’re saying inside a set of double quotation marks. If you're using a dialogue tag, like "She said" or "He asked," follow it with a comma if it comes before the dialogue or a period if it comes after. Also, remember to put periods, question marks, and exclamation points inside the quotation marks. For more tips from our Creative Writing co-author, like how to write good, convincing dialogue, scroll down! Did this summary help you? Yes No

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Novel writing ,

Writing dialogue in fiction: 7 easy steps.

By Harry Bingham

Speech gives life to stories. It breaks up long pages of action and description, it gives us an insight into a character, and it moves the action along. But how do you write effective dialogue that will add depth to your story and not take the reader away from the action?

In this article I will be guiding you through seven simple steps for keeping your fictional chat fresh, relevant and tight. As well as discussing dialogue tags and showing you dialogue examples.

Time to talk…

7 Easy Steps For Compelling Dialogue

Getting speech right is an art but, fortunately, there are a few easy rules to follow. Those rules will make writing dialogue easy – turning it from something static, heavy and un-lifelike into something that shines off the page.

Better still, dialogue should be fun to write, so don’t worry if we talk about ‘rules’. We’re not here to kill the fun. We’re here to increase it. So let’s look at some of these rules along with dialogue examples.

“Ready?” she asked.

“You bet. Let’s dive right in.”

How To Write Dialogue In 7 Simple Steps:

• Keep it tight and avoid unnecessary words
• Hitting beats and driving momentum
• Keep it oblique, where characters never quite answer each other directly
• Reveal character dynamics and emotion
• Keep your dialogue tags simple
• Get the punctuation right
• Be careful with accents

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Dialogue Rule 1: Keep It Tight

One of the biggest rules when writing with dialogue is: no spare parts. No unnecessary words. Nothing to excess.

That’s true in all writing, of course, but it has a particular acuteness (I don’t know why) when it comes to dialogue.

Dialogue Helps The Character And The Reader

Everything your character says has to have a meaning. It should either help paint a more vivid picture of the person talking (or the one they are talking to or about), or inform the other character (or the reader) of something important, or it should move the plot forward.

If it does none of those things then cut it out! Here’s an example of excess chat:

“Good morning, Henry!”

“Good morning, Diana.”

“How are you?” she asked.

“I’m well. How are you?”

“I’m fine, thank you.” She looked up at the blue sky. “Lovely weather we’re having.”

Are you asleep yet? You should be. It’s boring, right?

Sometimes you don’t need two pages of dialogue. Sometimes a simple exchange can be part of the narrative. If you want your readers to know an interaction like this has taken place, then simply say – Henry passed Diana in the street and they exchanged pleasantries.

If you want the reader to know that Henry finds Diana insufferably then you can easily sum that up by writing – Henry passed Diana in the street and they exchanged pleasantries. As always she looked up at the sky before commenting on the weather, as if every day that week hadn’t been gloriously sunny. It took ten minutes to get away, by which time his cheeks were aching from all the forced smiling.

No Soliloquies Allowed (Unless You’re Shakespeare)

This rule also applies to big chunks of dialogue. Perhaps your character has a lot to say, but if you present it as one long speech it will feel to the modern reader like they’ve been transported back to Victorian England.

So don’t do it!

Keep it spare. Allow gaps in the communication (intersperse with action and leave plenty unsaid) and let the readers fill in the blanks. It’s like you’re not even giving the readers 100% of what they want. You’re giving them 80% and letting them figure out the rest.

Take this example of dialogue, for instance, from Ian Rankin’s fourteenth Rebus crime novel,  A Question of Blood . The detective, John Rebus, is phoned up at night by his colleague:

… “Your friend, the one you were visiting that night you bumped into me …” She was on her mobile, sounded like she was outdoors.

“Andy?” he said. ‘Andy Callis?”

“Can you describe him?”

Rebus froze. “What’s happened?”

“Look, it might not be him …”

“Where are you?”

“Describe him for me … that way you’re not headed all the way out here for nothing.”

That’s great isn’t it? Immediate. Vivid. Edgy. Communicative.

But look at what isn’t said. Here’s the same passage again, but with my comments in square brackets alongside the text:

[Your friend: she doesn’t even give a name or give anything but the barest little hint of who she’s speaking about. And ‘on her mobile, sounded like she was outdoors’. That’s two sentences rammed together with a comma. It’s so clipped you’ve even lost the period and the second ‘she’.]

[Notice that this is exactly the way we speak. He could just have said “Andy Callis”, but in fact we often take two bites at getting the full name, like this. That broken, repetitive quality mimics exactly the way we speak . . . or at least the way we think we speak!]

[Uh-oh. The way she jumps straight from getting the name to this request indicates that something bad has happened. A lesser writer would have this character say, ‘Look, something bad has happened and I’m worried. So can you describe him?’ This clipped, ultra-brief way of writing the dialogue achieves the same effect, but (a) shows the speaker’s urgency and anxiety – she’s just rushing straight to the thing on her mind, (b) uses the gap to indicate the same thing as would have been (less well) achieved by a wordier, more direct approach, and (c) by forcing the reader to fill in that gap, you’re actually making the reader engage with intensity. This is the reader as co-writer – and that means super-engaged.]

[Again: you can’t convey the same thing with fewer words. Again, the shimmering anxiety about what has still not been said has extra force precisely because of the clipped style.]

[A brilliantly oblique way of indicating, ‘But I’m frigging terrified that it is.’ Oblique is good. Clipped is good.]

[A  non-sequitur,  but totally consistent with the way people think and talk.]

[Just as he hasn’t responded to what she just said, now it’s her turn to ignore him. Again, it’s the absences that make this bit of dialogue live. Just imagine how flaccid this same bit would be if she had said, “Let’s not get into where I am right now. Look, it’s important that you describe him for me . . .”]

Gaps are good. They make the reader work, and a ton of emotion and inference swirls in the gaps.

Want to achieve the same effect?  Copy Rankin. Keep it tight. And read this .

Dialogue Rule 2: Watch Those Beats

More often than not, great story moments hinge on character exchanges with dialogue at their heart.  Even very short dialogue can help drive a plot, showing more about your characters and what’s happening than longer descriptions can.

(How come? It’s the thing we just talked about: how very spare dialogue makes the reader work hard to figure out what’s going on, and there’s an intensity of energy released as a result.)

But right now, I want to focus on the way dialogue needs to create its own emotional beats. So that the action of the scene and the dialogue being spoken becomes the one same thing.

Here’s how screenwriting guru Robert McKee puts it:

Dialogue is not [real-life] conversation. … Dialogue [in writing] … must have direction. Each exchange of dialogue  must turn the beats of the scene  … yet it must sound like talk.

This excerpt from Thomas Harris’  The Silence of the Lambs  is a beautiful example of exactly that. It’s  short as heck, but just see what happens.

As before, I’ll give you the dialogue itself, then the same thing again with my notes on it:

“The significance of the chrysalis is change. Worm into butterfly, or moth. Billy thinks he wants to change. … You’re very close, Clarice, to the way you’re going to catch him, do you realize that?”

“No, Dr Lecter.”

“Good. Then you won’t mind telling me what happened to you after your father’s death.”

Starling looked at the scarred top of the school desk.

“I don’t imagine the answer’s in your papers, Clarice.”

Here Hannibal holds power, despite being behind bars. He establishes control, and Clarice can’t push back, even as he pushes her. We see her hesitancy, Hannibal’s power. (And in such few words! Can you even imagine trying to do as much as this without the power of dialogue to aid you? I seriously doubt if you could.)

But again, here’s what’s happening in detail

[ Beat 1:  What a great line of dialogue! Invoking the chrysalis and moth here is magical language. it’s like Hannibal is the magician, the Prospero figure. Look too at the switch of tack in the middle of this snippet. First he’s talking about Billy wanting to change – then about Clarice’s ability to find him. Even that change of tack emphasises his power: he’s the one calling the shots here; she’s always running to keep up.]

[ Beat 2 : Clarice sounds controlled, formal. That’s not so interesting yet . . . but it helps define her starting point in this conversation, so we can see the gap between this and where she ends up.]

[ Beat 3 : Another whole jump in the dialogue. We weren’t expecting this, and we’re already feeling the electricity in the question. How will Clarice react? Will she stay formal and controlled?]

[ Beat 4 : Nope! She’s still controlled, just about, but we can see this question has daunted her. She can’t even answer it! Can’t even look at the person she’s talking to. Notice as well that we’re outside quotation marks here – she’s not talking, she’s just looking at something. Writing great dialogue is about those sections of silence too – the bits that happen beyond the quotation marks.]

[ Beat 5:  And Lecter immediately calls attention to her reaction, thereby emphasising that he’s observed her and knows what it means.]

Overall, you can see that not one single element of this dialogue leaves the emotional balance unaltered. Every line of dialogue alters the emotional landscape in some way. That’s why it feels so intense & engaging.

Want to achieve the same effect?  Just check your own dialogue, line by line. Do you feel that emotional movement there all the time? If not, just delete anything unnecessary until you  feel the intensity and emotional movement  increase.

Dialogue Rule 3: Keep It Oblique

One more point, which sits kind of parallel to the bits we’ve talked about already.

If you want to create some terrible dialogue, you’d probably come up with something like this (very similar to my previous bad dialogue example):

“Hey Judy.”

“Hey, Brett.”

“Yeah, not bad. What do you say? Maybe play some tennis later?”

“Tennis? I’m not sure about that. I think it’s going to rain.”

Tell me honestly: were you not just about ready to scream there? If that dialogue had continued like that for much longer, you probably would have done.

And the reason is simple. It was direct, not oblique.

So direct dialogue is where person X says something or asks a question, and person Y answers in the most logical, direct way.

We hate that! As readers, we hate it.

Oblique dialogue is where people never quite answer each other in a straight way. Where a question doesn’t get a straightforward response. Where random connections are made. Where we never quite know where things are going.

As readers, we love that. It’s dialogue to die for.

And if you want to see oblique dialogue in action, here’s a snippet from Aaron Sorkin’s  The Social Network . (Because dialogue in screenwriting should follow the same rules as a novel. Some may argue that it should be even more snipped!)

So here goes. This is the young Mark Zuckerberg talking with a lawyer:

Lawyer:  “Let me re-phrase this. You sent my clients sixteen emails. In the first fifteen, you didn’t raise any concerns.” MZ:  ‘Was that a question?’ L:  “In the sixteenth email you raised concerns about the site’s functionality. Were you leading them on for 6 weeks?” MZ:  ‘No.’ L:  “Then why didn’t you raise any of these concerns before?” MZ:  ‘It’s raining.’ L:  “I’m sorry?” MZ:  ‘It just started raining.’ L:  “Mr. Zuckerberg do I have your full attention?” MZ:  ‘No.’ L:  “Do you think I deserve it?” MZ:  ‘What?’ L:  “Do you think I deserve your full attention?”

I won’t discuss that in any detail, because the technique really leaps out at you. It’s particularly visible here, because the lawyer wants and expects to have a direct conversation. ( I ask a question about X, you give me a reply that deals with X. I ask a question about Y, and … ) Zuckerberg here is playing a totally different game, and it keeps throwing the lawyer off track – and entertaining the viewer/reader too.

Want to achieve the same effect?  Just keep your dialogue not quite joined up. People should drop in random things, go off at tangents, talk in non-sequiturs, respond to an emotional implication not the thing that’s directly on the page – or anything. Just keep it broken. Keep it exciting!

This not only moves the story forward but also says a lot about the character speaking.

Dialogue Rule 4: Reveal Character Dynamics And Emotion

Most writers use dialogue to impart information – it’s a great way of explaining things. But it’s also a perfect (and subtler) tool to describe a character, highlighting their mannerisms and personality. It can also help the reader connect with the character…or hate them.

Let’s take a look here at Stephen Chbosky’s  The Perks of Being a Wallflower  as another dialogue example.

Here we have two characters, when protagonist Charlie, a high school freshman, learns his long-time crush, Sam, may like him back, after all. Here’s how that dialogue goes:

“Okay, Charlie … I’ll make this easy. When that whole thing with Craig was over, what did you think?”

… “Well, I thought a lot of things. But mostly, I thought your being sad was much more important to me than Craig not being your boyfriend anymore. And if it meant that I would never get to think of you that way, as long as you were happy, it was okay.” …

… “I can’t feel that. It’s sweet and everything, but it’s like you’re not even there sometimes. It’s great that you can listen and be a shoulder to someone, but what about when someone doesn’t need a shoulder? What if they need the arms or something like that? You can’t just sit there and put everybody’s lives ahead of yours and think that counts as love. You just can’t. You have to do things.”

“Like what?” …

“I don’t know. Like take their hands when the slow song comes up for a change. Or be the one who asks someone for a date.”

The words sound human.

Sam and Charlie are tentative, exploratory – and whilst words do the job of ‘turning’ a scene, both receiving new information, driving action on – we also see their dynamic.

And so we connect to them.

We see Charlie’s reactive nature, checking with Sam what she wants him to do. Sam throws out ideas, but it’s clear she wants him to be doing this thinking, not her, subverting Charlie’s idea of passive selflessness as love.

The dialogue shows us the characters, as clearly as anything else in the whole book. Shows us their differences, their tentativeness, their longing.

Want to achieve the same effect?  Understand your characters as fully as you can. The more you can do this, the more naturally you’ll write dialogue that’s right  for them . You can get  tips on knowing your characters here .

Dialogue Rule 5: Keep Your Dialogue Tags Simple

A dialogue tag is the part that helps us know who is saying what – the he said/she said part of dialogue that helps the reader follow the conversation.

Keep it Simple

A lot of writers try to add colour to their writing by showering it with a lot of vigorous dialogue tags. Like this:

“Not so,” she spat.

“I say that it is,” he roared.

“I know a common blackbird when I see it,” she defended.

“Oh. You’re a professional ornithologist now?” he attacked, sarcastically.

That’s pretty feeble dialogue, no matter what. But the biggest part of the problem is simply that the dialogue tags ( spat, roared , and so on) are so highly coloured, they take away interest from the dialogue itself – and it’s the words spoken by the characters that ought to capture the reader’s interest.

Almost always, therefore, you should confine yourself to the blandest of words:

She answered

And so on. Truth is, in a two-handed dialogue where it’s obvious who’s speaking, you don’t even need the word  said .

Get Creative

As an alternative, you can have action and body language demonstrate who is saying what and their emotions behind it. The scene description can say just as much as the dialogue.

Here’s another example of the same exchange:

Joan clenched her jaw. “Not so!”

“I say that it is.”

His voice kept rising with every word he shouted, but Joan was not going to be deterred.

“I know a common blackbird when I see it.”

“Oh. You’re a professional ornithologist now?”

Not one dialogue tag nor adverb was used there, but we still know who said what and how it was delivered. And , if you’re really smart and develop how your characters speak (pacing, words, syntax and speech pattern), a reader can know who is talking simply by how they’re talking.

The simple rule: use dialogue tags as invisibly as you can. I’ve written about a million words of my Fiona Griffiths series, and I doubt if I’ve used words other than say / reply and other very simple tags more than a dozen or so times in the entire series.

Keep it simple!

Dialogue Rule 6: Get The Punctuation Right

Dialogue punctuation is so simple and important, and looks so bad if you get it wrong. Here are eight simple rules to know before your character starts to speak:

• Each new line of dialogue (i.e: each new speaker) needs a new paragraph – even if the dialogue is very short.
• Action sentences within dialogue get their own paragraphs too. The first paragraph of a chapter or section starts on the far left, and the next paragraph (whether it starts with dialogue or not) is indented.
• The only exception to this rule is if the sentence interrupts an otherwise continuous piece of dialogue. for example:  “Yes,” she said. She brushed away a fly that had landed on her cheek. “I do think hippos are the best animals.”
• When you are ending a line of dialogue with  he said / she said , the sentence beforehand ends with a comma not a full stop (or period), as in this for example:  “Yes,” she said.
• If the line of dialogue ends with a question mark or exclamation mark, you still don’t have a capital letter for  he said / she said .  For example:  “You like hippos?” he said .
• If the he said / she said lives in the middle of one continuous sentence of dialogue, you need to deploy those commas like a comma-deploying ninja. Like this for example:  “If you like hippos,” he said, “then you deserve to be sat on by one.”
• And use quotation marks, dummy. You know to do that, without me telling you, right? (Yes, yes, some serious writers of literary fiction have written entire novels without one speech mark – but they are the exception to the rule.)
• Use the exclamation point sparingly. Otherwise! Your! Book! Is! Going! To! Sound! Very! Hysterical!

Dialogue Rule 7: Accents And Verbal Mannerisms

Realistic dialogue is important, but writing dialogue is not the same as speaking. Remember that the reader’s experience has to be smooth and enjoyable, so even if your character has an accent, speech impediment, or talks excessively…writing it exactly as it’s spoken doesn’t always work.

If you want to show that your character is from a certain part of the UK, it often helps to add a smattering of colloquial words or

In The Last Thing To Burn by Will Dean, the antagonist, Len, has an accent (Yorkshire or Lancashire, it’s obvious but never stated). The protagonist is trapped inside this man’s home, she has no idea where she is, but by describing the endless fields and hearing his subtle accent the reader knows exactly where in the UK she’s trapped.

Len says things like:

‘Going to go feed pigs’ and ‘There’s a good lass.’

You can highlight location, a character’s age, and their social standing simply by giving a nod to their accent.

On the flip-side, if they have a foreign accent, it can sometimes be too jarring to write dialogue exactly as it sounds.

‘Amma gonna eata the pizza’ is an awful way to write an Italian accent – it’s verging on racist. Try to avoid that. Instead, simply mention they have an Italian accent and let the reader fill in the blanks.

Accents Written Well

But, of course, there’s always an exception!

Irvine Welsh writes English in his native Scottish dialect and it’s exemplary – but nothing something we would recommend for a novice writer.

Here’s an excerpt from Trainspotting:

Third time lucky.  It wis like Sick Boy telt us: you’ve got tae know what it’s like tae try tae come off it before ye can actually dae it.  You can only learn through failure, and what ye learn is the importance ay preparation.  He could be right.  Anywey, this time ah’ve prepared. 

Perhaps, if you have a Scottish character in your novel you may want them to speak in a strong accent. But getting it wrong can ruin an entire novel, so unless you are very skilled and very confident, stick to the odd colloquialism or word and leave it there.

Verbal Mannerisms

Whether you realise it or not, we all have speech patterns. Some of us speak slowly, others pause, people also trail off mid-sentence. Some people also use verbal mannerisms, such as adding a word to a sentence that is unnecessary but becomes a personal tic (such as ‘man’, ‘like’ or ‘innit’). Or repeat favourite words. These can be influenced by age, background, class, and the period in which the book is set.

Here’s an example of two people talking. I won’t mention their ages or backgrounds, but see if you can guess.

“Chill, Bro.”

“Chill? I’m far from chilled, you scoundrel. That’s my flower bed you’ve just dug up.”

“I found something, though. It was sticking out the ground.”

“Outrageous behaviour. So… You… One simply can’t go around digging up people’s gardens!”

“Yeah. And what?” They both stared down at the swollen white lumps pressing out of the soil like plump snowdrops.”What is it, though?”

Harold swallowed. “Fingers.”

A Few Last Dialogue Rules

If want some great examples of how to write in dialogue, read plays or screenplays for inspiration. Read Tennessee Williams or Henrik Ibsen. Anything by Elmore Leonard is great. Ditto Raymond Chandler or Donna Tartt.

Some last tips:

• Keep speeches short . If a speech runs for more than three sentences or so, it (usually) risks being too long. Break it up with some action or someone else talking.
• Ensure characters speak in their own voice . And make sure your characters don’t sound the same as each other. Remember mannerisms, speech patterns, and how age and background influences speech.
• Add intrigue . Add slang and banter. Lace character chats with foreshadowing. You needn’t be writing a thriller to do this.
• Get in late and out early.  Don’t bother with small talk. Decide the point of each interaction, begin with it as late as possible, ending as soon as your point is made.
• Interruption is good.  So are characters pursuing their own thought processes and not quite engaging with the other.

Frequently Asked Questions

What are the 5 typesetting rules of writing dialogue.

Part of the editing process is to ensure you format dialogue correctly. Formatting dialogue correctly means remembering 5 simple steps:

• Only spoken words go within quotation marks.
• Use a separate sentence for every new thing someone says or does.
• Punctuation marks stay inside quotation marks and don’t forget about closing quotation marks at the end of the sentence.
• You can use single quotation marks or double quotation marks – but you must be consistent!
• Beware of capital letters. Always at the start of a sentence and after the quotations mark.

How Can You Use Everyday Life To Perfect Your Dialogue?

Listening to people speak will really help you perfect good dialogue. Sit in a cafe and people watch. Watch their body language and how they express themselves. Their verbal mannerisms, tics, how they choose their words, the syntax, speech patterns and turns of phrase. Make notes (without being spotted) and look out for contrasting word choices and personas.

What Is A Bad Example Of Dialogue?

There are plenty to choose from above – but the worst things you can do include:

• Using too many words
• Writing an accent how it’s heard (unless you are Irvine Welsh, which most people are not)
• Writing dialogue that’s irrelevant or misleading
• Using too many dialogue tags (or none at all)
• Bad punctuation – remember dialogue formatting
• Avoid long speeches

How Do You Start Dialogue?

There are many ways to start dialogue. You can ease into it, by introducing the character to the scene. Or you can jump in median res, slap bang into the centre of the action. Much like life, sometimes we hear a person’s voice before we see them – they pop up out of nowhere – and sometimes we call them or walk into a room where they are, and we have rehearsed what we plan to say.

See what works best for your scene, your characters, and the genre you are writing in (dialogue in a crime thriller will sound very different to dialogue in a young adult novel, for instance).

That’s All I Have To Say About That

We really hope you have found this article interesting and that you have now found the confidence to tackle the dialogue in your novel.

What your characters say and how they say it can make the difference between a good book and one that everyone is talking about. So get eavesdropping, get practising, and read as many books and plays as you can to create better dialogue.

Practice makes perfect and don’t forget to enjoy yourself!

About the author

Harry has written a variety of books over the years, notching up multiple six-figure deals and relationships with each of the world’s three largest trade publishers. His work has been critically acclaimed across the globe, has been adapted for TV, and is currently the subject of a major new screen deal. He’s also written non-fiction, short stories, and has worked as ghost/editor on a number of exciting projects. Harry also self-publishes some of his work, and loves doing so. His Fiona Griffiths series in particular has done really well in the US, where it’s been self-published since 2015. View his website , his Amazon profile , his Twitter . He's been reviewed in Kirkus, the Boston Globe , USA Today , The Seattle Times , The Washington Post , Library Journal , Publishers Weekly , CulturMag (Germany), Frankfurter Allgemeine , The Daily Mail , The Sunday Times , The Daily Telegraph , The Guardian , and many other places besides. His work has appeared on TV, via Bonafide . And go take a look at what he thinks about Blick Rothenberg . You might also want to watch our " Blick Rothenberg - The Truth " video, if you want to know how badly an accountancy firm can behave.

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How to write great dialogue in fiction

Related courses, dialogue – the deep dive, write to the end of your novel, by anna davis, 24th aug 2018.

Well-handled dialogue is one of THE essential ingredients of a good novel. And yet it’s something that many writers struggle with and even shy away from. The trick to writing great dialogue in fiction is to make your characters’ speech carry the ring and rhythm of real-life conversations without actually trying to recreate them verbatim, complete with all the er’s, um’s, repetition and waffle …

Here are just some of the things that really great dialogue can accomplish in your novel:

• It brings the reader right into a specific moment of your story.
• It gives the reader direct access to the voices of your characters.
• It gives direct access to the events of your story as they unfold.
• It’s a means of showing your reader more about who your characters are.
• It’s a means of conveying information to the reader.
• You can use it to misdirect the reader.
• You can use it to carry the story – moving your plot along snappily, and showing rather than telling as you go.
• It’s a very direct way of showing conflict between your characters.
• It enriches the texture of your story, breaking through the narrative voice.
• It’s an agent for humour, drama, heartbreak and more. It carries tone and emotional content.

Here are some tips on how to write great dialogue in fiction – and what to avoid doing:

1. Don't use any verbs other than 'says' or 'said' – and don't use lots of adverbs

This is the writing tip EVERYONE gives when it comes to writing dialogue – but there's a reason for it. It's the moment to unlearn everything you were taught as a kid at school. Basically you don't want a lot of 'he expostulated', 'she contradicted' etc. Neither do you need people exclaiming 'enthusiastically', 'vociferously' etc. Dialogue is best when it's purest – see if you can make it stand without too much supporting furniture. Give the reader the bare minimum of 'he saids' – just enough so we know who's speaking. And sometimes try using a physical gesture or movement instead of a 'Mother says' to show us who's speaking and what's going on. E.g.:

• 'Why are you treating me like this?' Mother turned away.

Above all, keep it simple.

2. Don’t show people always talking in complete sentences

In real life, we often don’t say things in full, carefully, and in the correct words. Make your characters say things abruptly, or speak only a part or a fragment of what they’re trying to communicate. Also, we don’t always wait for each other to finish speaking. Have your characters cut across each other in ways that are true to them and their situation.

3. Make the language work with the emotion of the situation

The way we talk depends on what’s happening to us and who we’re talking to. If you’re talking to your scary boss, you would be measured, polite, respectful. If you’re talking to your naughty child, you’d be clear, authoritative – or perhaps irritable and desperate. Consider the situation and emotions of your character when choosing the words and the extent to which your character can articulate clearly.

4. Give your characters distinct and different voices

Make sure you differentiate clearly between the voices of your characters so that a reader would know who is speaking without a ‘he said/she said’. Giving voice to your characters through dialogue is a vital part of characterisation. If you choose words which are  your  voice rather than your character’s, the reader will know straight away and the magic will be broken.

5. Informality in speech

When we’re talking, most of us run words together rather than speaking correctly. ‘I had not known I would like it’ becomes ‘I hadn’t known I’d like it’. I’d recommend you run your words together in this way when writing dialogue – otherwise it sounds stilted and unreal. And always read your dialogue aloud after you’ve written it so you can check whether it’s flowing in a naturalistic way.

So much of the interesting stuff in dialogue is what’s not said – and sometimes that’s where the story is. Have your characters conceal their real thoughts and motives and let the reader figure out what’s really going on. You can even make your characters say the opposite of what they are actually feeling – play with this for dramatic effect and to give your scene some edge.

7. Avoiding answering direct questions

It’s quite dull when a character responds readily, immediately and completely to questions he or she is asked. In life we often ignore questions – and for reasons which could be dramatically engaging.

And now here are some things to definitely AVOID in dialogue:

1. Exclamation marks and italics

In an attempt to emphasise important points and heighten the drama, we often litter our dialogue with exclamation marks and italics. Frankly that all just gets a bit much. Go through your dialogue to weed these out and make it less ‘shouty’.

2. Overstatement

Watch out for those moments when your characters state the obvious – labouring a point or building to a shouty crescendo which feels dramatic in the moment of writing, but which, when you read over it, is clumsy, unnatural and perhaps cliched. Use the editing stage of your writing process to pull back on all this. Less is more.

3. Big blocks of dialogue/characters ‘banging on’

It’s offputting to readers when they encounter big blocks of speech. If you find yourself writing a piece of direct speech that goes on for more than a few lines without interruption, you could think about cutting it back – or you could break it up by interrupting it with interjections from another character. Potentially you may even want to show this material in a different way – e.g. by dramatising it rather than telling it through dialogue.

4. Too much information

Although it’s good to use dialogue to convey information, you should avoid info-dumping – this will weigh it down, breaking the illusion of reality and making your reader want to throw the book at the wall. Don’t have your characters dishing up information when it doesn’t feel like a natural part of what they’d be saying.

5. Repeatedly addressing characters by name

When you’re talking to people in real life, how often do you speak their name aloud? We might speak someone’s name to attract their attention or to emphasise a point – but not continually throughout a conversation – unless the speaker is a salesman.

I’ll finish by saying – as I often do – that great dialogue is your friend. It can do amazing things for your novel and really bring it to life. It just takes a bit of work to get it working well for you.

Finally, if you want to learn more about the craft of writing convincing dialogue that flows naturally and serves your story – join our four-week online course Dialogue – The Deep Dive .

For more writing advice from Anna, join our six-week online Write to the End of Your Novel course, including a full module on writing dialogue.

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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 vary.

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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The Editor’s Manual

Free learning resource on English grammar, punctuation, usage, and style.

• Punctuation |

Quotation marks

How to punctuate dialogue in fiction.

Structure and punctuate the dialogue in your novel or story to make readers believe they are listening to a real conversation and watching your characters interact with one another. You want to make it clear who is saying what, but achieve this as unobtrusively as possible.

Enclose direct speech (also called quoted speech, in which you repeat a character’s exact words) in quotation marks.

• “The cake tastes like bread,” Maya said.
• Lulu said, “The water tastes like paper.”
• “And the apples smell like tangerines,” said Farley.
• “Run!” she shouted.
• He asked, “Why?”

In American and Canadian writing, double quotation marks enclose quoted speech. Single quotes are generally used instead as speech marks in British, Australian, and other writing.

Use a comma to separate quoted speech from the speaker.

• “This vacation is boring , ” said Lulu.
• “I knew that , ” Maya said.
• She yelled , “Dragon!”
• Farley said , “I can’t find my shoes.”

Such clauses (“Maya said,” “she yelled”) identify the speaker and are called speech tags. Use commas both before and after a speech tag if it interrupts a speaker’s sentence.

• “The cake , ” she said , “tastes like bread.”
• “Why , ” she wondered , “do we need money?”

But use a period after a speech tag if a new sentence of quoted speech begins after it.

• “The cake tastes like bread,” said Maya . “ T he tea smells of coffee.”
• “I don’t know,” she said . “ Y ou can ask him yourself.”
• “We sell all kinds of packages,” Poco said . “ L et me show you our catalog.”

Capitalization

Capitalize the first word of a sentence of direct or quoted speech.

• Maya said, “ T he hens are loose again.”
• Lulu asked, “ D o you know where they are?”
• Farley cried, “ N ot again!”
• “ W e haven’t booked our tickets yet,” said Maya.

Capitalize the first word after a speech tag if it starts a new sentence.

• “We’ll call him again tonight,” Maya said. “ M aybe this time he’ll answer.” A new sentence begins after the speech tag.
• “Is he here?” she asked. “ W e need to speak with him.”

If a sentence of quoted speech that began before a speech tag continues after it (i.e., the speech tag appears mid-sentence), don’t capitalize the word that follows.

• “I think,” Maya said, “ w e should call him again tonight.” The same sentence continues after the speech tag.
• “Do you know,” she asked, “ i f he is here yet?”

Question marks and exclamation points

If a line of quoted speech ends in a question mark or an exclamation point, omit the comma that generally appears before the speech tag.

• Incorrect: “Who are you? , ” she asked. Correct: “Who are you?” she asked.
• Incorrect: “It’s here! , ” she cried. Correct: “It’s here!” she cried.

However, if the question or exclamation follows the speech tag, use a comma as usual.

• She asked , “Who are you?”
• She cried , “It’s here!”

Dashes and ellipses

Mark interrupted speech using an em dash .

• “You really should—” “Don’t you tell me what to do, Farley Dash!”

An ellipsis (three consecutive periods) can also mark an interruption. More often, it signifies indecision, an incomplete thought, or a pause. In dialogue, an ellipsis can show faltering speech or a thought trailing off.

• Maya asked, “Would you like another slice of chocolate cake?” “Oh, I really shouldn’t, but . . .”
• “I heard . . . what was that? Did you hear that?”

Speech tags: Who said what

Use a speech tag (also called a dialogue tag) to identify the character who is speaking. Here is a dialogue from The Light Fantastic by Terry Pratchett.

• The tree , in a voice like a very old door swinging open, said , “Serves you right.” There was a long silence. Then Rincewind said , “Did you say that?” “Yes.” “And that too?” “Yes.”

See how the conversation continues without a speech tag attached to every line of dialogue? Once the two speakers have been identified, the reader understands that they take turns speaking. Another speech tag is needed only when a new speaker is introduced or clarification is needed, as in the following conversation from Little Women .

• “Jo does use such slang words!” observed Amy , with a reproving look at the long figure stretched on the rug. Jo immediately sat up, put her hands in her pockets, and began to whistle. “Don’t, Jo. It’s so boyish!” “That’s why I do it.” “I detest rude, unladylike girls!” “I hate affected, niminy-piminy chits!” “Birds in their little nests agree,” sang Beth , the peacemaker, with such a funny face that both sharp voices softened to a laugh, and the “pecking” ended for that time. “Really, girls, you are both to be blamed,” said Meg , beginning to lecture in her elder-sisterly fashion.

Omitting unnecessary speech tags helps the reader follow along with minimal disruption. You can also omit speech tags the first time a person speaks if it is clear who is speaking, as in the following excerpt from The Adventures of Tom Sawyer , where both boys have already been introduced to us.

• Neither boy spoke. If one moved, the other moved—but only sidewise, in a circle; they kept face to face and eye to eye all the time. Finally Tom said : “I can lick you!” “I’d like to see you try it.” “Well, I can do it.” “No you can’t, either.” “Yes I can.” “No you can’t.” “I can.” “You can’t.” “Can!” “Can’t!”

Of course in a conversation with more than two characters involved, you may have to use speech tags more often, as in the following extract from To Kill a Mockingbird by Harper Lee.

• We stared at him until he spoke: “Hey.” “Hey yourself,” said Jem pleasantly. “I’m Charles Baker Harris,” he said . “I can read.” “So what?” I said . “I just thought you’d like to know I can read. You got anything needs readin’ I can do it. . .” “How old are you,” asked Jem , “four-and-a-half?” “Goin’ on seven.”

Use clear and simple speech tags. Don’t try to mix things up by unnecessarily finding synonyms for the verb say . Use alternatives to the word said (such as observed , whispered , cried , shouted , yelled , noted , remarked ) only if necessary to convey meaning to the reader.

Action tags

Action tags describe an action different from speaking and merit a sentence of their own. They are therefore separated from speech using a period, unlike speech tags, which take commas.

• “Farley says he ate a whole bar of chocolate this morning,” said Poco, looking up from his phone. Rita leaned forward . “Did he say chocolate ?” “Hmm? Yes. Why?” “Farley hates chocolate. It’s code . ” She got up and peered out the window . “Someone’s watching us.” “Nobody’s watching us, Rita . ” Poco scratched irritably at his chin . “You and Farley are always worrying about nothing.” “Oh yeah?” Rita pointed to the building opposite . “Then who is that?”

Here is an extract from The House of Mirth in which Edith Wharton effectively uses action tags to make us feel we are in the room, watching what’s going on. Note how she uses commas with speech tags but periods with action tags.

• “How delicious to have a place like this all to one’s self! What a miserable thing it is to be a woman . ” She leaned back in a luxury of discontent . Selden was rummaging in a cupboard for the cake. “Even women , ” he said , “have been known to enjoy the privileges of a flat.” “Oh, governesses—or widows. But not girls—not poor, miserable, marriageable girls!” “I even know a girl who lives in a flat.” She sat up in surprise . “You do?” “I do , ” he assured her, emerging from the cupboard with the sought-for cake.

If the action is described in an adverbial phrase appended to a speech tag, use commas as usual, as in the final line of the example above. But don’t use verbs that don’t describe speech as speech tags. Smiling , yawning , winking , and laughing , for example, are acts different from speaking.

• Incorrect: I don’t know what you mean,” she yawned . Correct: “I don’t know what you mean,” she said with a yawn.
• Incorrect: “Here it is,” he smiled . Correct: “Here it is,” he said , smiling.

Of course you can use such verbs in action tags, but use a period then rather than a comma to separate the tag from the speech.

• Incorrect: She yawned , “I don’t know what you mean.” Correct: She yawned . “I don’t know what you mean.”
• Incorrect: He smiled , “Here it is.” Correct: He smiled . “Here it is.”

New line for each speaker

To make it easy for the reader to follow a conversation, use a new line (paragraph change) each time the speaker changes. End each line of dialogue with a period. The paragraph change indicates to the reader a change in speaker, as in the following extract from The Accidental Tourist by Anne Tyler.

• “Sarah, it’s bad for you to talk like that.” “Oh? How am I supposed to talk?” “I mean if you let yourself get angry you’ll be . . . consumed. You’ll burn up. It’s not productive.” “Oh, productive! Well, goodness, no, let’s not waste time on anything unproductive.”

Multiple paragraphs, single speaker

In the rare case that speech by a single speaker runs into multiple paragraphs (a running quotation), place an opening quotation mark at the start of each paragraph but a closing quotation mark only at the end of the final paragraph. All previous paragraphs remain unclosed. This tells the reader that the speaker has not changed at paragraph change.

• As Dash writes: “ Paragraph 1. “ Paragraph 2. “ Paragraph 3. ”

You will probably need to do this only when quoting a long speech, essay, or monologue. In normal dialogue, characters don’t speak entire paragraphs’ worth of words in one go.

Thoughts and internal dialogue

A character’s thoughts are often enclosed in quotation marks.

• “Why not?” he thought. “I can always change my mind later.”
• “She seems kind,” mused Maya. “I’m glad he met her.”

Quotation marks may be omitted with interior monologue. This can make it seem as though you are in a person’s head, listening in on their thoughts.

• It is, thought Peter Walsh, beginning to keep step with them, a very fine training. ( Mrs Dalloway by Virginia Woolf)
• Mrs. Rachel felt that she had received a severe mental jolt. She thought in exclamation points. A boy! Marilla and Matthew Cuthbert of all people adopting a boy! From an orphan asylum! Well, the world was certainly turning upside down! ( Anne of Green Gables by L.M. Montgomery)

When quotation marks are omitted and a thought appears mid-sentence, the first word is often capitalized to set off the thought from the rest of the sentence.

• Then suddenly I thought: Why, what would life be without my puppy! ( A Dog’s Tale by Mark Twain)
• So I thought, Why waste five hours trying to versify the incident? ( Something Else Again by Franklin P. Adams)

But it is not essential to capitalize the first word of a thought if it is clearly being directly quoted, as in the following sentence from Iris Murdoch’s The Sea, The Sea .

• I suddenly thought, if he is no longer in the army, why does he have to come and see me at a holiday weekend when the roads are full of traffic?

A writer may also use formatting options, such as italics, as Terry Pratchett does in Going Postal , where the main character, Moist (yes, that’s his name), is in conversation with another character. Moist’s spoken words are enclosed in quotes and his thoughts shown in italics.

• Hold on a minute , Moist thought, this is only one city. It’s got gates. It’s completely surrounded by different directions to run. Does it matter what I sign?

Indirect or reported speech

Don’t use quotation marks if you are reporting a conversation or dialogue instead of quoting the speaker’s exact words.

• Direct (quoted) speech Poco started washing the apples. “Why didn’t you call me last night?” “I had a migraine,” Lulu said. but Indirect (reported) speech As he started washing the apples, Poco asked Lulu why she hadn’t called him the night before. She said it was because she’d had a migraine.

Dashes instead of quotes to mark dialogue

Dashes may be used instead of quotation marks to punctuate dialogue, as in this excerpt from A Star Called Henry by Roddy Doyle.

• — Will we go for a stroll, so? he said. — Yes, she said. — Right. He wiped the blade of the shovel on his sleeve. — Let’s get this gleaming for the lady. He let the spade hop gently on the path. Melody heard music. — Now we’re right, said Henry Smart. He held out his arm, offered it to Melody. — Hang on, said Melody.

Dashes can make dialogue seem more immediate, as though you’re watching two people talking. However, dashes are less common than quotation marks, which are more popular as speech marks for a reason: they indicate clearly where quoted speech begins and ends.

Omitting speech marks from dialogue

Some writers prefer to omit punctuation altogether, using neither quotation marks nor dashes. Cynan Jones’s The Dig omits speech marks to create an effect that is more immediate, more direct, more urgent.

• We’ve had a report of fly-tipping. He waited. I just wanted to ask whether you would know anything about that. What did they tip? asked the man. The policeman didn’t respond. He was looking at the junk and the big man saw and said, Does it look like I throw things away? Just wondered if you could help, sir, said the policeman.

Before opting for this minimalist style, ask yourself if your short story or novel requires it. Speech marks clearly outline quoted speech in a passage. By omitting them, you are making the reader pay extra attention to understand which words are quoted speech and which are narration. If you do use this method, review your writing carefully to make sure you don’t confuse (and irritate or tire out) the reader.

Share this article

Use a comma instead of a period at the end of a quote to separate it from the speaker.

Don’t use a comma after an exclamation point, even at the end of quoted text.

Don’t use a comma after a question mark.

Use a comma after a speech tag before the start of quoted speech.

Internal discourse can be punctuated with or without speech marks. A thought can begin either with a capital or a lowercase letter.

Both quotation marks and dashes can mark dialogue in fiction. Quotation marks are more common.

Realistic dialogue: Creating characters’ speech patterns

Realistic dialogue moves stories along. When you give each character an interesting voice and persona, it’s a joy to read their conversations. Varied, entertaining speech takes readers into the heart of your characters. Here are six ways to make characters’ speech colorful and interesting

• Post author By Jordan
• 9 Comments on Realistic dialogue: Creating characters’ speech patterns

Realistic dialogue moves stories along. When you give each character an interesting voice and persona, it’s a joy to read their conversations. Varied, entertaining speech takes readers into the heart of your characters.

Remember, too, that dialogue is crafted speech, and doesn’t have to be exact ‘real speech’. Common speech patterns can be boring to read, and are usually full of phrases like ‘you know’ and umms and ahhs and so on. 

Here are six ways to make characters’ speech colorful and interesting.

1. Make characters’ voices reflect their place and time

Great dialogue illustrates its speakers. Who is this person? Why do they speak this way? What odd curse words or phrases do they use that are particular to their era or home town? Dialogue executed well develops characters, adding rich texture to the personalities filling your story. One way to make dialogue effective is to have it reflect your characters’ place and time.

In Shakespeare’s plays, we gain a strong sense of an older time through characters’ use of archaic language. For example, characters say ‘thy’ and ‘thou’ in place of ‘your’ and ‘you’.

Era-appropriate character speech helps to establish setting and context. If your character lives in the 21st Century but speaks as though they’re living in 1700, this will confuse readers. The reverse is also true. If a 19th century teenager speaks as though it is the 21st century, this can jolt your reader right out of the story.

So how do you make characters’ speech show where they are in place and time?

• Use occasional language appropriate to the time period in dialogue. In the 60s, for example, common slang terms in parts of the US included ‘old lady’ and ‘old man’ for a person’s significant other.
• Make sure characters don’t use language more modern than their time period – if you’re unsure when a word was coined, Google its etymology
• Use regional accent details

The third suggestion should be used in moderation. Trying to recreate how different groups speak in dialogue using written accents can create stereotypes or be difficult to read. Perhaps you want to portray a character whose native language isn’t English? Again, be mindful when doing so. Character speech should be clear and easy to read. This is particularly the case when there are sensitive issues of culture or race involved. Read this post for tips on creating regional speech patterns without using stereotypes as a crutch.

2. Show characters’ unique personalities in their speech

What do we mean when we talk about a character’s ‘voice’? ‘Voice’ in characterization refers to two things:

• The actual way a person’s voice sounds to the ear (details such as pitch, volume, placement (is it nasal or throaty?) and tone of voice.
• The personality that comes across in how a character expresses themselves. Do they seem blunt and bolshie? Or is their voice gentle, kind and reserved? Do they use concise language? Do they use consistently negative language? 

Pause for a second and think of people you know well. Write down an adjective (describing word) that sums up their voice for you. What creates this effect? Are they loud? Soft-spoken? Confident? Self-doubting? Comical?

Include brief descriptions of voice when you are writing character sketches for your outline. You can create full, detailed character outlines using Now Novel’s dashboard process . Decide:

• What a character’s general personality will be: Are they sanguine/happy-go-lucky, melancholic, plodding and pragmatic, irritable and aggressive?
• How these personality details could show in your character’s voice – an irritable character could curse a lot, while a melancholic character may enjoy grumbling. Also think of ways characters can be against type. A deeply melancholic character could put on a bright, sunny voice to avoid dragging others down, for example.
• Think of other elements of speech, such as whether a character is a greater talker or listener.

Remember to use gestures or beats too to make characters’ speech have even more personality . These can reinforce or contradict what a character says. They also help you to be more nuanced about what a character feels while they are talking. Does the character speak with dramatic, outsized gestures? Might your character have memorable recurring gestures such as running a hand through her hair or taking off his glasses and polishing them? Believable dialogue involves the character as a fully embodied person, not just a talking head.

Find more of our articles on describing characters via our character writing hub .

3. Show background in how characters talk

Think about each character’s background and how that may affect the character’s speech. How educated is the character, and does that show in the character’s speech? Where is the character from? What is the character’s social class?

Perhaps your character grew up poor in an uneducated family and has returned home. How does the character feel about coming home and her family and old neighbours? Maybe she has picked up words and phrases in the big city that people poke fun at her for using. Details such as these in characters’ speech bring them to life, and add vivid colour to character portraits. For the same example, the character could resent or feel embarrassed of where she comes from. In that case, she might deliberately speak in a mannered way that sets her apart from her family back home.

How we speak isn’t entirely arbitrary . We might talk a certain way because we’ve embraced a subculture and particular identity, for example. Think about how ‘bros’ perform their masculinity to each other. They might speak quite differently when conversing with a grandparent versus a friend. Maybe their language is more ‘proper’ and less slang-filled when speaking to an elder. Or maybe they make no effort to modulate their speech at all. Even this can suggest your character’s personality – how much their speech changes depending on who they’re with.

A last word about punctuating dialogue in fiction. The US convention is to use double speech marks, while the UK convention is to use single speech marks. Some writers dispense with that entirely, and have speech rendered as part of the narrative flow.

Paying attention to details such as these will help you write realistic dialogue and bring your characters’ voices to life.

4. Use the ‘shibboleth’ to create realistic dialogue between outsiders and others

Sometimes how a person speaks can be particularly revealing if they are trying to assimilate into an unfamiliar group. The ‘ shibboleth ‘ is a word that distinguishes one in-group from another. That group might be as small as a clique or as large as an entire nationality.

In the past, shibboleths have been used to identify spies or enemy combatants. But a Shibboleth can also trip your character up in a social sense. The wrong pronunciation or choice of vocabulary might reveal that person as someone who is ‘different’. A foreign exchange student for example may stumble over strange idioms the locals use that don’t make immediate sense. For example, an English character studying in Germany might be confused why everyone’s talking about sausages and pony farms .

5. Show how characters’ speech changes according to their situation

A character’s speech should change according to the situation they’re in.

If we spoke with one limited range of vocabulary and intonation all the time, we’d be boring speakers. Consider what speech might reveal about your character under duress. Perhaps a character who seems mild-mannered might suddenly burst into a flurry of obscenities?

Subtle differences in speech depending on what’s happening can show details such as how your characters handle stress and tension .

6. Remember differences between everyday speech and written dialogue

Although we talk of ‘realistic dialogue’, much fictional dialogue is far from how people actually  speak. Yet it creates the effect  of realistic speech. Here are important differences to remember when creating characters’ voices and the unique things they say:

• Good dialogue rarely represents ordinary speech accurately. It generally leaves out the ‘Hi, who’s speaking?’ as well as other commonplace stock phrases and words. Read our tips for creating natural-sounding dialogue.
• In day to day speech, we obviously don’t have ‘he said’ and ‘she said’ punctuating our conversations. Try to keep dialogue tags to a minimum . Remove them where it’s clear from context who has just spoken. And use actions and gestures leading into or following from dialogue to show who the speaker is
• A few writers can get away with writing in dialect, but again, here is where it is better to create the impression of the way a character speaks. A little goes a long way. Don’t make every single phrase a culturally-specific idiom or exclamation
• Similarly, avoid overuse of punctuation marks like exclamation marks and ellipses. These are dramatic effects and the words characters use and their ideas should do most of the expressive ‘heavy lifting’

Read our detailed dialogue writing guide for more on creating conversation that advances your story.

Need to develop further aspects of your characters? Get  How to Write Real Characters – our eBook guide to developing believable characters, including practical exercises and prompts.

Related Posts:

• Context and subtext in dialogue: Creating layered speech
• Realistic dialogue: 5 missteps to avoid
• Beyond stereotypes: portraying realistic LGBTIQ+ characters
• Tags character speech , writing dialogue

Jordan is a writer, editor, community manager and product developer. He received his BA Honours in English Literature and his undergraduate in English Literature and Music from the University of Cape Town.

9 replies on “Realistic dialogue: Creating characters’ speech patterns”

[…] Talking about your character: Speech […]

Love the website! Great information! Lots of detail and unique areas of focus.

One correction: “Introverts, on the other hand, are usually soft-spoken.”

This would be truer of “shy” people, not introverts. Please redefine your understanding of the difference between “introvert” and “shy” so as not to perpetuate this misconception.

“Introverted people are commonly thought to be shy, but introverts’ low motivation to socialize is not the same as the inhibited behavior, tension, and awkwardness that characterize shyness. Introverts who are not shy can behave extrovertively when they choose; whereas shy people, both introverts and extroverts, can’t turn their tension and awkwardness off and on.” —Sophia Dembling (The Introvert’s Corner)

Thank you! KT

Hi KT – thanks, glad you like the site. Good point about the distinction between introversion and extroversion.

I try to throw in key slang words if a character is from a certain country or region. I also attempt to keep them to a minimum in order to not overdo it. I do struggle with minimizing dialogue tags some of the time though. I understand it helps to read it out loud.

Thank you for sharing that, Jeremiah. It really does help to read dialogue aloud. It sounds as though you have a good process.

I was wondering if you happened to know how to write the speech of young children, a friend and I are trying to write a book but are worried that they may sound too advanced for their age. This article was really helpful, so thank you for writing it.

It’s a pleasure, Cristian, thank you for your question.

For writing the speech of young children, I have some suggestions: – Simplify vocabulary and abstraction. A 5-year-old will typically have a much smaller vocabulary than, for example, an 18-year-old. So avoid overly formal and/or complex phrasing and sentence structure unless the child character is meant to sound precocious/advanced for their age. – Think of the ways children are playing with and ‘trying out’ language. For example, when my nephew learned the word ‘marvelous’, everything was suddenly marvelous, including things that definitely are not marvelous. Children mix up words, too (as a kid, I am told I loved a book on optical illusions and would talk about ‘trickmatography’ meaning ‘trick photography’). Kids might invent words based on misreadings/mishearings. – Watch clips of kids’ shows such as Sesame Street on YouTube and listen for the complexity of language/phrase. Where is it pitched? There are online editing tools such as the Hemingway editor that can estimate the reading age/age norms of a piece of writing approximately, too.

I hope this helps!

Thank you so much!

Thanks so much for this piece. It’s a great and energizing lecture.

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Friday, April 19, 2013

How to format remembered dialogue.

Bob stopped at the edge of the creek, just before it curved into the woods. "Watch out when you hit the bend--big crawler infestation near there." Bob nodded. Right. He gripped the shotgun tighter and started forward.

Option 1: An Introductory Phrase

Bob stopped at the edge of the creek, just before it curved into the woods. Miguel's words echoed in his mind. "Watch out when you hit the bend--big crawler infestation near there." Bob nodded. Right. He gripped the shotgun tighter and started forward.

Option 2: Remind the Reader

Bob stopped at the edge of the creek, just before it curved into the woods. "Watch out when you hit the bend," Miguel had told him. "Big crawler infestation near there." Bob nodded. Right. He gripped the shotgun tighter and started forward.

Option 3: Use Italics

Bob stopped at the edge of the creek, just before a sharp bend went into the woods. Miguel was right. It did look like a curve. "Watch out when you hit the curve--big crawler infestation near there." He gripped the shotgun tighter and started forward.

Option 4: Make it Part of the Narrative

Bob stopped at the edge of the creek, just before it curved into the woods. What had Miguel said again? Oh right. Watch out when he hit the bend--big crawler infestation near there. He gripped the shotgun tighter and started forward.

Option 5: Make it its Own Line

"Watch out when you hit the bend--big crawler infestation near there," Miguel had told him. Miguel's words came back to him. "Watch out when you hit the bend--big crawler infestation near there."

Bolts From the Blue

Bob crept through the woods, ears alert for moans, groans, and any branches breaking that he didn't break. "Watch out when you hit the bend--big crawler infestation near there." Bob nodded. Right. How far was he from the river?

Bob crept through the woods, ears alert for moans, groans, and any branches breaking that he didn't break. A soft gurgle--not a zombie--whispered ahead. Water? "Watch out when you hit the bend--big crawler infestation near there." Bob nodded. Right. Must be the river Miguel was talking about. He gripped the shotgun tighter.

Formatting Longer Conversations

Bob stopped at the edge of the creek, just before it curved into the woods. It was just like Miguel had said. "Watch out when you hit the bend--big crawler infestation near there." "How many?" he'd asked. "Up to a hundred. They feed off what gets washed down the river." "Unpleasant image." "An unpleasant end if you forget." Bob gripped the shotgun tighter and started forward. "Don't worry," he muttered. "I didn't."

Bob stopped at the edge of the creek, just before it curved into the woods. "Watch out when you hit the bend," Miguel had told him. "Big crawler infestation near there." "How many?" he'd asked. "Up to a hundred. They feed off what gets washed down the river." "Unpleasant image." "An unpleasant end if you forget." Bob gripped the shotgun tighter and started forward. "Don't worry," he muttered. "I didn't."

Bob stopped at the edge of the creek, just before it curved into the woods. "Watch out when you hit the bend," Miguel had told him. "Big crawler infestation near there." "How many?" "Up to a hundred. They feed off what gets washed down the river." "Unpleasant image." "An unpleasant end if you forget." Bob gripped the shotgun tighter and started forward. "Don't worry," he muttered. "I didn't."

Bob stopped at the edge of the creek, just before it curved into the woods. What had Miguel said again? Oh right. Watch out when he hit the bend. Some kind of crawler infestation near it. Hard to imagine hundreds of legless zombies out here, but Miguel was right about the unpleasant end--body parts from animals and people bumped against the shore where the river curved. A buffet for crawlers. Bob gripped the shotgun tighter and started forward. He was nobody's lunch.

19 comments:

I liked "Long Conversations Option 4", at least partly for the hilariously grim line "He was nobody's lunch."

Thanks for the advice. It's very timely for me. I had to include a remembered short conversation in my first chapter and wasn't sure if I'm doing it right. Yay! I am. Thanks for another piece of great advice.

Super helpful post Janice! Thank you.

I've used the reminder option before. Certainly helps to set the quote/statement aside for the purpose of making sure the reader knows it comes from a remembered conversation.

Thank you, Janice for simplifying this. You always make it seem so easy. :-)

A very timely piece of writing, thanks! I am just weighing up which option will work best for the MS I am working on.

I'd been just thinking about this recently. Thank you for the examples, they're very useful!

Great reminders of how to do this well. Thanks!

Of course I have to do it differently - but you did ask. It took me a whole blog post, but it also clarified things for me AND gives me a place to point to if someone claims I'm being confusing. Thanks!

Rachel, thanks! One of these days I HAVE to write Bob's story. I really like this guy. Natalie, perfect! My gremlins must have noticed that :) They've very good at finding what writers need. Emily, most welcome :) Angela, it really is, especially for readers who might have set the book down for a while in between scenes. Tracy, aw, thanks! Melissa, great! Remember, you can mix them up as well. Be consistent from a style standpoint, but not every conversation has to be exactly the same. Linds, glad they helped! Julie, you're welcome! Liejabberings, LOL no worries, these aren't the only options. And that's what I love about blogging about writing--it forces me to examine how I do things and makes me a better writer. You'll have to share the link so I can see what you did :)

Very nice techniques, Janice! Thanks for sharing.

I use single quotations for the remembered dialogue. Bob stopped at the edge of the creek, just before it curved into the woods. Miguel's words echoed in his mind. 'Watch out when you hit the bend--big crawler infestation near there.' If the writer is consistent, any style will flow for the reader, but for me italics pull me out of the story.

Good tip, thanks!

I was in a late night tizzy, trying to figure out if I was formatting this type of dialogue properly, and your article was tremendously helpful. Thank you!!

Most welcome! Glad you found it when you needed it.

Thorough, Janice. Thank you.

This is a very helpful article. Thank you! I still have one question. If a character is remembering dialogue from two different speakers within one paragraph (sometimes their own and sometimes a third person) should a new paragraph be started? So... a character is remembering separate things his mom and dad said to him within one paragraph. Can these to remembered quotes stay in the same paragraph?

You're most welcome. Yes to both. It's really how you want that memory to be portrayed. My rule of thumb is, separate paragraphs (more like normal dialogue) when someone is remembering it exactly, and a single paragraph when someone is remembering snippets of a conversation, but not necessarily the exact words. For example (using a paragraph from #4 *denotes italics*). Pretend Bob got advice from two people: Bob stopped at the edge of the creek, just before it curved into the woods. Miguel and Juan hadn't wanted to come near this place, but they'd both given good advice *Watch out at the bend...crawler infestation near it...nobody ever made it out alive...* This is pretty rough, but hopefully it suggests what Bob remembers about what Miguel and Juan told him, bit doesn't go into the full conversation again. You could also tag the memories if you wanted, such as, Miguel had be clear, *Watch out at the bend...crawler infestation near it...* while Juan was, well, les helpful *Nobody ever made it out alive...* Does that answer your question?

Thank you for this discussion. It's not exactly what I was looking for, but it helps. I'm wanting to compactly indicate that what I'm about to say is not a quote of my doctor's spoken words, but is my best recollection of them. This is for a document in which I will also quote his words on certain points that I remember clearly.

How to Dictate a Book in 2022

Authors… step away from the keyboards. It’s time to meet your newest writing companion: the microphone.

Sure, the pen used to be mightier than the sword. But we all know that’s been (predominantly) replaced by the keyboard in recent decades. Now, there’s an even newer tool in town. The rise of next-generation technology as a 2022 publishing industry trend has caused dictation to emerge as the latest method for writing books.

What is book dictation?

Simply put, book dictation turns talk into text. By using tools like a microphone or computer application, authors can write more quickly and easily than ever before.

Whether you’re writing a book for the first time or are a seasoned indie author, learning how to dictate a book can save you time and energy. As we know, the indie publishing game is filled with enough challenges – so finding any way to make this process easier is a big win for writers.

What authors utilize book dictation?

If we haven’t convinced you of the power of dictation quite yet, just know that choosing this method puts you in good company. Dictation has been one of the best-kept secrets of popular authors for centuries. Some of the biggest names out there – Winston Churchill, John Milton, Agatha Christie, and even Voltaire – did it. 

Thankfully, technology has grown more sophisticated since the times of Voltaire. As we’ll cover in our section on the latest in dictation software , it’s easier than ever to choose this process for writing or brainstorming your next book.

How to Dictate a Book: The Pros and Cons

Are you now asking yourself how to dictate a book, and what it takes to get started? If so, you’ll want to familiarize yourself with the pros and cons before you do.

How to Dictate a Book: The Pros

It’s been proven that there are numerous benefits to writing a book by dictation. We’re about to break down the main points for you, but ultimately book dictation is worth considering if you are looking for some much-needed simplicity in the book writing process.

Save time in what is already a long, arduous process

Indie publishing isn’t just about writing. You also have to build email lists , create promo stacks , and embrace the very latest social media trends in the industry. If there’s a way to save time as an indie publisher, we’re totally on board with chasing it! While dictation requires some effort and initial learning, it can be well worth the effort.

Create room for some of your more spontaneous ideas

Is there anything a writer dreads more than the glaring emptiness of a blank Word document? This can be the antithesis of a motivational writing environment. One alternative method? Skip the screen and use dictation instead. While some authors use dictation to write their book once it’s been fully fleshed out, others use it as early as the brainstorming stage to let spontaneous ideas emerge. You can use a digital voice recorder to let those creative ideas begin to roll.

Kiss hunching over a keyboard goodbye — and save your back!

There’s a reason authors seek out at-desk exercises to keep their mind and body equally strong… Typing is physically grueling. If you frequently use a keyboard, you’re probably familiar with the back pain and even carpal tunnel that can come with it. Book dictation is less likely to create these ailments since it involves gentler physical activity. 

Dictate anywhere, at any time

Something we love about dictation is that it can be done anywhere. If you’re out on a walk, you can use a phone app to record yourself talking. The same is true for sitting at a desk, riding in the car, or even grocery shopping! Dictation helps make the writing process a bit more mobile than other mediums (like the keyboard). 

How to Dictate a Book: The Cons

Punctuation can get… messy.

Unfortunately, there’s no writing method that doesn’t come without setbacks. If you’re wondering how to dictate a book, you may be asking yourself how punctuation comes into play in the process. Luckily, dictation software has figured out a way around this. As you speak, you can utilize particular voice commands to denote punctuation. This won’t come naturally at first, though, since this is not how we speak in our day-to-day lives. Some people go back and punctuate after they’re done dictating a section of writing.

There’s a learning curve with varying slope

As is to be expected from any software, there’s a learning curve. Some people may adjust more easily and naturally than others to the various dictation tools out there. As we mentioned, though, we feel the effort that goes into learning these tools is well worth the ease that dictation can provide. There are also countless Youtube tutorials for helping you learn how to dictate a book.

Unusual character or location names? This can make dictation tricky

If George R. R. Martin had dictated Game of Thrones, some software may have struggled with knowing how to immediately spell names like Daenerys and Cersei. Of course, more expensive solutions on the market (like Dragon Professional Individual ) have ways to resolve this and can teach in-app AI how to spell these words going forward. This may not be a problem for everyone but is worth noting for some Sci Fi or Fantasy authors.

The Best Dictation Software for Authors

If you’re interested in getting started with how to dictate a book in 2022, you’re going to first need a fully equipped tool belt. We recommend stocking your tool belt with some of the highest-recommended dictation software programs. While some of these tools come with a hefty price tag, others are completely free – and likely already on your computer.

Keep in mind that there are two methods for how to dictate a book: speaking in real-time, or recording and then transcribing at a later date. This list includes dictation software that does either/or.

With a bevy of productivity solutions, Nuance’s Dragon software makes AI speech recognition accessible for any person. For the self-published author, Dragon Anywhere Mobile helps you with how to dictate a book from your own phone. It comes with a one-week free trial, and can then be purchased for $15/month. Not only can you dictate within the app, but you can edit your documents using your voice. Since this option has a free trial period, you can try it out and see if the app works best for you.

Working with a more… flexible… budget? For $500, you can purchase Dragon Professional Individual for your computer. Dragon Professional Individual is commonly listed as the cream of the crop of dictation software.

Speechpad takes the dictation software model and makes it even easier. How does it work?

• Create an audio or video recording of your book.
• Submit it to the real people on Speechpad’s team.
• Get your full transcription back in as little as 24 hours for $1.00/minute. Or get it back in 12 hours for just $1.25 a minute!

Speechpad takes a majority of the dictation work out of your hands. All you have to do is record yourself reading your book. The cost associated with Speechpad means it’s likely worth doing with the final version of your book.

Google Docs

Proving that dictation can be both easy and free, Google Docs includes this option for users working out of a Chrome browser. If you have Chrome set up already, open a Google Doc and go to “Tools” in the top toolbar. From there, find the “Voice typing” option and select it. There’s also the “command+shift+S“ keyboard shortcut to do this. This was so easy, our team typed this entire section using Google Doc’s typing tool.

Speechtexter

If you’re looking for a free dictation option that’s not strictly for Google Docs/Chrome users, Speechtexter might be for you. You speak directly into the doc and then watch as your words appear on the screen. Speechtexter even has a helpful guide to punctuation commands on the right-hand side of the page. We personally tested this tool out and found it to be just as helpful as the dictation offering within Google Docs. 

Going with a paid option, like Dragon or Speechpad, may be more efficient if your book is written and in its final draft. Google Docs and Speechtexter, though, are more than sufficient if you’re brainstorming or in the early days of writing.

Apple Dictation

Turn on keyboard dictation from your Mac to dictate anywhere on your computer. You can even set up a custom shortcut to begin dictating with the click of a few buttons. This is built into your Mac and is an easy, free option for trying dictation out yourself.

Windows Speech Recognition

Similar to Apple Dictation, Windows Speech Recognition is the answer for Windows computers and is available on Windows 10 and 11. Looking at reviews online, this is a free and easily accessible tool attractive to anyone who doesn’t want to break the bank with their dictation.

What You Need to Dictate a Book

Once you’ve selected the dictation software that’s best for you, you’ll still need to get a few other ducks in a row. Before you begin dictating your book, make sure that you have:

Completed notes, or the transcript of your book, if you are transcribing a fully finished product.

A fully charged computer or phone – it’d be a shame to have these die on you mid-dictation , a microphone, if one is necessary or even helpful for the software you’re using., a recording device. these are great if you’ll be transcribing your recording yourself, or if you’re using a tool like speechpad., how to dictate a book: final steps.

After you’re finished with dictating, you’ll then need to edit. When you’re learning how to dictate a book, remember that this method isn’t foolproof. There will likely be typos or mistakes on the page. More sophisticated dictation software will learn as you continue to use it, though, and AI will get better and better. This will eventually make your job as an editor easier.

If you’re interested in making your writing process easier and faster in 2022, learning to dictate may be a worthwhile effort. It’s never been easier – or cheaper – to do just that. Getting started with some of the free tools listed in this article can help you get your feet wet with dictation. 

Have you dictated a book, or used dictation at any stage of your writing process? If so, let us know in the comments below!

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17 comments on “ how to dictate a book in 2022 ”.

I have been using Rev, and Temi for years with great success.

Dictanote is almost as good as Dragon. Highly recommend it as it’s free. With all voice dictation software, you’re gonna have to use a monotone way of speaking for improved accuracy.

Thanks for your insight Matthew. So many great tips in the comments here.

Many indie books today are dictated or read that way. Messy, disjointed, repetitive, no context. When you can’t see what you’ve written, go back to check or search you easily lose you place because you don’t know where you’v been and therefore won’t know where you’re going. Dictating is a mess and to be avoided I believe for fiction writers.

I experienced this problem firsthand when I started using dictation software back in 2015. The solution comes with practice and a willingness to self-edit your work. It took me several hundred articles (I am a copywriter) to get myself to the point where I can dictate in as natural a manner as when I type, but it was worth it. My speed has increased three-fold, the error rate is down considerably, and my carpal tunnel hasn’t flared up even once. The trick is to know what you are writing before you write it. Outline, prepare sources and quotes, and stick to it!

I recently discovered on my new google pixel phone a thing called Google Recorder. This is an mp3 recorder with a difference. As you speak, it records. It also transcribes into text, *very* accurately. It then uploads the audio and transcript to your Google account at recorder.google.com from where you can download both. No more Dragon or any of the others needed.

Great tip David!

I’m planning on writing my book but as an a descriptive artist I can’t type fast enough and loose my “flow” of my narrative so I’m looking for a way to record my stories and then be able to read and edit later

This takes me back to the early days of newspaper reporting where we’d make a few quick notes while on a story, find a public phone box, ask the operator for ‘Copy’ and then read the story over. The copy takers were usually men, they could spell, (certainly better than me) and we had basic instructions. eg Stop, par, single quote, double quote, close quote …. I have recently found this works perfectly dictating onto my MacBook and more recently onto the iPhone 13. Again, both of these can spell!😂

So your brain is already trained for this. I find it so hard to get into that mode! I’ve found the built-in Apple dictation is better than Dragon, but I’m just not wired to write out loud like that, on the fly. Any tips?

Either way, thanks for the cool story. You’ve definitely seen a lot of changes in how we write!

I was forced to use dictation when I developed RSI in my fingers. Along with my writing, I ghost write averaging about 90k words per month. I’d been resistant to dictation because it felt awkward, but at that point I had no choice. Starting from day one, I produced twice as many words in the same amount of time and since then have averaged 3500 to 4000 words per hour.

I use Dragon to digitally record, usually when I’m on a walk, and have the software transcribe the audio. I don’t like talking into my computer, but when I do, I use Dragon with Notepad to avoid issues between Dragon and Word, or us MS’s built in voice recognition with the new version of Word, which is pretty good.

Dictation is definitely different from typing, but once you figure it out, it’s fast, and once you edit what you’ve dictated, it comes out about the same as if it was initially typed. The trick is knowing what you want to “write”, overcoming the awkwardness, and enunciation.

All this is Greek right now, but think you have the right of it.

Hi Jenna, could you clarify a point? If using an Apple iPhone, what is the program I speak into, and will it transcribe into a format a publisher can use- like word or scrivener? I’m new to this. Many thanks! Janet

It would certainly help to exercise my voice! Lockdown has been dreadful for my vocal chords, even though I’ve got through a lot of typing. Next time… dictate!

I haven’t found anything good on my phone. I think and speak in discrete chunks and then the software stops listening.

I am dictating this on my iPhone in my notes app.

There’s been some discussion as to which dictation program is best for a fiction writer. I am a fiction writer and I use my phone and my laptop with an external screen. I’m running windows 10. I didn’t buy any extra apps or programs to do the dictation.

“I am a indie writer and I do all of my books on dictation through dictation.” As you can see I left the error that I made. That way I don’t have to stop in the middle of my dictation and edit my manuscript. I made the air and then I immediately said the correct words. When I read this back I’ll know exactly what I need to do. I will go back and delete the extra word and type in the word ‘error’ to correct that.

“I can simply say the words for the punctuation marks I need ie: ?,!,:,;,,,. and the app will put in the punctuation that I desire.

When I want to do dialogue it’s as simple as saying the words ‘begin quote’ “ and quotation mark appears. It’s like magic. At the end of the dialogue I simply say ‘end quote’ “ and there it is.

If I want to go to the next paragraph I simply say ‘next paragraph’ and pop we’re on the next line. It’s quite fun actually.

So far I haven’t been able to figure out how to do a section break so I do those manually. But I taught myself how to do all of this.

One caveat here… (I just said dot dot dot – and ellipses appeared) and the app puts it in. When I leave voicemails for my loved ones these days, at times I accidentally verbally punctuate them and then I say Love Lyn at the end. Oh well my families always thought I was nuts and now I’m just proving them right. LOL

I don’t know where I’d be without the ability to dictate everything that I write. I’m a writer who has arthritis and a lot of pain from Lupus and various other crap. Lots of back issues. Dictating, as has been said in the article, can help alleviate some of that and be done anywhere—when I’m making supper, when I’m resting in bed, when I’m watching TV, when I’m painting, when I’m grocery shopping, you get the picture I’m sure.

I use Grammarly to help me with editing.

Hope this helps.

Warmly, Lyn

I’m just starting out. Thank y’all for all of this information.

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Want to Dictate a Book Fast? Use These 12 Practical Tips

This article offers 12 practical tips that will help you dictate a book fast and more accurately.

Many prolific authors find that they are at high risk for typing-related injuries and  writer’s block . Often, staring at a blank screen can stop creativity in its tracks.  Dictation  can help break through these hurdles and keep the creative ideas for a book flowing.

Each author has a unique writing process, but dictation can help you write a book’s first draft faster. I’ve used many of the tips in this article to work dictation into my book writing workflow. With practice and the help of the right dictation software, you can too.

Dragon NaturallySpeaking Or Dragon Anywhere

• Google Docs Voice Dictation 
• Apple Dictation
• 5. Buy a Good Headset

6. Create an Outline

• 7. Learn Basic Voice Commands

8. Work Somewhere Quiet

• 9. Start Dictating

10. Work Chapter by Chapter

11. use placeholder words, 12. edit and format using keyboard and mouse, a final word on the best way to dictate a book fast, can you dictate a book, how can you dictate a book, voice dictation resources.

Dragon offers professional-grade speech to text with near 95% accuracy. It's available on iOS and Android.

1. Select The Right Dictation Software

Good  dictation software  ensures better accuracy. Authors can pick from many options, but not all help with  formatting  or assist with your  word processor  of choice. Here are several options to consider, for authors of all budgets.

Dragon Anywhere from Nuance is one of the most popular dictation software options. It works with Scrivener, Microsoft Word, and Pages, making it a popular speech-to-text option for many professional writers.

The  Dragon Anywhere  mobile app lets you take your book on the road. While some practice, it offers near 100% accuracy. It’s what I use most.

Google Docs   Voice Dictation  

Google Docs has a voice dictation program built into its platform. If you already use Google as part of your writing process, you can benefit from dictation without learning new software or paying for it.

To use it, select “tools” and “voice typing” within your Google Docs document. Although it’s free, don’t expect 100% accuracy.

Apple   Dictation

If you are a  Mac  user,  Apple  Dictate  is a great choice.  Siri  generates accurate text across  iOS  devices and is built into  Mac  OS and  iOS . 

You can dictate your book on your Mac, then transfer the program to your iPhone and use Siri to keep working on the road. Again, it’s free, but don’t expect 100% accuracy.

If using find using  voice-to-text  and  voice recognition software  is too difficult, consider a  transcription service .

Ottter.ai is a reasonably accurate AI-powered transcription tool aimed at business people. However, professional writers and authors can use it too. Simply, record a chapter of your book using your phone or a voice recorder. Then upload it to Otter.ai for transcription.

The result will require some clean-up and editing, but you won’t have to learn any software. It starts at $8.33 per month.

Temi  transcribes via automated AI, like Otter.ai. It charges $0.25 per audio minute and delivers easy-to-read typed transcripts. Again, record on your phone or with a voice recorder, upload, and edit the results. Bear in mind, background noise dramatically impacts accuracy.

Rev offers transcripts by a real person. The human transcripts have a 99% accuracy guarantee, which means fewer typos. They also turn the finished workaround in about 12 hours, so you don’t have to wait to get your draft. Rev costs $1.25 per minute.

A  transcription service  is more expensive than  dictation software . You need a good outline before submitting a draft for transcription, otherwise, it will cost you a lot. I also recommend working on and submitting each chapter separately rather than a single, large  audio file .

5. Buy a Good  Headset

You’ll spend  less time  editing a draft if you use a quality  headset . In other words, avoid using the ten-dollar  headset  that came with your phone. Choose a  headset  that picks up your speech while reducing  background noise . 

Apple  Airpods work surprisingly well. Alternatively, you can invest in a dedicated  voice recorder  and upload the  audio file  to a service like  Rev  or Temi.

Before you start  writing a book , create an outline. It says what you’re going to say as you dictate the chapters. Plus,  dictation software  works best if you speak in complete sentences, which is easier with an outline.

You can draft an outline by using a bullet-point list using an app like Dynalist. Alternatively, you could create a mind map. The outline needs the basic plot or main points of your book. It’s a flexible document that evolves with your book and keeps you on topic.

Whatever your approach, keep your outline nearby while  dictating  so you can look at it while speaking.

7. Learn Basic  Voice Commands

Voice commands  tell your software when it is time to insert punctuation, make a line break, start a  new paragraph  or stop transcribing. Take some time to practice using these to save yourself a  lot of time  when you start  dictating . If you’re using a transcriptionist, these are not required.

Accuracy is the key when  dictating . Work somewhere quiet if possible. That way,  background noise  won’t impact your train of thought or the quality of your manuscript. I find it easier to dictate while standing up and walking around rather than sitting in front of a computer. 

I’ve also dictated chapters for a book while out for a walk, although the wind impacted on accuracy at one point. 

9. Start  Dictating

Dictation  is much like writing any  first draft . Your job is to get the words out of your head and fill the  blank page , as fast as possible without editing yourself. Keep speaking and if you make a mistake, just repeat the previous sentence or paragraph. 

I also recommend working in 30-minute sessions before taking a short break. This is long enough to dictate several thousand words but not so long that your voice becomes tired. Also, keep a drink of water nearby in case your throat becomes dry.

Dictation  requires you to write linearly because it’s not easy to jump around the book as you speak. Use your outline to guide your writing through each chapter.

When you reach the end of a chapter, consider editing it rather than moving on to the next. This will help you see areas where you can improve in your dictation as you move through the book.

After editing your rough draft of your first chapter, move to the next, until you have a finished draft of your book.

We gave my daughter a traditional Irish name.

No matter how often I tried, I couldn’t train  Dragon  Dictate or other software to dictate her name correctly. I tried spelling the name and various other tips and tricks, but the software still mangled it.

Whenever I’m journaling and I use her name, I dictate a placeholder word that  Dragon  understands. For example, I call her “Sarah” or I call her “my daughter”. Then when I’m editing the journal entry, I search for the word ‘Sarah’ and replace it with my daughter’s name.

If you’re writing fiction, you could use this trick for unusual character names.

Dictation  can speed up the  writing process , but it may lengthen the editing process. Once you have dictated your work, sit down and edit it on screen. After testing various  dictation apps  extensively, I still find it faster to edit on a keyboard. It’s faster and more efficient to manipulate text with a keyboard and mouse. 

Dictation apps  like  Dragon Anywhere  support basic editing commands. For example, say “Scratch that” to delete whatever you said last.  If you insist or need to edit with  dictation software , I suggest printing out work to review it as a whole before editing.

The best way to dictate a book is to find a  speech-to-text  software  or a  transcription service  that works with your  workflow .

Dictating a book can become a healthier writer and reduce the risk of writing in pain , while also spurring your creativity. Even the most skilled typist can sometimes need a break from typing.

It’s not a substitute for writing, proofreading, and editing. It is simply a tool to help you write more quickly. 

FAQs About The Best Way To Dictate A Book Fast

While dictation doesn’t remove the need to proofread or edit, it can speed up the writing process and reduce typing strain. Many authors find speaking their thoughts helps them break through writer’s block and other creativity hangups.

To dictate a book, find  dictation software , set up an outline of the basic plot and start speaking your ideas. After you receive your transcription, read through it and tweak it to remove  dictation  errors and  typos . This can save you time on the overall  writing process .

The Best Speech To Text Software For 2021: 8 Top Choices

Practice Dictation With These 9 Simple Exercises

How To Write Faster And Send More Work Out Into The World

9 Speedy And Effective Dictation Tips

Otter.Ai Review: Is It Worth It?

Dragon Anywhere App Review: Is It Worth It?

What Are The Best Apps For Dictating A Book?

What Is The Best Dictation Software? 7 Top Choices

The Best Transcription Services Reviewed

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• Easy Steps to Write an Effective Speech

A Step-by-Step Guide to Writing an Effective Speech: Tips and Examples

A speech is a way to share your thoughts or stand up for a cause. To make an effective speech, it's important to not only speak clearly, but also to carefully plan what you'll say. By preparing your speech well, you can ensure your message is delivered effectively. At Vedantu, students can learn how to create strong speeches with a clear structure and engaging content.

The platform offers resources to help students practise speech writing, improve their presentation skills, and gain confidence in public speaking. This preparation helps students communicate their ideas better and make a strong impact on their audience.

How to Write a Speech?

Writing a speech involves thorough research and careful planning to effectively convey your message. Great speeches often include compelling details and inspiring content that resonates with the audience. Learning to write impactful speeches can be achieved with a bit of guidance. Here’s a step-by-step guide to help you craft a speech:

Self Introduction Start your speech by introducing yourself. If there's a host or master of ceremonies, they might introduce you first. Regardless, you should clearly state who you are and briefly explain what your speech will cover. The introduction can be formal or informal, depending on your audience. For example, a formal introduction might include your professional title, while an informal one might simply mention your name and a fun fact.

Introduction to the Topic Next, introduce the topic of your speech. Provide a brief overview of what you will discuss. Make sure to grab the audience's attention with a hook, like a surprising fact or a question. This helps in engaging the audience right from the start.

Main Points Outline the key points you want to address in your speech. Make sure each point is clear and relevant to the topic. Use examples, anecdotes, or data to support your points. This helps in making your speech more relatable and persuasive.

Conclusion End your speech with a strong conclusion. Summarise your main points and restate the purpose of your speech. Aim to leave a lasting impression by delivering a memorable closing statement or call to action.

Practice and Delivery Finally, practice your speech several times. Focus on your tone , pace, and body language. Practising helps you deliver your speech confidently and effectively, ensuring that your message is communicated clearly to your audience.

Addressing Friends/Classmates/Peers

Hello everyone! My name is ________, and today, I’d like to discuss _________ with you all.

Good morning, friends. I am ________, and I am excited to speak with you about _________.

Addressing Teachers/Higher Authorities

Good morning/afternoon/evening. I would like to begin by thanking _______ for the opportunity to share my thoughts on _________ today.

Good day to everyone. I am ________, and I am honoured to speak about _________ with you.

The Opening Statement

The first seven seconds of a speech are crucial, as they determine whether the audience will stay engaged. Therefore, starting with a compelling opening statement is essential to capture their attention. Crafting a speech involves thorough research and structuring it in an engaging, informative, and coherent way is crucial.

When assigned a topic, begin by brainstorming ideas and jotting down everything that comes to mind. This process helps identify which aspect of the topic to focus on, guiding the drafting of your speech.

An effective opening statement should be relevant to your topic. Use clever wording to make a strong impression and capture the audience's interest . Here are some strategies for framing an engaging opening statement:

Asking an Engaging Question Starting with a question can immediately grab the audience's attention. It sparks curiosity and encourages them to think, thus preparing them to listen more attentively.

Fact or a Surprising Statement Presenting an intriguing fact or statement can captivate the audience. This could include a joke, as long as it's relevant and appropriate. A well-timed laugh can refresh their interest and make them eager to hear more.

Adding a Quote Select a quote that aligns with your topic and resonates with your audience. Whether it’s from a famous person or a story, a relevant quote can add depth and set the tone for your speech. Choose a quote that is memorable or thought-provoking to make a significant impact.

Choice of Words

When delivering or writing a speech, it's crucial to choose your words with care. Selecting the right language is essential, whether you're expressing support for or opposition to a topic. Be sure to provide sufficient evidence to back up your points. Use short, clear sentences to enhance the impact of your speech. Your choice of words and what you emphasize will shape how your audience perceives your message.

When writing a speech, ensure that you:

Avoid long, confusing sentences.

Check for spelling, grammar, and sentence structure errors.

Refrain from using contradictory statements that might confuse the audience.

Authenticity

Authenticity in a speech engages the audience more effectively. Incorporate personal anecdotes, experiences, and genuine thoughts to build rapport. However, stay focused on the topic and avoid getting sidetracked with unrelated details.

Writing in 1st Person

Using the first-person perspective in a speech can be more effective than a third-person approach. However, make sure it does not become too subjective or divert from the main topic.

Tips for Writing a Speech

Before you start writing, know what your speech is about and what you want to achieve. Decide if you want to inspire, entertain, or inform your audience.

Think about who will be listening to your speech. Tailor your content to fit their interests and needs so they stay engaged.

Make sure your speech is clear and to the point. Avoid making it too long or it might become boring. Stick to the important details.

After writing your speech, check it for mistakes and make changes if needed. Practice saying it out loud so you feel confident and don’t stumble.

Finish your speech by summarising the main ideas. Leave your audience with something to think about, so they remember your message.

Format on How to Write a Speech

Here’s a structured format of How to write a speech:

Start with a clear and engaging title that reflects the main topic of your speech.

2. Introduction

Greet the audience and introduce yourself.

State the purpose of your speech.

Give a brief overview of what you will talk about to grab the audience's attention.

Main Points : Organise your speech into several main points. Each point should be clear and supported with examples, evidence, or anecdotes.

Sub-points : Include supporting details under each main point to add depth and clarity.

4. Transitions

Use smooth transitions between different points to help your speech flow naturally.

5. Conclusion

Summarise the key points of your speech.

Restate the purpose or main message.

End with a strong closing statement or call to action to leave a lasting impression.

6. Q&A (if applicable)

Prepare to answer any questions from the audience if your speech includes a question-and-answer session.

7. Practice

Rehearse your speech multiple times to ensure you are familiar with the content and delivery.

How to Write a Speech: Examples

Example 1: Speech on Environmental Conservation

Good morning everyone!

My name is John Smith, and today I’m here to talk about the importance of environmental conservation. Our planet is facing severe challenges due to pollution, deforestation , and climate change. We must take action to protect our environment .

Firstly, we need to reduce our waste by recycling and composting. Secondly, conserving energy by using renewable sources is essential. Lastly, planting more trees will help restore balance in our ecosystems.

Each one of us can make a difference by adopting these simple practices in our daily lives. Together, we can ensure a healthier planet for future generations. Thank you for your attention!

Example 2: Speech on the Importance of Education

Good afternoon everyone!

I’m Sarah Johnson, and I’m excited to discuss the value of education in our lives. Education is not just about gaining knowledge, but also about preparing ourselves for the future. It opens doors to new opportunities and helps us grow personally and professionally.

To begin with, education empowers individuals to make informed decisions. It also enhances critical thinking and problem-solving skills. Finally, it helps us understand and appreciate diverse cultures and perspectives.

Investing in education is investing in a better future for ourselves and our communities. Let’s value and support educational opportunities for everyone. Thank you!

To Test Your Knowledge of How to Write a Speech, try these Tasks:

Task 1 - Write a Short Speech: Pick a topic you are passionate about, such as your favourite hobby or a cause you care about. Write a 3-minute speech on this topic. Make sure to include a clear introduction, main points, and a conclusion. Practise delivering your speech in front of a mirror or a friend.

Task 2 - Analyse a Famous Speech: Watch a famous speech online, like Martin Luther King Jr.’s “I Have a Dream” or a speech from a recent event. Take notes on how the speaker introduces themselves, the key points they make, and how they conclude. Try to identify any special techniques they use to keep the audience engaged and use these techniques in your speech writing.

Now check out if you got them all right from the answers below:

Task 1 - Write a Short Speech:

Good morning everyone,

Today, I want to talk about something that has a huge impact on our lives – reading. Reading is not just a way to pass the time; it is a gateway to knowledge and imagination. Through books, we explore different worlds, understand diverse cultures, and learn new ideas. Reading also helps improve our language skills and concentration. Whether it's a novel, a biography, or a magazine, each piece of reading material offers something valuable. I encourage all of you to make reading a part of your daily routine. It’s a small habit that brings great rewards. Thank you.

Taks 2 -Review and Improve a Sample Letter:

To analyse a famous speech like Martin Luther King Jr.’s “I Have a Dream,” start by noting how he introduces himself and sets the tone. King begins with a reference to the Emancipation Proclamation, connecting his message to historical struggles for freedom. He introduces his main points by addressing the ongoing racial injustice and articulating his dream of equality, creating a vivid picture of a hopeful future. His conclusion uses a powerful repetition of the phrase “I have a dream” to reinforce his vision and leave a lasting impression. The speech employs imagery, metaphors, and emotional appeals to engage the audience. To apply these techniques, focus on a strong introduction, clear key points, and a memorable conclusion in your speech, using repetition and vivid descriptions to make it impactful.

Takeaways from this Page

Writing a speech involves careful planning and practice. Begin with a clear introduction to capture attention and state your main points clearly. Use simple and engaging language to keep your audience interested. Rehearse your speech to ensure smooth delivery and correct any mistakes. Finally, end with a strong conclusion that reinforces your main message and leaves a lasting impression.

FAQs on Easy Steps to Write an Effective Speech

1. How to write a speech format? 

To understand how to write a speech format, start by organising your speech into three main parts: introduction, body, and conclusion. Clearly outline your main points and supporting details. This format helps in delivering a structured and effective speech.

2. How to write a welcome speech? 

When learning how to write a welcome speech, begin with a warm greeting and introduce yourself. Mention the purpose of the event and the key individuals present. Keep it brief and engaging to set a positive tone for the event.

3. How to write a speech on teacher's day? 

To write a speech on Teacher's Day, start by expressing appreciation for teachers. Highlight their contributions and impact on students' lives. Use personal anecdotes or quotes to make the speech heartfelt and memorable.

4. How to write a welcome speech for chief guest? 

When writing a welcome speech for a chief guest, ensure you acknowledge their presence respectfully. Mention their achievements and the significance of their visit. Craft your speech to reflect the honour of having them as a guest.

5. How to write a speech for students? 

For writing a speech for students, choose a topic relevant to their interests and needs. Use simple language and relatable examples. Structure your speech to be engaging and motivational to keep students attentive.

6. What is the best way to structure how to write a speech format? 

The best way to structure how to write a speech format is to divide your speech into three main parts: introduction, body, and conclusion. This format helps in organizing your thoughts and ensures a clear flow of ideas.

7. How to write a welcome speech effectively? 

To write a welcome speech effectively, start with a friendly greeting and introduce yourself. Outline the purpose of the event and acknowledge key guests or participants. Make sure to keep it concise and engaging.

8. How to write a speech on teacher's day to make it impactful? 

To make a speech on Teacher's Day impactful, focus on the role of teachers in shaping students' futures. Share personal stories or experiences that highlight their dedication. Conclude with a heartfelt thank you.

9. How to write a welcome speech for chief guest in a formal setting? 

Writing a welcome speech for a chief guest in a formal setting involves greeting them warmly, mentioning their achievements, and explaining the importance of their presence. Keep the tone respectful and appreciative.

10. How to write a speech for students to ensure it is engaging? 

To ensure a speech for students is engaging, choose a topic that resonates with their interests. Use simple language and interactive elements. Structure your speech to include relatable examples and a motivational conclusion.

11. What are the key points in how to write a speech format? 

Key points in how to write a speech format include having a clear introduction, a well-organized body with main points, and a strong conclusion. This format helps in delivering a coherent and effective speech.

12. How to write a welcome speech for various events? 

How to write a welcome speech for various events involves greeting the audience, introducing the event’s purpose, and acknowledging any special guests. Tailor the speech to fit the nature of the event and keep it engaging.

More From Forbes

How to give a great speech.

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Giving a speech

It's the season of speeches.

Every four years, Americans are treated to oratory by speakers of both parties who address their national party conventions. The purpose of such oratory is less to persuade than to fire up the attendees who will sally forth from their respective conventions determined to mobilize forces for their candidates up and down the ballot.

Some of the speeches are downright scary, while others are joyous and uplifting. Regardless, the focus on so many speeches in such a condensed period of time emphasizes the power of the spoken word.

As a former speechwriter turned executive coach, I have helped many women and men hone their messages. I want to share a few things I have learned, mainly through trial and error.

Know Your Audience

People want to hear what you say, but you need to do your homework before you can connect. Understand what the audience expects of you and tailor your remarks to resonate with their needs.

Floyd Mayweather Jr. Vs. John Gotti III Results: Winner And Reaction

Apple iphone 16 release date: new report hones in on precise date, it ‘ends now’—donald trump reveals surprise assault on ‘crooked’ wall street, acknowledge your limitations.

Many times, what a leader has to say is what they must say. That is, the situation is challenging and presents problems. A leader can only accomplish so much. Failure to acknowledge what you can do and what the organization must do is asking for trouble. People will simply tune out.

Address Objections

Everyone wants to give an uplifting speech that resonates with harmony and joy. Unfortunately, life is not like that. Leaders need to paint a realistic picture, citing the pluses and minuses. What the leader must do may conflict with what the organization wants to do. It is the leader's responsibility to be honest about the decisions and set the course forward.

Tell Stories

Reveal yourself through stories. Cite examples of individuals in organizations who are making positive contributions. No leader succeeds alone. Every leader needs the team's buy-in. So, make that clear.

Issue The Call To Action

Not every speech may need a formal call to action, but every public utterance needs to be understood as a call for unity, a coming together to achieve the mission. However, if there is a call to action, learn from the politicians—ask for their support. Simultaneously, include your commitment to supporting the individuals and teams that make up the organization.

Uplift Your Audience

Knowing, acknowledging, addressing and challenging are just the basics of speechmaking. Each speaker must craft a message that reveals who they are and what they want to accomplish. Give people a reason to believe in you because you believe in them.

One thing I have yet to emphasize in this little essay is delivery. So let me quote the legendary film director, John Ford , who famously said “You can speak well if your tongue can deliver the message of your heart.” In short, relax. If you have a good message, speak directly. Show people how you feel with the words you deliver. Doing so will encourage listeners to have faith in you and your leadership.

So often, it is said that a leader's job is to elevate followers and enable them to do their best. If that is the case, a good speech—well-honed or off-the-cuff remarks—is an excellent way to begin the uplifting process.

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‘Run, Kamala, Run’: Mention of Harris’s Father Was a Rare Homage to a Fleeting Figure

In her convention speech, Kamala Harris told of being inspired by her father, a prominent economist who was otherwise largely a footnote in her personal story.

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By Erica L. Green

Erica L. Green is a White House correspondent covering Kamala Harris’s presidential campaign.

“Run, Kamala, run.”

When Dr. Donald J. Harris uttered those words to his young daughter more than 50 years ago, he was encouraging her to whip freely through the parks of Oakland, Calif., not seek the highest elected office in the country. But in her address accepting the nomination as the Democratic presidential nominee, Vice President Kamala Harris said it was these words that helped inspire her.

“From my earliest years, he taught me to be fearless,” Ms. Harris said.

It was a rare homage to her father, a prominent economist but fleeting figure in her life who has largely been a footnote in her personal and political story. The first Black scholar to receive tenure in Stanford University’s economics department, Dr. Harris remains a professor emeritus there, and turned 86 the day after his daughter gave the most important speech of her life at the Democratic National Convention. He was not among the family members who accompanied Ms. Harris to the convention.

Her relationship with her father is a closely guarded part of Ms. Harris’s life about which she has spoken only sparingly. Her 2019 memoir, “The Truths We Hold,” referenced him only a handful of times. But in presenting herself as a nominee who understands the American dream through the complex lenses of personal, familial and social struggles, Ms. Harris tapped into the totality of the experiences that forged her.

That included when her parents divorced — or, as she would write in her memoir, “they stopped being kind to each other”— when she was in elementary school.

“My father remained a part of our lives,” Ms. Harris wrote. “We would see him on weekends and spend summers with him in Palo Alto. But it was my mother who took charge of our upbringing. She was the one most responsible for shaping us into the women we would become.”

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