Dialogue is one of the most powerful tools in a writer’s toolbox. A single exchange between characters can reveal more about their motives, personalities, and relationships than pages of exposition—and trust me, readers prefer dialogue to exposition. Done well, dialogue pulls readers into the story, making them feel like they’re actually part of the conversation. If it feels forced or stalls the story, then it’s just too painful to read and the reader will toss the book.

So how do you craft dialogue that works? Below are five principles to consider as you write and revise.

Dialogue Must Serve the Story

The first rule of dialogue is purpose. Every spoken word should have a reason for being there. If your characters are chatting about the weather or their favorite breakfast cereal and it serves no purpose, readers will pick up on that and skim—or worse, put the book down.

Dialogue should always advance the story, such as:

• Revealing character – A single phrase can showcase a character’s humor, bitterness, insecurities, etc.
• Advancing the plot – Dialogue often delivers critical information, sets up the next scene, or raises new obstacles.
• Building the tension – Characters don’t always say what they mean. A heated argument or a quiet lie can shift the stakes.
• Deepening your theme – (If you don’t know your theme at the onset, be sure to go back and plant some dialogue once you figure it out.) Subtle conversations can reinforce the larger ideas you’re exploring.

Ask yourself: If I cut this line, would the scene lose momentum, clarity, or emotional impact? If the answer is no, cut.

Show Character Through Voice

A character’s dialogue is an extension of who they are. The words they choose, the rhythm of their sentences, even the pauses and hesitations—they all reveal background, personality, and emotional state.

Think of the difference between these two lines of dialogue:

• “I am uncertain about the wisdom of that choice.”
• “Eh, I don’t think that’s the smartest choice you’ve ever made.”

Both communicate doubt, but the first suggests formality or education, while the second sounds casual and blunt. Readers can tell a lot about who’s speaking just by the phrasing.

To give each character a unique voice, consider:

• Vocabulary – Do they use slang, jargon, or formal diction?
• Rhythm – Do they speak in long, flowing sentences or short, clipped ones?
• Tone – Sarcastic? Warm? Hesitant? Confident?
• Silence – Sometimes what a character doesn’t say speaks volumes.

When characters have distinct voices, readers don’t need constant dialogue tags (“he said,” “she said”) to follow along—they can hear the difference on the page.

Balance Dialogue with Action and Internal Thought

Real conversations don’t happen in a vacuum, and your written dialogue shouldn’t either. Long passages of back-and-forth can start to feel like floating heads talking in empty space. To avoid this result, you’re going to want to layer dialogue with action beats and internal thought.

Action beats: Gestures, facial expressions, or movements that break up speech and add context. Example: “I told you not to come here.” She shoved the door closed and locked the deadbolt with a vicious twist.

Internal thought: A peek into what the POV character is thinking versus what they’re saying. Example: “Of course, I have the money,” he said. “I can get it to you tonight.” The bitter lie rolled off his tongue smooth enough. But inside, he was squirming, desperate to run.

This weaving together of spoken words, physical behavior, and the character’s internal thoughts grounds the conversation and creates depth, layering the story so the reader is immersed in what’s happening on the page. Just be sure not to “tell.” I’ll talk about show vs. tell in another post.

Use Subtext and Conflict

IRL (In Real Life), people rarely say exactly what they mean. There are exceptions, of course, but usually, we try to filter what we may really think about something. Example: “Does this dress make me look fat?”

The same should be true in your fiction. Subtext—the meaning beneath the surface—keeps dialogue layered and intriguing.

A character might say, “That’s fine,” but the clenched jaw, clipped tone, flared nostrils, and refusal to meet the other person’s eyes reveal she’s anything but fine. The words and the meaning are in conflict, and that tension pulls readers in.

Conflict is the heartbeat of good dialogue. It doesn’t have to be shouting matches. It can be polite avoidance, mismatched goals, playful banter, or carefully veiled insults. Even a lighthearted exchange gains energy when two characters want different things.

Here’s an example of polite avoidance:

Claire set two mugs of coffee on the table in front of her brother. “You want cream?”

“Black’s fine.” Daniel wrapped his hands around the mug but didn’t drink. His gaze lingered on the window instead of her.

“It’s been a while since you were last here. The garden’s gotten out of control. I can’t keep the weeds back.”

“It happens.” He finally sipped the coffee, still not meeting her eyes.

Claire tapped her fingers against the ceramic. “I should probably hire someone. A neighbor, maybe.”

“Good idea.”

Silence stretched, thick and heavy. She wanted to ask about the letter, the one she knew he’d received, but his calm detachment had her swallowing the words.

Finally, she said, “The roses did well this year.”

“Glad to hear it.”

Argh! This kind of conversation with someone would make me nuts. I’m more likely to just come right out and ask about the letter, but you see how you can use this to show personalities?

Remember: Conflict in dialogue doesn’t mean every scene becomes an argument—it means every conversation has stakes. Something is on the line, whether it’s love, trust, power, or survival.

Keep It Natural but Polished

The goal of dialogue is believability, not perfect accuracy. If you record real-life conversations, you’ll notice they’re full of filler words (“um,” “like”), tangents, and unfinished thoughts. If you put that directly into your novel, readers would slam the book shut and toss it in the trash—or the recycle bin.

Instead, aim for the illusion of real speech. Use:

• Contractions – “I can’t” sounds more natural than “I cannot,” unless formality fits the character.
• Fragments and interruptions – People don’t always speak in complete sentences.
• Strategic repetition – A repeated phrase can emphasize emotion, but too much becomes clutter.

The key is polish. Dialogue should read smoothly while still sounding authentic. One of the best editing tricks is to read your dialogue aloud. If it feels stiff in your mouth, it will feel stiff to your reader.

Readers remember great dialogue long after they close the book. Craft yours with care, and you’ll not only keep them turning pages, you’ll make them feel like they stepped into the story. I’ll talk more next month about this topic, and I’ll give you five more things to consider when crafting dialogue.

What about you? Do you have any tips and tricks you use to make your dialogue realistic?