I’ve previously waxed lyrical about Aaron Sorkin’s dialogue and why I think it’s the best thing since sliced bread.
Scott of ‘Go Into The Story’ quoted Mr Sorkin earlier:
“I’m really weak when it comes to plot,” he says bluntly—a startling self-assessment from the creator of three television series. “With nothing to stop me, I’ll write pages and pages of snappy dialogue that don’t add up to anything. So I need big things to help my characters—a really strong intention and a really strong obstacle. Once I have those, I feel I can write.”
I do love a good bit of dialogue. The overwhelming criticism on the early drafts of Steampunk Assassins was ‘omgwtfbbq, why so much talking?!’. And that is my weakness – probably in part due to my love of the work of the aforementioned Aaron.
My director told me to cut out every second line of dialogue. And, amazingly, I found myself plucking out reams of pointless conversation, ditching conversations that had existed only for a punchy one-liner, and knocking fluffy pages out of my screenplay.
My short piece attempt for the London Screenwriting Festival Short Competition springs dialogue like an oasis in a desert. And I think it’s all the better for it.