How to Write Group Dialogue (Conversations with 3+ Characters)
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- เผยแพร่เมื่อ 10 ก.ค. 2024
- Learn how to nail group conversations in your writing. Examples from Guardians of the Galaxy and Harry Potter.
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0:00 Intro
0:34 1
1:11 2
2:17 Example 1
4:23 3
4:57 4
5:33 5
6:27 Example 2
10:12 Outro
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Not a book example but the scene on the helicarrier where the avengers are almost ready to fight each other is my favorite example of this
Good one for sure
That was the first thing that came to mind for me. Fantastic scene!
Lol
“Idk if you’ve heard of this one” it’s a little obscure novel about a boy who finds out he’s a wizard 😂😂😂
Haha I like to promote books that went under the radar
One of my favorite examples is the intervention scene in the first season of Breaking Bad, where Skylar is trying to get the family to pressure Walt into cancer treatment he doesn't want.
It's a compelling scene that draws you in and moves the story forward. And it provides a ton of insight into the main characters, who we're still getting to know, without ever feeling like that's all the scene was designed to do.
It's also so true to life how it starts out like this whole "everyone gets to speak their mind when they have the talking pillow" only for it to derail pretty quickly once people said things that were too disagreeble.
I also find in my experience that it's usually the person who insists "on the everyone gets to speak" the most who usually ends up being the one to get offended when someone does. Maybe that's a coincidence.
Honestly yeah. It shows that more than anything Walt values his pride and what little dignity he has left even over his own life, it shows Skyler's hypocrisy in portraying this to the family as a time for everybody to speak freely before shutting people down once they disagree with her, Hank shows that as crude and dickish as he can be there's a heart of gold beneath it all, Marie shows her more free spirited nature, and Walt Jr. even shows his disdain for self pity. It's a scene that doesn't get talked about enough.
Location is what the characters are doing to make the conversation interesting. Brandon Sanderson does a fantastic job of this in Mistborn Era 2. Shadow of Self, where in a scene the main characters Wax, Wayne, & Marasi have a conversation. While talking out a problem Wax and Wayne build towers with beer coasters. It is a great scene and an exciting way to have characters do something other than just talk.
Great point on location. And also a great reminder that I need to get back into Mistborn
I love the book version of the council of Elrond; methodically considering every possible course of action until they are only left with the one they had to take .
One of my favorite things to do in group conversations (especially with a group of guy characters) is to make them all working on something. Generally, guys aren’t sitting across from each other talking (unless they’re tied up or something). They’re almost always working with their hands, driving, or at least walking.
For me, the hardest problem when it comes to writing dialogue is changing how "I" comprehend how each individual character comprehends something that was just discussed. Because to make a believable character speak, sometimes they'll miss interpret what someone else said. And, sometimes they haven't got a good education. I enjoy writing characters with "knowledgeable" backgrounds, but I can never get their dialogues right, since I've never had a proper education, myself.
Base those characters in real people or characters in books, series, or movies that are good examples.
I often leave dialogue tags out, but instead I include some action in the paragraph to show who owns it, which also shows who’s talking. I started doing that to get away from white room dialogue, where conversations happen in a featureless room where nothing but talking happens.
I don't know if it counts or not, since it's a sort of "court room" scene. It's from Harry Potter, too. Book 5 Chapter 8 - The Hearing. It may be weird to have a favorite book chapter, but this one is mine. I have on occasion gone back to read it all by itself lol. The "conversation" if we can call it that pretty much takes up the entire chapter, and I love it to death.
Good call on that one!
03:34
I've misheard that as "...is a great example of Groot dialogue" and it still worked.
In Season 3 of Stranger Things, there’s a scene when Eleven’s group meets up with Dustin’s group at Starcourt Mall. Almost every person contributes and says something except for El, but she’s seen walking away towards the end contributing with action. With power dynamics the leader of the conversation would be Dustin and also Steve as they tell everyone else all about the Russians, though it doesn’t really change. Not much to say with character locations, but in regards to character voices, Dustin sounds more energetic towards everyone else with full knowledge of the Russian base, while almost everyone else responds in bewilderment as they were unaware of it.
I needed this. I have a few gatherings with 3+ people and need to make sure everyone is active in the conversation.
My favourite group conversation is probably the one in The Godfather movie when Michael Corleone decides to kill Sollozo. There's also in Amadeus when Mozart meets the emperor for the first time.
Wow nice example from Amadeus
2:24 That was a smooth as transition
Watch "The Thing" - 1951
THAT is how you write group dialogue.
It's one of the VERY few movies out there where everyone in a group speaking does NOT wait their turn.
It's extremely natural AND believable, and it's one of THE FIRST movies i ever saw where people talked over each other.
Very helpful information. I'm not great with conversations but I have enough characters that it becomes unavoidable. But knowing that there should only be 1 main with everyone else adding to the flow depending on their stance of the topic helps.
This came up at the perfect time. Literally just finished writing a scene with group dialogue. Going to listen to this and then go back and apply to advice. Thanks for sharing.
Thank you TH-cam algorithm. I am about to write a group dialogue and this pops up on my feed.
It’s like you were reading my mind Brandon. Was looking for quick information just like this. Love your channel, CCK
Thanks Santa!
Helpful as always, Brandon! Happy Holidays and Merry Christmas! Do yourselves a favor: you've earned a break, ☕ take it. Get together with people ya know, discuss, and enjoy having a good time; let writing worry about itself. Don't take what we have for granted; the more you push yourself, you never know when the kind of effect it'll have on ya. Stay safe! 🌟
Thank you for the kind words! Hope you had a great Christmas
#5 is incredibly important. It’s not the reader’s job to try to figure out who’s speaking.
Just want to say that I really enjoy your work. Just watched four in a row, and am now a fan. Thank you!
Thrilled to hear it! Thanks for the kind words
A friend of mine recommended me this video. I really enjoyed watching this video! It’s really going to help write dialogue for conversations involving multiple characters in my FNaF AU!
Your videos are fantastic! Thanks for all this incredible content, I can't stop watching, super helpful
Love your channel. You go into such fantastic detail. That most other TH-camrs just gloss over. your channel is great with finishing touches on your book. Thank you
I like all of your videos, and many are brilliant, but I think this might be the best one. it is just so jammed packed with very specific and essential writing advice. Thank you!
Good video. I agree with everything you mentioned that it is important to know who's talking, their actions in the meantime, the location of their conversation, and to keep track of the characters. When you mention the leader and follower part, I was starting to understand more about it, then understood what you meant. Again, great video.
Thanks!
@@WriterBrandonMcNulty 😉
"Harry potter-I'm not sure if you have heard of this one before" LMAF!!
Same. It came out in 1997 and is called Harry Potter and the Philosopher's Stone 🤷♀️
Very informative video, Brandon. Nobody does it better. Happy Holidays and a healthy and successful 2023!
Thanks!
One of my favourites has to be the warthog vs puma conversation between Sarge (Leader), Simmons (Follower) and Griff (Opponent) in Red vs Blue episode 2.
Thank you
Was confused about identifying each character. Thanks.
"Harry -- yer a wizard" ranks up there with "No, I am your father" as one of the most misquoted iconic lines in pop culture history.
Any dinner scene in O'Brian - whether the gunroom or the Captain's table! Might I add how timely this video is, as I'm writing out a group conversation. 👍
Thrilled to hear it helped!
Thank you, this helps. I'm writing a novel that has many characters and I think 30% is going to be dialogue unless I find a way to express certain things I want to express a different way. I don't want it to be confusing for the reader so I will save your video as a resource 😊
"I'm not sure if any of you heard of this before"
The World: Quite the contrary, sir
Thanks!
Just saw this... Thank you so much! Glad you're finding value in my videos
Excellent advice.
Thanks!
My favorite group convo?!
Fiona: Shrek!
Shrek: Fiona!
King Harold: Fiona!
Fiona: Mom!
Queen Lillian: Harold!
Donkey: Donkey!
New writer, I just purchased your book Entry Wounds. Two thoughts one to read and research by all your great videos.
Today for me you hit it out of the park. I only started reading books at age 50 because of JK and H/P. Had good laugh when said if anyone new them.
I looked how she wrote Dialogue, because the characters carries interest most people.
I’m not trying to write to your or her level? I still feel it’s still the story ,no matter what you write.
Each one of your videos has shown the basic points I need to make may story better thanks
Thanks for checking out Entry Wounds! Please leave a review on Amazon when you’re done. And best of luck with your writing
And thank you for the kind words about my videos!
One of my favourite group conversations in a book is the scene where the Sinsar Dubh (the dark book) has finally after all five books has been caught and you've got two opposing factions arguing about how to inter it when low and behold; at the end of the scene; the true villain of the series is revealed.
Not any specific story but I just love planning an upcoming action sequence
I would add another: "People don't speak on cue".
What I mean: is that people don't sit or stand around waiting until it is their turn to speak. They will interrupt each other, or an awkward pause may appear. For that matter, even when nobody interrupts, a single person often doesn't speak in complete sentences. They may trail off, or start a new sentence while leaving the old one unfinished. If you write a group conversation where each person neatly finishes their sentence before the next person speaks, it will come across as incredibly stilted.
A terrible offender in this was Star Trek Voyager. You could practically see the director off-camera pointing at each actor, in turn, to tell them when they had to speak. They ended up sounding like children in a schoolroom. All that was lacking was them raising their hands before talking.
What's your favorite example of Group Dialogue from a story? Let us know!
Every 3+ person conversation in Arcane! SO good.
@@AxleBoost Still need to watch that
@@WriterBrandonMcNulty Make it a priority! AMAZING writing.
I love the chapter in Prisoner of Azkaban with Harry, Hermione, Ron, Sirius and Lupin in the Shrieking Shack (before Snape interrupts them) so much is explained yet it doesn’t feel like info dumping.
Star Trek TNG 'The Wounded'. It was dialogue between captain Maddox and Captain Picard over Maddox's justification to murder 600 Cardassians, over a suspicion that they were involved in a military build up on the Federation border.
It was two people in a room discussing what effectively was an incident that could have lead to a bloody and wasteful war. Pin drop stuff.
Brandon, can you do a video analyzing the texts of Harry Potter or other popular books and explain why they’re allowed to use “simply” or “trembled with anger” or “the man seemed eager” “they looked upset”, etc. because all the advice I’ve seen so far is that all these phrases are strictly forbidden or signs of awful writing. And yet, JK Rowling’s writing is filled with it to the brim
Wow, looking at the excerpt from Harry Potter I didn't realise just how much they had edited it from the title of "Philosophers Stone" to "Sorcerers Stone" but also replaced British English terms with American English. like "Math" replacing "Maths" which is weird since the books are set in Britain with mostly British characters. Makes me wonder what other edits were made.
Edit: Yeah, see also "mom" instead of "mum" which is what someone from the south of England like Harry would actually call his mother.
The Council of Elrond in LOTR has beaucoup characters, each lobbying (bickering) for their own solution to the Ring dilemma, until Frodo pipes up and says he'll deep-six the cursed gewgaw.
There's a great group convo in The Riot Club when we meet the posh group for the first time in a pub. Its swift and funny, each of the 8 characters have a unique voice, and the power dynamic are established. Worth a study.
Haven't read that one--I'll have to add it to my list
Correction, I haven't WATCHED that one. Just looked it up and saw it's a movie.
@@WriterBrandonMcNulty and based on a play. But yeah, just top notch dialogue from beginning to end
Thank you. It's like hard to find this stuff. Does this apply to friendly chats and breezy things as well?
In a way number 5 in its most basic goes be properly Tagging who is who when they talk.
"12 Angry Men" as a whole.
thanks for this I have a scene I'm working on with 7 characters
Im currently writing a new “installment” in a personal series of mine I’ve been writing for years now and have gotten to a point where the main character (a super hero) has been through so much pain and grief that they’ve decided to not try and hero as much as they used to, like he used to go out and try to find crime to stop as the main villains we’re developing “in the background”, and it’s been so long since he’s done that, that he needs to relearn the reason why he did that, and that was to actively help people who are being hurt.
And also I’m just wondering you don’t actually have to answer me, but do you have any tips for that? Like, how to write characters who need to re-learn the reasons why they did the good things that they did.
How did I knew the group dialogue example would come from Harry Potter. I always thought the group dialogue scenes were done well in that series.
Favorite group dialogue?
Definitely.... The Big Lebowski
that is easy. i just focus on who is talking to who and then occasionally add someone interrupting if it works with their character to interrupt at that moment
Interruptions are a great tool in group conversations
@@WriterBrandonMcNulty interruptions are also really hard thing to do in a conversation in real life :(
This is a great video.
I have a sort-of related issue: if you're telling a story from a narrator's perspective, how do you introduce information the narrator can't see?
Say the narrator is in a group that decides to split up. While he's doing hos thing, how do you show the struggles of the other group?
I've tried shifting to another character's perspective, of omniscient perspective, but it seems confusing, and jars the flow of the narration.
A masterful example of group dialogue is the scene in The Godfather after Michael has been hit by the police captain and Sonny wants to go after the rival family. At first, Sonny is the leader. He remains standing, he moves around the room, is the loudest and most dynamic in the scene. Michael, Tessio and Clemenza are following, and Tom Hagen - who despairs of Sonny's impetuosity - is the opponent or challenger. After a moment of argument during which Sonny sits down and Tom gets up and leans over him at the desk, Tom temporarily becomes the leader as his sense of reason prevails. Having won the argument - for now, at least - he recedes, and Sonny regains agency in the scene. Then, however, Michael assumes the role as challenger by posing the question of whether they can kill the police captain. This moment is pivotal in the scene but also the film as a whole. As Michael - who is still and composed throughout - explains how he might kill the cop and Solozzo himself, the camera slowly closes in on him. Even though Sonny tries to regain power in the scene by mocking Michael, it is the latter who convinces the room and by the time he utters the famous line - "It's not personal, Sonny... it's strictly business" (the last line of the scene) - he has clearly emerged as the dominant character in the group (itself a foreshadowing of the shift of power dynamic that occurs later in the film). By a combination of dialogue, blocking and camera movement, this scene masterfully conveys the changing power dynamic in the story and acts as a prelude the midpoint of the film in which Michael commits the double murder.
Is it possible to go tag-less for periods with three people in the conversation? I mean I do have some of my work where I think I have pulled that off.
There's no reason a character should be in a conversation and not contributing to it?
I can think of one: So that you can have conversation filling in an important character on all the informatoin at the same time as others, rather than having to have a separate conversation filling that character in.
Also, if there's a core group and one character gets left out, it indicates a group dynamic of exclusion of that character or lack of respect of that character, and you may very well not want that to happen either. So two reasons for a character to be hanging out and not saying anything. Particularly if the character is an introvert or shy.
The character being filled in doesn't need to contribute information, but nonetheless should contribute reactions.
Is it bad that I write my dialogue in script? This is my first time writing a story and I just started writing my book that way, not really thinking that there's any other way of doing it. And I remember reading some books in script so I thought it wasn't a big deal and or an incorrect way of doing it. And I also remember reading some stories that are written in non-script, and I couldn't tell who was talking sometimes cause it wasn't disclosed.
And I'm not really sure what's the benefit to writing it that way really, does it just look more professional or something? It just seems easier to me to do it in script, you just know who's talking right of the bat, and there's no way to mix anyone up. Well, unless the character hasn't been revealed yet, or you're not supposed to know who's talking, then I just put ??? instead of a name.
The argument scene from "Avengers" is up there in the "best group dialogue" scenes for sure: th-cam.com/video/tuNtUerHIN0/w-d-xo.html
Wow Harry Potter my favourite indie fantasy novel 😂
Haha someday it’ll catch on!
@@WriterBrandonMcNultyHarry Potter is a famous series in Great Britain (where I'm from) The movies came out over 20 years ago. I think the books were the late 90s.
@vulcan930 The Harry Potter series wasn't indie. J. K. Rowling went traditional
Do you have any writing advice about writing social thriller/horror stories or do you know any sources that could help me out?
Hmm can you be more specific? What exactly are you looking for with this request?
@@WriterBrandonMcNulty one of the things I was thinking was how to write what I want to critique in society without making it an US versus Them limited view. Like how Get Out was able to criticize self congratulatory white liberalism without stereotyping white ppl by saying white ppl=racists. I had seen Don't Worry Darling and felt it failed with what The Stepford Wives 1975 succeeded in. I had an idea for Social Thriller satire about an African American woman who goes to a secret organization to have her skin bleached, eyes changes ect, to look white because she want a certain job she doesn't think she'll get because she's black. I don't know how to do write it with the excellent writing from Joedan Peele because I don't, for the most part, know what I'm doing, lol!
@@jacindaellison3363 Hmm I’ll need to think this one over and see if I can come up with a video based on your needs.
@@WriterBrandonMcNulty much appreciated. Thanks!
12% of a plan… GotG… priceless
Ahh, Harry Potter.. 🤔
Think I've heard of that book.
In the UK it came out in 1997 and is called Harry Potter and the Philosopher's Stone 🤷♀️
"in video you won't see dialogue tags"
Unless there's subtitles~~~ 😏
In your example, over half of those D-tags could be dispensed with (I counted), without creating the tiniest bit of confusion for a reader who is motivated to pay attention to the context, primarily due to the other aspects being there. For instance, it is 100% obvious to the densest person who ever read this book that 'Kept what from me?' could only have been said by one person in the scene-so obvious I don't even have to point out who. That D-tag is completely superfluous. Only one of a number of examples.
D-tags are over-rated (and over-used, including egregiously over-used in that example). In fact, as long as the author is willing to do the due diligence of placing the other aspects in the context and is able to hint who is speaking clearly enough, leaving certain D-tags on the cutting-room floor adds to the intrigue, as the reader then engages their own brain to determine who is actually speaking by making an easy, tiny intuitive leap. It gets them to be active readers participating to figure it out instead of passive readers absorbing facts like sponges as they fall asleep in the middle of the scene.
Too many D-tags is another form of telling rather than showing. It's lazy. It's unnecessary clutter that gets in the way of the scene. Too many authors (even multi-millionaire authors) use them as a crutch, too often. But yes, we can't dispense with D-tags when the absence might cause confusion.
There also is another positive use of D-tags, though few authors avail themselves of this, which is when used properly they can contribute to the rhythm, by adding strategic pauses in the dialogue. But too many D-tags can also disrupt the rhythm and make the flow feel stilted and clumsy.
Another problem with the security blanket of too many D-tags is that it can actually insult the reader's intelligence, as if they are not savvy enough to figure out from the context who is speaking.
There is one case where it really isn't even important to indicate who is speaking: If you have a scene where two of three people are 98% in agreement while a third is not in agreement, assuming an action tag or reaction tag or direct address by name in the line would be one too many of those for the scene, it actually is not necessary to always tag whether person 1 or 2 said something they both are completely in agreement with, as long as there are no distinguishing character aspects used in that particular line of dialogue.
The reader already knows from the context persons 1 and 2 are thinking alike, and that either of them could have said it. It does not matter who said it, only that it was said. What matters is that the info is delivered by one of the two, and the reader can choose whoever they believe that to be without it mattering or being confusing.
An economical, even sparse use of D-tags allows the reader to tell themselves the story, which is part of the fun of reading.
That's fair. I tend to value clarity over everything else, so I'm more likely to add dialogue tags.
Also, while reading novels, I tend to get distracted easily, so I like having tags after every few beats
@@WriterBrandonMcNulty Make no mistake, I also value clarity above everything, meaning I won't skip on D-tags if it would diminish the clarity a smart reader who is paying attention needs. Clarity is paramount. But I avoid them in most cases, bc there are a number of effective ways to SHOW the reader who is speaking, making a D-tag the absolute last resort, not the first.
It's hard work, but worth the effort. I'm not fond of writing where D-tags are just thrown in habitually as a shortcut to TELLing the reader info they could easily figure out on their own, if the scene is well-written, of course. It makes me feel the author is phoning it in rather than doing the due diligence to write well-like they're double-parked somewhere. And that, to me, is the exact opposite of 'well-written'. I'd rather they do the work.
There is a point of diminishing returns with D-tags, and it comes quickly. Those that don't do anything other than TELL us on the nose who is speaking when we can already figure it out from the context? If excessive, or if thrown in mindlessly in knee-jerk fashion, those actually erode the clarity, and are speed bumps to the flow and rhythm.
Clarity is a collaboration. Passive readers unwilling to think actively will have difficulty reaching clarity, regardless. Excessive D-tags are actually of little help to them. They're beyond help. Excessive D-tags are only really welcome to 'readers' of fiction who are in reality, 'skimmers'. They need all the help they can get.
With me, they're out of luck. I write for active readers who pay attention and who wish to engage their own thinking. That's the audience that matters. For them, I will always provide a clear path to clarity, and do it without insulting their intelligence with excessive, unnecessary tags.
@@tomlewis4748 Have you ever dropped a book because the dialogue tags were too prevalent?
@@WriterBrandonMcNulty Countless times. It's an epidemic. I have nothing against D-tags themselves. They are a useful tool and I use them myself. But when an author overuses them, I know immediately that author just does not know when to use and when not to use their tools.
And I'm out. I'd rather spend my time writing, or reading stories from authors who know what they're doing.
@@tomlewis4748 No kidding? Wow... Never considered dialogue tags as a "make or break" writing element but I guess we all have our preferences. Usually they only bother me if they appear at the end of a long dialogue block (Brandon said).
Favourite group dialogue scene: when Steve Carrell is sitting around with the other guys in "The 40-Year Old Virgin" and he humiliates himself by inadvertently revealing that he doesn't know what it feels like to touch a woman's breasts. He is of course being challenged, and he fails to rise to the challenge.
wassup
I disagree with tip #1. Sometimes someone is just there, having him say something is superfluous noise. Big Bubba Bruiser might need to hear the smash-n-dash plan, but do you really wanna hear him open his mouth? You clearly don't watch enough chick anime; let me remedy that with, Strike Witches. Hell, as bad as Arifrueta is, it has one character that is in just about every major conversation, but nobody realizes it because his character "Has such thin presence, that automatic doors ignore him 90% of the time."
the lack of Tarantino examples in all your videos on dialogue is... peculiar :p
0:03 "'Tween" is a variation of the word "two". "Be-tween" means "be-two". Being "between" three or more characters is an impossibility, by definition. Minus 1 point. Please learn English if you are going to use it in videographs, thank you. Commonly the word "among" has been used.
You should organize a hunting for your fifth grade teacher, and force her to refund any pay that she received for having allegedly "taught" English to you, and you should start over again from the fifth grade, otherwise you are not good enough to set an example for others to follow.
The Merriam-Webster Dictionary lists usage examples such as:
'talks *between* the three'
'divided *between* his four grandchildren'
Clearly, the authors of that dictionary need to research the subject better.
Bless your heart.
@@ralphfrederickdouglas