How To Avoid Writing Bad Dialogue - Jen Grisanti
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- čas přidán 15. 06. 2024
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International speaker Jen Grisanti is an acclaimed Story/Career Consultant at Jen Grisanti Inc., a 13-year Writing Instructor for Writers on the Verge at NBC, and a former 12-year studio executive, including VP of Current Programming at CBS/Paramount. Jen is the author of three books, Story Line: Finding Gold in Your Life Story, TV Writing Tool Kit: How To Write a Script That Sells, Change Your Story, Change Your Life: A Path To Your Success.
Grisanti started her career in 1992 as an assistant to Aaron Spelling. He served as her mentor for 12 years. She quickly climbed the ranks and eventually ran Current Programs at Spelling Television Inc., covering all Spelling’s shows, including Beverly Hills, 90210, Melrose Place, and Charmed. In 2004, Grisanti was promoted to Vice President of Current Programs at CBS/Paramount, where she covered numerous shows, including Medium, Numbers, NCIS, 4400, and Girlfriends.
In January 2008, Grisanti launched Jen Grisanti Inc., a highly successful consulting firm dedicated to helping talented writers break into the industry. Drawing on her experience as a studio executive, where she gave daily notes to executive producers/showrunners, Grisanti guides writers to shape their material, write from their emotional truth, hone their pitches, and focus their careers.
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What do you like about this video?
Timing. I've been writing dialogue.
"To clearly know what the character wants"
It’s a great comment that dialogue should be “revealing character while advancing story.” That’s so true, and subtext is key.
Of all the reviews i get for my book, no matter how brutal, readers tend to appreciate the dialogue between my characters at least
We often hear that dialogue is the toughest part for many writers. Some writers are hired just to polish dialogue.
I've gotten praise for my dialogue too. At least that helps.
Jen is always great. Always straight to the point and no nonsense with her answers.
At least in the case of a monologue, it's its own kind of story, which means you can always structure a statement using a 'beginning, middle, and end' or the more expanded Syd Field paradigm. For this example, let’s say the character speaking is remembering a fond memory of eating at a restaurant:
-Beginning: I was super hungry.
-Inciting incident: I was driving along I-95 when I noticed a little Mom and Pop restaurant.
-Catalyst: They had a going out of business sign on the door.
-Plot Point 1: I decided to pull over and give the restaurant a try.
-Focus Point 1: The ambiance was really nice and comforting, especially since I'd been on the road for a while.
-Midpoint: A few minutes later, the waitress brought me my first course: mozzarella sticks. And I gotta say, they were the best mozzarella sticks I'd ever eaten.
-Focus Point 2: As I ate the sticks, I looked around and the restaurant actually seemed even warmer and brighter; like it was maybe the best restaurant I'd ever been to.
-Plot Point 2: Finally the waitress brought me my main course: burgers and fries.
-Climax: When I tasted the food, it was even better than the mozzarella. I'd never eaten a burger and fries like it before and I haven't since.
-Ending: Not long after, the restaurant shut down. But I gotta say, every time I drive past it, I feel a little less hungry.
And then the character’s monologue altogether would be:
‘I was super hungry. I was driving along I-95 when I noticed a little Mom and Pop restaurant. They had a going out of business sign on the door. I decided to pull over and give the restaurant a try. The ambiance was really nice and comforting, especially since I'd been on the road for a while. A few minutes later, the waitress brought me my first course: mozzarella sticks. And I gotta say, they were the best mozzarella sticks I'd ever eaten. As I ate the sticks, I looked around and the restaurant actually seemed even warmer and brighter; like it was maybe the best restaurant I'd ever been to. Finally the waitress brought me my main course: burgers and fries. When I tasted the food, it was even better than the mozzarella. I'd never eaten a burger and fries like it before and I haven't since. Not long after, the restaurant shut down. But I gotta say, every time I drive past it, I feel a little less hungry.’
And of course, you could always shorten the monologue to suit whatever your dialogue needs are. At its most basic, a story is at least a beginning, middle, and end. So once you make it through a few drafts, the monologue could become something like:
'I was driving along I-95 when I noticed a little Mom and Pop restaurant. They had a going out of business sign on the door, so I decided to give it a try. I never tasted food like theirs before and I haven’t since. They shut down, but every time I drive past the building, I feel a little less hungry.'
You could even cut that down to:
'I tried the nicest little Mom and Pop restaurant on I-95. They shut down, but every time I drive past the building, I feel a little less hungry.'
Subtext in dialogue is often created through cutting it down; especially if it's vomit.
I finally got around to watching this and I'm glad I did. Great.
The questions are amazing! You know what I want to know and ask it.
That is very kind of you. Hope you are finding these helpful!
It's a Jedi trick, I just know it 😉
Jen is the best!
I LOVE Jen!!!! 🙌🏾🙌🏾🙌🏾
Cheers!
I love monologues but must be used sparingly.
✅️ Kapow! Jen is the GOAT. So grateful for her wisdom 🔥🔥🔥
good interview
I heard with dialogue that when it's going to be on the nose make the nose interesting and not make the dialogue about something which is mundane and unremarkable.
Monologue should end with emotional break down or a twist or turnaround or a surprise.
So cause for opening a monologue is to be revealed, its crisp plot sequence is to be briefed and then end with a climax of something unexpected
Thus, monologue can enhance story values if executed aptly
Bad dialogue is usually stating the obvious or telling the audience exactly what is going on or how a character feels. That's not how people are. We imply and beat around the bush and straight up lie rather than tell the flat truth, which is why dialogue needs to be nuanced and full of inerpretation.
Triple AAA should use this video as reference.
3 or 4 lines of dialog? Say that to Tarantino.
So, this video just says don’t hire millennial writers, right?
Lol
There's a parallel world were all this advice exists and ours, were most films are sh*te.