BRAINSTORMING SCRIPTWRITING

22 Screenwriting Tips for Better

Movie Dialogue in Your Scripts
BY SC LANNOM ON APRIL 12, 2020

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earning how to write dialogue is not easy. You’ve written a pretty good
L
script, but you know it could be GREAT. Could writing better dialogue
in your screenplay be that missing piece? Want screenwriting tips that teach
you how to write dialogue in a script with writing examples from movies and
TV to go with each category?

Lezgo.

SCREENWRITING TIPS
:
 Movie dialogue preface
You want to know how to write dialogue, but many of the screenwriting tips
you get are too broad, less specific, and feel a bit hollow.

Learning how to write a screenplay starts with writing action lines, transitions,
and compelling characters before writing dialogue. If your goal is to learn how
to write a screenplay, the first screenwriting tip is to create a writing workflow
that ends with writing dialogue.

If you follow these steps in order, your scripts will show producers you know
how to write great dialogue, and you'll be a better screenwriter. So let's begin
with our screenwriting tips for writing better dialogue.

HOW TO WRITE DIALOGUE

1. Gather useful research

Ever hear someone say, “write what you know”? Me too — it’s safe advice. You
can look at it two ways. They either think you should lace in elements from
your own experiences into your characters and plot, which is the kind route. Or
that you won't do your research.

If you want to write a detective thriller:

Reach out to retired detectives.

Watch great detective films and documentaries.
Read biographies on detectives and FBI agents.
People love to learn from films, so do some heavy research on a specific topic,
and then use what you learned to entertain others. A lack of research will sap
the willing suspension of disbelief.

Want to write about Lawyers? Astronauts? Tech Companies? Figure out as

much as you can before you begin to write your screenplay, and definitely
before you begin writing dialogue.
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 WRITING DIALOGUE FOR FILM

2. Show...don’t tell
As far as cinema and television goes — action lines reign supreme.

Writing dialogue feels nice. It flows pretty naturally and takes up a lot of real
estate on the page. But…fifteen pages of good dialogue isn’t worth one page of
decent action.

The best modern example of this is Mad Max: Fury Road. I’m a big Tom
Hardy fan, and while I was surprised to see him basically grunt his way
through the entire film, I thought it was perfect. Pay attention to the use of
dialogue in the scene below:

Mad Mad: Fury Road • Attack on the War Rig

:
 We see everything we need to see, and the vast majority of dialogue in the film
is there to enhance the actions taking place on screen.

The filmmakers didn't default to writing dialogue heavy scenes.

This is one of the reasons why dialogue that accompanies stunt sequences very
rarely seems extraneous — especially as a form of punctuation for the scene.
That's because the action is the main course, and the dialogue is the dessert.
Ever heard of a one liner?

Mad Max: Fury Road happened to be centered around spectacle, but even if
your film is an edgy character piece or a zany romantic comedy, you’ll always
capture an audience with more action and less talk.

HOW TO WRITE DIALOGUE

3. Use an outsider for exposition

One of the best tips for learning how to write dialogue is to use an outsider. By
using an outsider to introduce information, you create a feeling of legitimacy,
as though the information you hope to convey is common knowledge. Here's a
dialogue example:

Instead having your character say...“I avoid conflict.”

Have another character say...“I know you like Joe... but he really isn’t the
conflict resolution type.”

Here is an example of an outsider introducing info in The Big Lebowski: in this

case, Brandt has the pleasure of giving The Dude a tour of Lebowski's office.
Pay attention to the moment they discuss the photo of Lebowski with Nancy
Reagan.
:
 Brandt & The Dude • The Big Lebowski

In the film, you really can't see the photo of Lebowski very well, so the dialogue
helps to sell both the joke, but also the information on Lebowski's disability.
You're not sure how to feel, sort of like The Dude.

Check out this scene in The Big Lebowski script below:

:
 View Sample Screenplay

The Big Lebowski • Brandt and the Dude • Read the entire scene

This is just one of writing devices the Coen Brothers use. They might just be
two of the best working screenwriters today and dialogue is their bread and
butter. Let's dive deeper into their writing in the video below:
:
 How to Write Like the Coen Bros • Subscribe on YouTube

The Coen Brothers not only know how to write a screenplay, but they also know
how to write dialogue that enhances their scenes.

You could go through every Coen Brother film and find great dialogue
examples that follow just about every screenwriting tip in this post.

HOW TO WRITE MOVIE SCRIPT DIALOGUE

4. Write between the lines

Often the best dialogue occurs when a character avoids the truth. This doesn't
mean they have to lie, or deceive, but they can't be on the nose.

This is especially true when your character is in a compromising situation,

which should be quite often since that often makes for a great scene. Think
about the dialogue in Breaking Bad:
:
 Breaking Bad Teaser

How many times did Walter White say the opposite of what he was actually
thinking? How about the passive aggressive sister-in-law Marie?

When the viewer has prior knowledge of something, it can be especially

interesting or even funny to see someone lie or misrepresent their true feelings.
You know why? Because we get to be in on the joke.

You're not just learning how to write dialogue, but rather how to create scene
with layers that can your dialogue can exploit. The focus of this next scene from
Westworld is a great example of "writing between the lines" because Ford
wishes he could just say "don't get in my way" but he can't just come out and
say it — at least not until the end of the scene.
:
 Writing Between the Lines • Subscribe on YouTube

A lot of television benefits from 'between the lines' dialogue because these
shows have to write dozens of episodes rather than a single 100 page script.

R E L AT E D P O S T S

Explore: The Shrek Script Explained →

Create: Compelling Movie Synopses →
Write: Scripts with StudioBinder for FREE →

HOW TO WRITE MOVIE DIALOGUE

5. Develop a complete character

When learning how to write dialogue in your screenplay, you need to ask
yourself how people operate in their daily lives based on mood.
:
 I doubt you are a one dimensional human being. You’ve been kind, and you’ve
been a jerk — maybe even on the same day. Your characters should be just as
complex, but it’s important not to have huge shifts in their attitude in a short
amount of time.

Your hero can be a grouch like John Creasy in Man On Fire. Your villain can be
polite like Hans Landa in Inglourious Basterds.

Check out how Tarantino writes dialogue in the scene below:

Strudel Scene • Inglourious Basterds

Actions speak louder than words, and your characters need to show us their
true nature with deeds. They use dialogue to distract the viewer.

It's more than simply writing dialogue that is diametrically opposed to the
nature of your character, because there is nuance to everything.
:
 Building a complete character is one of the most important screenwriting tips
for writing better dialogue because it makes your job that much easier. You
don't need to learn how to write dialogue for interesting characters because the
motivation of each line will organically flow into your scripts.

Read the strudel scene from Inglourious Basterds to see how Tarantino uses
this scene to construct Landa's character with layers.
:
 View Sample Screenplay

Inglourious Basterds • Strudel Scene • Read the entire scene

Your characters may reveal tiny portions of the truth, or have a moment of
stress that boil up and overcome them — all of that works. Ever heard of the
term "one note"? Now imagine a song that is literally one note.
:
 DIALOGUE WRITING TIPS

6. Give characters a unique voice

We all have different speech patterns, catch phrases, and our own unique
tempo when we speak, and you should implement this into your dialogue as
well.

A common screenwriting tip for this is to cover up the character name and see
if you can identify each character purely based on the dialogue.

This is one of the reasons character archetypes are useful, because they force
you to think in terms of personality and motivation with each moment. What
would a leader say versus a caregiver?

Think about combining a unique voice with a complex character.

If we see the caregiver act one way for most of the film, and then see a moment
where they change — you can cement it with some dialogue that shows a
willingness to change their speech patterns.

This was basically the entire plot of King’s Speech. It’s especially true in
ensemble pieces or films with teams and squads. Think about the dialogue in
Saving Private Ryan:
:
 Gripes Go Up • Saving Private Ryan

Does Upham speak like Jackson? What about Wade and Reiben? They are all
connected by the war, their squad, their humanity…but each of them stand out
because they have their own unique voice. Maybe the path to better dialogue is
simply different voices.

HOW TO WRITE DIALOGUE IN A SCRIPT

7. Avoid redundancy, and definitely don’t

say the same thing twice...
There is a great scene in Birdman where Riggan and Mike rehearse, and Mike
rips apart a scene and begins to take over as the director.

Mike: “Hey, can I make a suggestion, do you mind?”

Riggan: “Yeah, yeah sure, no not at all.”

Mike: “Okay, just stay with me.... you've got four lines after that, that all say
the same thing. "I didn't even know the man, I only heard his name mentioned
in passing, I wouldn't know, you'd have to know the particulars..." The point
is, you don't know the guy, we f - king get it. Make it work with one line:

"I didn't even know the man."

This was one of my favorite moments in the film. Mike explains this
screenwriting tip perfectly. We get it…. make it work with one line. Whoever
made this Birdman movie should win an Oscar or something:
:
 Breaking Down The Scene • Birdman

A film or show is a train on the tracks. We don’t reverse unless there is new
information to be had, so once you’ve said or shown something… move on. We
get it… make it work with one line.

SCREENWRITING TIPS AND TECHNIQUES

8. Stretch important information

Just because you have important information that you need to convey to your
viewer, it doesn't mean you have to show your cards right away.

Make the viewer work for it. Lead the viewer with little breadcrumbs. See an
example of writing breadcrumb dialogue in the scene below:
:
 Who Would You Fight? • Fight Club

This scene gives you little hints about the relationship between these two
characters, while also giving you some back story.

When you go back and watch Fight Club, you will see these moments laced all
throughout the script — and they work really well on their own.

Check out the script for this scene below:

:
 View Sample Screenplay

Fight Club • Who Would You Fight? • Read the entire scene

If you go back and piece all of those lines together, you can see someone
dipping into anarchy and madness… but when you give information to the
viewer in single servings you can stretch the effectiveness of your ultimate
point.
:
 Fight Club might have some of the best single serving dialogue in a film. Very
clever. How’s that working out for you?

R E L AT E D P O S T S

Pursue: How to Become a Writer →

Write: Character Arc Tips and Techniques →
Free Template: How to Write a Treatment →

HOW TO WRITE CONVERSATIONS

9. Show us the interesting stuff

There is an old screenwriting tip of “arrive late, leave early.” What this basically
means is skip the pleasantries.

If you have a scene with two divorcees in arbitration, like Wedding

Crashers, we don’t need to start the scene with the clerk unlocking the meeting
room door. Setting up the chairs. Filling up the water glasses.

We don’t need to see people enter the room. We don’t need to see them leave at
the end. What we do need to see is the middle portion… the fight.

But how does this relate to dialogue?

When leaning how to write a screenplay you will quickly learn this: Your
dialogue is an extension of your scenes. If your scene is trudging through some
super boring situation there is a pretty good chance the accompanying dialogue
won’t be much better.

See how this idea plays out in the scene below:

:
 Mediation • Wedding Crashers

The reason I named this section “show the interesting stuff” is because I’ve
often watched films and shows that will have this big moment happen… and
then cut away to later that night!

Why? I was so darn caught up in this well crafted and stressful moment. Stay
on the moments right after a murder happens. Stay right after the guy misses
the game winning field goal.

You will automatically write better dialogue when it accompanies a truly

interesting moment in your script.

SCREENWRITING DIALOGUE WRITING

10. Logical conflict is good

People will say “conflict is good in scripts” but I respectfully disagree. Logical
:
 conflict is good in scripts, in fact it is baked into the cake. Conflict is also
different than arguing. Take the film Adaptation.

Charlie and Donald are very rarely arguing, but there is a sense of conflict —
one is a struggling professional screenwriter, and the other is a fresh
screenwriter who seems to be inspired at every turn.

We know Charlie doesn’t want to hear his brother’s excitement, but he also
loves his brother and doesn’t want to take the wind out of his sails.

Charlie wouldn’t want someone to do that to him, and this makes the dialogue
writing process so much simpler, logical, and interesting.

Want to know how to write better dialogue? Build logical conflict. Check out
the scene below to see what I mean:

Pitch Scene • Adaptation

:
 That is true conflict… inner conflict and external at the same time, and it all
makes perfect sense to anyone with a life. And every moment in your script
doesn’t need conflict.

Writers will hear that conflict is good and then inject every scene in their script
with some form of conflict, but this more often than not translates to a bunch
of people screaming at one another. This is manufactured conflict instead of
natural conflict.

If you're wondering how to write a movie script, don't manufacture conflict.

Viewers are far too sophisticated for that, and it will constantly get in the way
of you writing better dialogue in your screenplays.

The word that comes to mind is “contrived.”

You want to write a good script, which really means setting up strong cinematic
devices that never let the viewer down, enhancing those devices with your
dialogue, and setting up meaningful transitions.

If you’re soaring over your script like a hawk, looking for scenes that you can
scoop up and inject with some conflict… you may be in trouble. Conflict in your
script should be natural, apparent, and baked into the cake of your character
traits, plot, and logical competition.

HOW TO WRITE FILM DIALOGUE

11. Interrupt other conversations

Have you ever had a moment where you were telling a secret, and then
someone walks up and interrupts your conversation?

It’s a compromising situation, and this works as a really great way to stretch
important information, write between the lines, and add logical conflict, but it
also just makes for an entertaining scene.
:
 Even if “the interruptor” immediately asks for a private conversation, you’ve
now set up a perfect moment of conflict for your characters.

Why? Because now we get to physically see our character make decisions. How
will they handle this delicate political situation?Whatever the answer — it will
say oodles about your characters.

HOW TO WRITE DIALOGUE IN A STORY

12. Take advantage of every role

You should never have a throw away character with throw away lines. If you do,
it is pretty self explanatory what to do with them…throw them away. One of the
great first lines in a film is in Die Hard:

Businessman: “You wanna know the secret to surviving air travel? After
you get where you're going, take off your shoes and your socks then walk
around on the rug barefoot and make fists with your toes.”

John McClane: “Fists with your toes?”

Businessman: “I know, I know, it sounds crazy. Trust me, I've been doing it
for nine years. Yes sir, better than a shower and a hot cup of coffee.”

Here is the scene for your reference:

:
 Fists with Your Toes • Die Hard

Now… why is this so GREAT?

There are two reasons:

1. This character never comes back, yet he has some fun dialogue, a point of view,
and even a piece of helpful advice that most people would be interested to try
the next time they got on an airplane.
2. This interaction leads to a great piece of conflict in the film, because it is the
impetus for John McClane to take off his shoes. When the terrorists burst into
the party, he is forced to run away... shoeless.
The businessman also sees John’s pistol, which gives John the go ahead to tell
us he is a cop. The filmmakers show first, we see the outsider’s reaction, and
now John has a logical reason to fill us in that he's a cop.

We'll come back to this example later... I promise.

R E L AT E D P O S T S

Explore: How to Write a Sitcom Script →

Study: Pulp Fiction script analysis →
Learn: How to Write a Musical →
:
 SCREENWRITING TIPS AND TECHNIQUES

13. Don’t be a basic bard

People enjoy movies because they take us out of our comfort zone. They show
us a world we wish to visit, but not live inside for too long. You don’t show a
character peeling potatoes for two hours, so why would you write the dialogue
equivalent of that in your scripts?

You don’t have to be controversial, or crude, just don’t be dull. Aaron Sorkin,
Quentin Tarantino, Alexander Payne, Guy Ritchie...

These are writers well known for writing better dialogue than many of their
peers, and while one could argue that the overall style often cuts against the
rule of “unique voices” they are definitely not boring screenwriters. Take a look
at a dialogue example below:

We’ve Lost Gorgeous George • Snatch

:
 If you want to know how to write better dialogue in your screenplays...don't be
basic.

SCREENPLAY WRITING TIPS

14. Tell us more through narration

Narration and internal V.O. is actually something I rather enjoy, but often the
narration is a weak play-by-play of the events taking place. Narration isn’t
supposed to be the crutch you lean on for support…it’s the running shoes that
give you that extra traction.

Take Henry Hill in Goodfellas.

You might get a quick description of the events with a bunch of extra points
that give the viewer a richer understanding of the scenes.

Here's an example of dialogue as narration in the scene below:

:
 Henry’s Youth • Goodfellas

Henry Hill: “If you're part of a crew, nobody ever tells you that they're
going to kill you, doesn't happen that way. There weren't any arguments or
curses like in the movies. See, your murderers come with smiles, they come as
your friends, the people who've cared for you all of your life. And they always
seem to come at a time that you're at your weakest and most in need of their
help.”

Arrested Development is a show that I enjoy, but I think a lot of people would
agree that the narration is overdone. Unless narration makes the scene
significantly better, you probably don’t need it in your scene.

HOW TO WRITE A SCREENPLAY

15. Make your actors happy

When writing dialogue in a story, it will help to think about the actors. Actors
love good story dialogue for a number of reasons, but the main one is that
auditions very rarely have actors carrying out actions...

Instead, they are in a small room reading dialogue.

This is also how actors rehearse with one another. They study dialogue
examples, or find writers who already know how to write dialogue and take
those scenes and run lines until they feel good about their performances. When
you give your actors fun lines, they will be happy.

Now, does this mean you should sacrifice story over style? Of course not. If
you're going to get a good performance, chances are it makes the story better.
Tell me the scene below doesn't have some great movie dialogue:
:
 False Prophet • There Will Be Blood

You will be able to tell that you took advantage of screenplay tips and dialogue
rules by the actor's face when they read your script.

They picture themselves on screen delivering that great line…

Even if they are portraying a coward, a good actor will spot good dialogue in a
script because it gives them something with which to work. This is also a great
way to sell your screenplay, because often times exciting the right actor with a
good role is the quickest way to have your script produced.

HOW TO WRITE A SCRIPT

16. Make your speeches count

This goes hand in hand with the last tip, but it still needs to be said. There will
be moments where you want a character to give a big speech, and they should
totally do it… but it have to work really well.
:
 This speech in the scene below is a great example of good dialogue:

Miles on Wine • Sideways

You can often reserve them for the beginning of your scene or the end of your
scene, as well as the beginning and end of your entire movie. Speeches should
generally be reserved for the most important characters in your story — I’d say
at least the top three.

BEST SCREENWRITING TIPS

17. Stay consistent until you shouldn’t

Consistency with your dialogue basically means you shouldn’t have a character
that is tonally bi-polar, unless that is the point of the character. But if you have
a good natured character who suddenly begins to tease people left and right…
:
 you may be confusing the viewer.

Now… what about this “until you shouldn’t”? Well, you know that good
characters go through change. Watch the scene below to see how your
character can alter speech patterns:

Bruce Buys a Hotel • Batman Begins

Coordinate your tonal shifts, changes in speaking pattern, and general

adjustments to demeanor for the really big moments in your script. Think of
act breaks and beat points. All is lost?

Maybe have your polite housewife tell her loving husband, “I hate who I see in
the mirror and it is because of this marriage!” Whoa… that is quite a shift…so
big in fact that it might change the entire story.
:
 HOW TO WRITE A SCREENPLAY

18. Foreshadowing & Call Backs

Earlier I said I’d bring back the Die Hard example, and I wasn’t joking. That’s
because it’s a great example of a call back… just like this example.

Let's watch how the dialogue from the earlier scene set up this moment:

Shoot the Glass • Die Hard

Call backs and foreshadowing go hand in hand, but I don't like foreshadowing.
I do like call backs, because they are really logical, show you have a point to the
events in your story, and can really please an active viewer.

Recently I saw the Jordan Peele film Us. There were some really great call
backs that had been set up by the dialogue. The flare gun…The boat engine…
:
 Hands across America.

These were all call backs set up by dialogue (and some action) that seemed
innocuous at the time, but came back at significant moments. This is an
example of good dialogue, and how to write a screenplay in general because the
dialogue seems natural and informed the story.

My favorite call back example is Rolo Tomasi in L.A. Confidential. Go watch

the film — I won’t spoil it. Back to the Future did this a lot as well.

They are like easter eggs you can hide around your script. Call backs are also
really great for comedy. Just ask Jerry Seinfeld and Larry David.

HOW TO WRITE A MOVIE SCRIPT

19. Relationships alter speech

If you're learning how to write a screenplay, you will benefit greatly from
understanding how our relationships influence our speech. When I speak to my
mother on the phone, I speak one way.

When I speak with my friends on the phone, I speak a different way. I would
assume this is the case for most everyone, but it should definitely be the case
for your characters when writing dialogue.

Authority, compassion, respect, disgust — all of this comes from the

relationship dynamic we have with one another, and this will help you write
better dialogue. Take a look at the dialogue example below:
:
 Prince Edward • A Knight’s Tale

You can break this dialogue rule to great effect as well. When everyone speaks
to the king one way, but our hero speaks to him differently, it says something
very profound about the character.

HOW TO WRITE BETTER

20. Sydney Lumet’s “Rubber duckies”

Very few books have as much insight into how to write a screenplay than
Sydney Lumet's Making Movies. Lumet films are a master class on how to
write better dialogue, and his book has some of the best screenwriting tips
around.

One of these is Rubber Ducky dialogue. Lumet and Paddy Chayefsky called it
the Rubber Ducky school of drama.

Lumet — “Someone once took his rubber ducky away from him, and that’s
why he’s a deranged killer.”

Check out a humorous take on this in the example below:

:
 Janie’s Past • Not Another Teen Movie

This was their screenwriting term for when a character explains their
personality based completely around a traumatic situation in their past.

Lumet believes that the behavior should reveal psychology.

DIALOGUE RULES FOR WRITING

21. Does it bring you joy?

Watched Tidying Up with Marie Kondo? You probably know two things:

1. How to fold.
2. Does it bring me joy?
This idea did not begin with Marie Kondo, but is rather a classic method for
eliminating worldly possessions that you really don’t need. Go through your
script and find anything that doesn’t make you smile.
:
 It doesn't matter if you've written a gore filled horror film or a prestige movie
about starving puppies who decide to finally take on the system. Writing a good
script will make you happy. If a line of dialogue doesn’t bring you joy…
Indiana...let it go.

HOW TO WRITE DIALOGUE IN A STORY

22. Read your script out loud

This is the last step in your screenwriting audit. You want to actually read your
script aloud so that you can hear the lines of dialogue, the rhythm, the
intentions, and the length of each line.

I’ve written countless lines of dialogue that I thought were really great...until I
read them aloud. Often, the answer presents itself. Sometimes it's a simple
contraction. Other times it’s as complicated as a complete rewrite.

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Tags: A Knight’s Tale, Aaron Sorkin, Adaptation, Alexander Payne, Back to the Future,
Batman Begins, Birdman, Breaking Bad, Die Hard, Fight Club, Goodfellas, Guy Ritchie,
Inglourious Basterds, Jerry Seinfeld, Jordan Peele, King’s Speech, L.A. Confidential, Larry
David, Mad Max: Fury Road, Man On Fire, Not Another Teen Movie, Quentin Tarantino,
Saving Private Ryan, Screenwriting, Sideways, Snatch, The Big Lebowski, There Will Be
Blood, Us, Wedding Crashers, Westworld

SC Lannom
SC Lannom is a screenwriter and director living in Los Angeles. He works as a writer,
director, and content producer here at StudioBinder.
:
 10 COMMENTS

Pingback: How to Build a Scriptwriting Portfolio from Scratch • Filmmaking Lifestyle

Anonymous
February 14, 2018 at 2:05 am

Well done and concise. This clarifies some areas I need to work on. Thanks!

George Edelman
February 14, 2018 at 12:35 pm

Glad you find it helpful. Let us know if you have any specific questions we can answer!

Dhananjay
March 22, 2018 at 7:11 am

There’s a saying in Hollywood that goes something like this: “Nobody knows anything and
anybody can do anything”, which just about opens it up for everyone!

Ashley Maxwell
March 29, 2018 at 5:36 pm

Thanks for your tip to were for movies using dialogue that is expository. I also like how you said
that you use someone as a third listener in your screenwriting. My brother is really into film
writing, and he is looking for some inspiration.

Carly
May 7, 2018 at 7:23 am

Great article!
Thank you for sharing this!
How do you think, is it possible for essay writer becomes a screenwriter?
I’d like to retrain my profession. So now I’m looking for any online-courses or guidelines, could
you advice me something like that I’m looking for?
I’ll be grateful to hear your answer! Thanks.

Anonymous
January 29, 2019 at 2:38 pm

Excellent tips. Great website.

Anonymous
February 15, 2020 at 11:01 am

Really thought provoking stuff. Thank you for this. I especially like what you say about movies
being a visual medium. Sometimes easy to forget when you’re writing 15 pages of dialogue!
:
 Bazi
February 15, 2020 at 11:02 am

Really thought provoking stuff. Thank you for this. I especially like what you say about movies
being a visual medium. Sometimes easy to forget when you’re writing 15 pages of dialogue!

rachel frampton
October 5, 2020 at 5:19 pm

My sister is planning to write her first screenplay about friendships and tragedy, which is why
she’s currently looking for a service that may edit and analyze her scripts. Well, thank you for
sharing these tips; I’ll make sure to inform my sister that she must start writing the action lines,
transitions, and compelling characters. I also agree with you that it would be best to write a
dialogue where the character is trying to avoid the truth because this will add a thrill.

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