dialogue-craft
This skill provides dialogue writing techniques for screenplays.Covers subtext, character voice differentiation, exposition handling,and the four purposes of dialogue (reveal character, advance plot,create conflict, entertain).Use when: polishing dialogue, developing subtext, differentiatingcharacter voices, or handling exposition in screenplay dialogue.
When & Why to Use This Skill
Dialogue Craft is a specialized Claude skill designed to elevate screenplay writing by mastering subtext, character voice differentiation, and effective exposition. It helps writers move beyond 'on-the-nose' dialogue to create engaging, multi-layered conversations that simultaneously reveal character depth, advance the plot, and maintain dramatic tension.
Use Cases
- Polishing screenplay dialogue to remove 'on-the-nose' lines and replace them with meaningful subtext and indirect communication.
- Differentiating character voices by adjusting vocabulary, sentence rhythm, and formality based on a character's unique background and personality.
- Handling complex exposition through conflict or discovery techniques to provide necessary information without stalling the narrative flow.
- Applying professional dialogue principles to ensure every line of a script serves multiple purposes, such as creating conflict while entertaining the audience.
- Using a comprehensive dialogue polish checklist to audit scripts for 'speechifying,' unnecessary greeting rituals, and identical character voices.
| name | dialogue-craft |
|---|---|
| wtfbId | wtfb:dialogue-craft |
| description | | |
| Use when | polishing dialogue, developing subtext, differentiating |
Dialogue Craft Skill
Invocation Triggers
Apply this skill when:
- Polishing dialogue
- Developing subtext
- Differentiating character voices
- Handling exposition
Dialogue Principles
The Purpose of Dialogue
Every line should:
- Reveal character - How they speak shows who they are
- Advance plot - Move the story forward
- Create conflict - Tension between characters
- Entertain - Be engaging to read/watch
Ideally, each line does 2-3 of these simultaneously.
Subtext
What is Subtext?
The meaning beneath the words. Characters rarely say exactly what they mean.
Surface vs. Subtext
// Surface level only (BAD)
JOHN
I'm angry at you for lying to me.
// With subtext (GOOD)
JOHN
(quiet)
The coffee's cold.
Creating Subtext
Displacement: Talk about something else entirely
SARAH
Did you feed the cat?
JOHN
You know I always forget.
// They're talking about how he always lets her down
Deflection: Avoid the real subject
SARAH
We need to talk about last night.
JOHN
Have you seen my keys?
Contradiction: Say the opposite of truth
SARAH
Are you okay?
JOHN
Never better.
He won't meet her eyes.
Indirection: Circle around the point
SARAH
I saw the ring in your drawer.
JOHN
It was my mother's.
SARAH
It's beautiful.
JOHN
She would have liked you.
// Neither mentions the proposal
Voice Differentiation
Elements of Voice
| Element | Range |
|---|---|
| Vocabulary | Simple ↔ Complex |
| Sentence length | Short ↔ Long |
| Formality | Casual ↔ Formal |
| Directness | Blunt ↔ Indirect |
| Humor | Dry ↔ Broad |
| Emotion | Reserved ↔ Expressive |
Voice by Background
- Education: Vocabulary complexity, grammar
- Region: Slang, rhythm, expressions
- Profession: Jargon, verbal habits
- Age: Generational references, formality
- Personality: Introvert vs. extrovert patterns
Example: Three Characters, Same Information
// Academic
PROFESSOR
The statistical probability of survival decreases
exponentially beyond the 72-hour threshold.
// Street
MARCUS
Three days, man. After that? You ain't coming back.
// Military
COMMANDER
Window's 72 hours. Then we write them off.
Handling Exposition
The Problem
Audiences need information, but "info dumps" kill scenes.
Exposition Techniques
Conflict: Characters argue about the information
JOHN
The company's been laundering money for years.
SARAH
That's insane. My father built this company.
JOHN
Then he built it on dirty money.
Discovery: Character learns with audience
Sarah finds the document. Her eyes scan it.
SARAH
(reading)
"Project Nightfall. Initiated 1985..."
(looks up)
This goes back forty years.
Need to Know: Character explains to someone who needs it
VETERAN
You're new. First rule: Never go below deck 5.
ROOKIE
Why? What's down there?
VETERAN
That's rule two. Don't ask.
Conflict of Interest: Information becomes ammunition
SARAH
I know about the money, John.
JOHN
(carefully)
What money?
SARAH
The hundred thousand in the offshore account.
The one you opened the week before you proposed.
What to Avoid
- Characters telling each other what they both know
- "As you know, Bob..." constructions
- Long explanatory monologues
- Information that doesn't serve a scene purpose
Dialogue Rhythm
Varying Line Length
SARAH
I loved you.
JOHN
I know.
SARAH
I would have done anything for you. Given up
everything. My career, my family, my future.
Everything.
JOHN
I know.
Beat and Pause
SARAH
I found the letters.
(beat)
JOHN
I can explain.
SARAH
Can you?
Long silence.
JOHN
No.
Overlapping Dialogue
Indicated by -- for interruption:
SARAH
I just think we should--
JOHN
--Not now.
SARAH
But if we could just--
JOHN
I said not now.
Common Dialogue Problems
On the Nose
Characters stating emotions directly.
// BAD
SARAH
I feel betrayed and hurt by your actions.
// BETTER
SARAH
(sliding off ring)
Here. I won't be needing this.
Greeting Rituals
Unnecessary pleasantries.
// BAD
JOHN
Hello, Sarah. How are you?
SARAH
I'm fine, thanks. And you?
JOHN
Good, good. Thanks for meeting me.
// BETTER
JOHN
(seated, waiting)
You're late.
SARAH
(sitting)
You're lucky I came at all.
Identical Voices
All characters sound the same.
Test: Cover character names. Can you tell who's speaking?
Speechifying
Characters make speeches instead of conversation.
Break long speeches with:
- Interruptions
- Action beats
- Other character reactions
- Internal contradiction
Dialogue Polish Checklist
Per Line
- Could this be cut? (If yes, cut it)
- Does it reveal character?
- Does it advance plot?
- Is there subtext?
- Is it speakable?
Per Scene
- Is there conflict in the conversation?
- Do voices sound distinct?
- Is exposition earned?
- Are there moments of silence?
- Does rhythm vary?
Per Script
- Can characters be identified by voice alone?
- Is subtext consistent per character?
- Are relationships clear through dialogue?
- Does dialogue evolve as characters do?