How to write good dialogue in your novel

Is your dialogue pushing your novel forward or making the reader feel like they’re eavesdropping on a mundane conversation at the bus stop? Here’s how to ensure your dialogue pops.

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What good dialogue isn’t

Good dialogue is the icing on the cake of a well-structured novel. Bad dialogue will mar a well-structured narrative and bury a story that is barely hanging in there. Before we look at what makes great dialogue, let’s look at what dialogue isn’t: 

What dialogue is not

• ​It’s not everyday conversation – much of that is boring and has no place in a novel.
• It’s not a narrative – that tells us what’s happening in a story. Dialogue should show us how characters respond to those events.
• It’s not a tool to set up the next character’s lines – that’s a waste of words on the page. Every line should have a purpose, whoever’s speaking it. Every line should tell us something about the character – who they are, how they’re feeling and what they want.
• It’s not a backstory-delivery mechanism that the characters are already familiar with – that’s maid-and-butler dialogue and a misfire.
• It’s not a monologue – that’s best left for viewpoint characters mulling things over in their own time, unless your intention is to show one person being bored rigid by another. If only one person’s doing all the talking, ask yourself why the other person on the page is still in the room.

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3 components of effective dialogue

‘Dialogue should be the character in action,’ says John Yorke in his must-read Into the Woods (p. 151). Yorke’s talking about the art of screenwriting but the advice is just as pertinent for novelists. I recommend you read it even if you have no intention of writing for the screen because it’s a masterclass in storytelling, whatever the medium.

When we stop thinking about dialogue as words spoken – as conversations – and instead frame it in terms of characters, we create something that’s fit for a novel.

​What does your dialogue tell readers about who your characters are, how they’re feeling, and what their motivations are?

3 components of effective dialogue
1. Character voice
How characters speak tells us about who they are, what makes them tick – their fears, frustrations, hopes and dreams, identity, preferences. Perhaps their speech is abrupt, rude, measured, polite, sweary or seductive. When we change the way a character speaks, we change their voice. And that means we change them.

2. Character mood
How characters speak tells us how they’re feeling. Dialogue that conveys emotions allows us into their heads, even if they’re not the viewpoint character. 

3. Character intent
How characters speak tells us what they want to do. Perhaps they’re asking questions for the purpose of discovery and understanding whodunit (doctors, lawyers, PIs and police officers regularly use dialogue in novels to this end), but dialogue can express a multitude of motivations. Ask yourself what your character wants every time they open their mouth.

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Unreliable dialogue

What a character expresses through dialogue need not match their true voice, mood or intent. Unreliable dialogue is powerful precisely because it jars the reader by masking the truth (which the characters themselves may even have buried).

Imagine this scenario: John has been kidnapped by Jane. They met in a club where she spiked his drink. He started to feel unwell and she offered him a ride to the Tube station. He never made it. He’s been held captive for several days, during which time he’s been physically abused and deprived of food. He’s frightened out of his wits, and weak to boot.

The dialogue between John and Jane could go as follows: John raves and rants, telling Jane her behaviour is monstrous, that Jane’s going to pay for her actions and that he’s going straight to the police as soon as he’s escaped. Jane responds in fury, telling John he deserves it all and how there’s no way he’ll ever escape.

Or the dialogue could be unreliable. John might be polite, sycophantic even, as he thanks her for the water she provided, compliments her on her appearance, or asks her about her life. Through that speech, we are shown his desperation. It’s about keeping her on side and calm in order to save himself.

And Jane’s verbal response might be chipper, seductive even. Through that dialogue, we are shown her psychosis.

The result is a sinister verbal exchange that allows us to explore the inner workings of the characters’ minds without it being forced down our throats via an all-to-obvious narrative that’s centred around the viewpoint character.

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Breaking free of viewpoint limitations

Most novelists opt to hold third- or first-person narrative viewpoints. That means the story in a chapter plays out through one person’s perspective.

When authors drop viewpoint, readers end up playing a game of narrative table tennis in which they bounce from one character’s head to another. We know who everyone is (voice), what everyone’s feeling (mood), and what everyone wants (intention) all of the time. Readers become disengaged because they don’t have time to immerse themselves in any one character’s experience.

Good dialogue allows writers and readers to break free without head-hopping. Through dialogue, readers can intuit the voice, mood and intention of multiple characters, yet the singular narrative viewpoint remains true throughout. That keeps the reader engaged and the writing taut.

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Purposeful dialogue in action

Example 1
Here’s an excerpt from Lee Child’s Never Go Back (pp. 457–8). I chose it because I’ve also seen the movie, which allowed me to compare my experience of the screen dialogue (and the advice Yorke gives) with the novel’s, and because there are no action beats, only two speech tags and no narrative. It’s just dialogue between a teenage girl and Jack Reacher. 

Note on what reader already knows
Following a lawsuit filed by Candice Dayton, Jack Reacher believes that the teenager in the scene, who’s running for her life, may be his daughter. He also cased out the diner and the staff the evening before, so the servers’ faces are familiar.

     ‘Am I in trouble?’
     Reacher said, ‘No you’re not in trouble. We’re just checking a couple of things. What’s your mom’s name?’
     ‘Is she in trouble?’
     ‘No one’s in trouble. Not on your street, anyway. This is about the other guy.’
     ‘Does he know my mom? Oh my God, is it us you’re watching? You’re waiting for him to come see my mom?’
     ‘One step at a time,’ Reacher said. ‘What’s your mom’s name? And, yes, I know about the Colt Python.’
     ‘My mom’s name is Candice Dayton.’
     ‘In that case I would like to meet her.’
     ‘Why? Is she a suspect?’
     ‘No, this would be personal.’
     ‘How could it be?’
     ‘I’m the guy they’re looking for. They think I know your mother.’
     ‘You?’
     ‘Yes, me.’
     ‘You don’t know my mother.’
     ‘They think face to face I might recognize her, or she might recognize me.’
     ‘She wouldn’t. And you wouldn’t.’
     ‘It’s hard to say for sure, without actually trying it.’
     ‘Trust me.’
     ‘I would like to.’
     ‘Mister, I can tell you quite categorically you don’t know my mom and she doesn’t know you.’
     ‘Because you never saw me before? We’re talking a number of years here, maybe back before you were born.’
     ‘How well are you supposed to have known her?’
     ‘Well enough that we might recognize each other.’
     ‘Then you didn’t know her.’
     ‘What do you mean?’
     ‘Why do you think I always eat in here?’
     ‘Because you like it?’
     ​‘Because I get it for free. Because my mom works here. She’s right over there. She’s the blonde. You walked past her two times already and you didn’t bat an eye. And neither did she. You two never knew each other.’

What we learn

• Viewpoint: Reacher is the viewpoint character. However, through the dialogue, readers are able to access information about him and the teenager.
• Voice: Both characters speak in a no-nonsense fashion. Reacher might think he holds the balance of power, given his job and age, but the girl’s streetwise tone suggests she thinks otherwise; they’re equals.
• Mood: Reacher is calm (we’d expect nothing more) and measured, but there is emotional engagement; he seems keen not to give too much away (probably in respect of the fact that he’s talking to a child, perhaps his daughter). As for the girl, she’s almost disinterested. I imagine her stuffing fries into her mouth, as focused on her food as she is on the conversation ... until she thinks her mother might be in trouble. Child doesn’t tell us, but I can see her in my mind’s eye, mouth full, looking at him, just a twitch of alarm registering in her expression. There’s almost a sense of the traditional mother/daughter relationship reversed; this is a kid who’s used to looking after herself. There’s movement in this dialogue; the speech is infused with its own action beats.
• Intent: Reacher wants to find out who the mother is. This exchange is all about building trust with the girl in order to achieve that. The girl needs someone she can turn to because bad people are watching her and her mother. She wants to know how Reacher might know Candice; Reacher wants to keep the possible sexual encounter and his resulting paternity to himself. The girl’s not stupid and picks up on his vague inference to a sexual encounter. As the conversation and the chapter close, Reacher and the readers discover that Candice and our protagonist have never met, and that the girl can’t be his daughter.   

This is characters in action, expressed through speech. Child makes every line count towards the chapter denouement. If he was tempted to introduce narrative and action beats that ensured we’d get it, it doesn’t show. In fact, they would have been interruptions and slowed the pace. Instead, he trusts us to do the work because the dialogue gives us everything we need.

Example 2
Here’s an excerpt from The Poison Artist by Jonathan Moore (pp. 244–5). I chose this because of the contrast between Kennon and Emmeline’s speech.

Note on what reader already knows
There’s another man in the room with torture devices attached to him; he’s twitching. Caleb is the viewpoint character, but he’s handcuffed and out of play. Nevertheless, we have access to two more characters’ voices, moods and intentions through the dialogue.

     ​“Don’t move,” Kennon said.
​     ​This time, his voice wasn’t much more than a whisper.
​     ​[...]
​     ​“Inspector, you’ll hit somebody,” Emmeline said.
​     ​[...]
​     ​“You look sick, Inspector,” Emmeline said. “I could get you something to drink. A glass of water, maybe? Something a little stronger?”
​     ​Kennon fired again and Emmeline didn’t even flinch.
​     ​The bullet missed her by ten feet, punching a hole in the back of the building.
​     ​“Stop—”
​     ​“You should be more careful what you touch,” Emmeline said. “Some things can go right through the skin.”

What we learn

• Viewpoint: Even though Emmeline isn’t the viewpoint character, we get to access her transgressor headspace through the dialogue, and the result is powerful and sinister.
• Voice: Kennon doesn’t say much, but what he does say is what we’d expect from a trained inspector, though it’s offered quietly. Emmeline, however, is pathologically measured. We’re left in no doubt that she’s dangerous.
• Mood: We sense Kennon’s fear and desperation through his truncated, whispered speech. There’s almost exhaustion in play. Emmeline, in contrast, is seductive (offering him a drink as if she were hosting a dinner party). Given the torture in evidence, her dialogue is obscene.
• Intent: Kennon is trying to save himself, Caleb and the twitching man, but he’s playing by the rule of law, warning Emmeline that he will fire his gun. Emmeline wants to finish her game, and her desire to play is evident in her speech. Of course, this may be unreliable; it could be masking a deep-seated fear that she’ll be harmed or killed.

This, too, is characters in action, expressed through speech. Moore draws us deep into the transgressor’s mind – even though she’s not the viewpoint character. Her dialogue, juxtaposed with Kennon’s exhausted near-silence, generates a powerful scene that oozes with sickly tension.

Example 3
Here’s a third example from Harlan Coben’s Run Away (pp. 68–9):

​Note on what reader already knows
Simon and Ingrid are married. They hold Aaron – a corrupt and possessive addict who’s been murdered – responsible for their daughter’s breakdown.​

     “The murder,” Simon said. “It was gruesome.”
     Ingrid wore a long thin coat. She dug her hands into her pockets. “Go on.”
     “Aaron was mutilated.”
     “How?”
     ​“Do you really need the details?” he asked.
     [...]
     “According to Hester’s source, the killer slit Aaron’s throat, though she said that’s a tame way of putting it. The knife went deep into his neck. Almost took off his head. They sliced off three fingers. They also cut off ...”
     “Pre- or post-mortem?” Ingrid asked in her physician tone.
     “The amputations. Was he still alive for them?”
     ​“I don’t know,” Simon said. “Does it matter?”

What we learn

• Viewpoint: Simon is the viewpoint character but through Ingrid’s speech we learn how she uses her professional mindset to manage stressful situations. 
• Voice: Simon’s voice is emotional and verbose; Ingrid’s is precise and clinical.
• Mood: Simon’s disgust and distress are evident. You can almost feel the words falling out of his mouth. Ingrid’s speech exudes clinical detachment. She’s in doctor mode.
• Intent: Simon wants to unload. Ingrid wants to understand.

Again, through speech we see the characters in action. The contrasting voices and moods show us Simon and Ingrid’s different intentions. There’s no need for more than a peppering of supporting narrative.

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Summing up

1. Make your characters’ speech count. Use it to show who the character is (voice), how they feel (mood) and what they want (intention).
2. Play with unreliable dialogue if it will enhance our understanding of characters’ emotions and motivations. Those deliberate juxtapositions will deepen our engagement.
3. Realistic everyday speech, while authentic, is dull, invasive and will disengage your reader. Remove it! 

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​Free dialogue enrichment tool

To help you think about your characters' voices, moods and intentions, and how these will enrich your dialogue, download this tool. It's a fillable PDF with ready-made examples and space for you to record your own decisions. ​​

CLICK TO DOWNLOAD YOUR FREE PDF

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Cited works

• Into the Woods by John Yorke (Penguin, 2013)
• Never Go Back by Lee Child (Bantam, 2014)
• Run Away by Harlan Coben (Century, 2019)
• The Poison Artist by Jonathan Moore (Orion, 2014)

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More dialogue resources

• 8 problems with dialogue and how to solve them
• Addressing others in dialogue: How to use vocatives
• Dialogue editing courses
• Dialogue resource centre
• How to complement dialogue with action beats
• How to convey accents in dialogue
• How to punctuate dialogue in a novel
• How to use apostrophes
• How to use speech tags in fiction​​

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About Louise Harnby

Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
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She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.

• Get in touch: Louise Harnby | Crime Fiction & Thriller Editor
• Connect: X @LouiseHarnby, Facebook and LinkedIn
• Learn: Books and courses
• Discover: Resources for authors and editors

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