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How To Write Dialogue In A Story (With Examples)

One of the biggest mistakes made by writers is how they use dialogue in their stories. Today, we are going to teach you how to write dialogue in a story using some easy and effective techniques. So, get ready to learn some of the best techniques and tips for writing dialogue!

There are two main reasons why good dialogue is so important in works of fiction. First, good dialogue helps keep the reader interested and engaged in the story. Second, it makes your work easier to write, read and understand. So, if you want to write dialogue that is interesting, engaging and easy to read, keep on reading. We will be teaching you the best techniques and tips for writing dialogue in a story.

Internal vs External Dialogue

Direct vs indirect dialogue, 20 tips for formatting dialogue in stories, step 1: use a dialogue outline, step 2: write down a script, step 3: edit & review your script, step 4: sprinkle in some narrative, step 5: format your dialogue, what is dialogue .

Dialogue is the spoken words that are spoken between the characters of a story. It is also known as the conversation between the characters. Dialogue is a vital part of a story. It is the vehicle of the characters’ thoughts and emotions. Good dialogue helps show the reader how the characters think and feel. It also helps the reader better understand what is happening in the story. Good dialogue should be interesting, informative and natural. 

In a story, dialogue can be expressed internally as thoughts, or externally through conversations between characters. A character thinking to themself would be considered internal dialogue. Here there is no one else, just one character thinking or speaking to themselves:

Mary thought to herself, “what if I can do better…”

While two or more characters talking to each other in a scene would be an external dialogue:

“Watch out!” cried Sam. “What’s wrong with you?” laughed Kate.

In most cases, the words spoken by your character will be inside quotation marks. This is called direct dialogue. And then everything outside the quotation marks is called narrative:

“What do you want?” shrieked Penelope as she grabbed her notebooks. “Oh, nothing… Just checking if you needed anything,” sneered Peter as he tried to peek over at her notes.

Indirect dialogue is a summary of your dialogue. It lets the reader know that a conversation happened without repeating it exactly. For example:

She was still fuming from last night’s argument. After being called a liar and a thief, she had no choice but to leave home for good.

Direct dialogue is useful for quick conversations, while indirect dialogue is useful for summarising long pieces of dialogue. Which otherwise can get boring for the reader. Writers can combine both types of dialogue to increase tension and add drama to their stories.

Now you know some of the different types of dialogue in stories, let’s learn how to write dialogue in a story.

Here are the main tips to remember when formatting dialogue in stories or works of fiction:

• Always use quotation marks: All direct dialogue is written inside quotation marks, along with any punctuation relating to that dialogue.

• Don’t forget about dialogue tags: Dialogue tags are used to explain how a character said something.  Each tag has at least one noun or pronoun, and one verb indicating how the dialogue is spoken. For example, he said, she cried, they laughed and so on.

• Dialogue before tags: Dialogue before the dialogue tags should start with an uppercase. The dialogue tag itself begins with a lowercase.

• Dialogue after tags: Both the dialogue and dialogue tags start with an uppercase to signify the start of a conversation. The dialogue tags also have a comma afterwards, before the first set of quotation marks.

• Lowercase for continued dialogue: If the same character continues to speak after the dialogue tags or action, then this dialogue continues with a lowercase.

• Action after complete dialogue: Any action or narrative text after completed dialogue starts with an uppercase as a new sentence.

• Action interrupting dialogue: If the same character pauses their dialogue to do an action, then this action starts with a lowercase.

• Interruptions by other characters: If another character Interrupts a character’s dialogue, then their action starts with an uppercase on a new line. And an em dash (-) is used inside the quotation marks of the dialogue that was interrupted. 

• Use single quotes correctly: Single quotes mean that a character is quoting someone else.

• New paragraphs equal new speaker: When a new character starts speaking, it should be written in a new paragraph. 

• Use question marks correctly: If the dialogue ends with a question mark, then the part after the dialogue should begin with a lowercase.

• Exclamation marks: Similar to question marks, the next sentence should begin with a lowercase. 

• Em dashes equal being cut off: When a character has been interrupted or cut off in the middle of their speech, use an em dash (-).

• Ellipses mean trailing speech: When a character is trailing off in their speech or going on and on about something use ellipses (…). This is also good to use when a character does not know what to say.

• Spilt long dialogue into paragraphs: If a character is giving a long speech, then you can split this dialogue into multiple paragraphs. 

• Use commas appropriately: If it is not the end of the sentence then end the dialogue with a comma.

• Full stops to end dialogue: Dialogue ending with a full stop means it is the end of the entire sentence. 

• Avoid fancy dialogue tags: For example, ‘he moderated’ or ‘she articulated’. As this can distract the reader from what your characters are actually saying and the content of your story. It’s better to keep things simple, such as using he said or she said.
• No need for names: Avoid repeating your character’s name too many times. You could use pronouns or even nicknames. 
• Keep it informal: Think about how real conversations happen. Do people use technical or fancy language when speaking? Think about your character’s tone of voice and personality, what would they say in a given situation? 

Remember these rules, and you’ll be able to master dialogue writing in no time!

How to Write Dialogue in 5 Steps

Dialogue is tricky. Follow these easy steps to write effective dialogue in your stories or works of fiction:

A dialogue outline is a draft of what your characters will say before you actually write the dialogue down. This draft can be in the form of notes or any scribblings about your planned dialogue. Using your overall book outline , you can pinpoint the areas where you expect to see the most dialogue used in your story. You can then plan out the conversation between characters in these areas. 

A good thing about using a dialogue outline is that you can avoid your characters saying the same thing over and over again. You can also skim out any unnecessary dialogue scenes if you think they are unnecessary or pointless. 

Here is an example of a dialogue outline for a story:

You even use a spreadsheet to outline your story’s dialogue scenes.

In this step, you will just write down what the characters are saying in full. Don’t worry too much about punctuation and the correct formatting of dialogue. The purpose of this step is to determine what the characters will actually say in the scene and whether this provides any interesting information to your readers.

Start by writing down the full script of your character’s conversations for each major dialogue scene in your story. Here is an example of a dialogue script for a story:

Review your script from the previous step, and think about how it can be shortened or made more interesting. You might think about changing a few words that the characters use to make it sound more natural. Normally the use of slang words and informal language is a great way to make dialogue between characters sound more natural. You might also think about replacing any names with nicknames that characters in a close relationship would use. 

The script might also be too long with plenty of unnecessary details that can be removed or summarised as part of the narration in your story (or as indirect dialogue). Remember the purpose of dialogue is to give your story emotion and make your characters more realistic. At this point you might also want to refer back to your character profiles , to see if the script of each character matches their personality. 

Once your script has been perfected, you can add some actions to make your dialogue feel more believable to readers. Action or narrative is the stuff that your characters are actually doing throughout or in between dialogue. For example, a character might be packing up their suitcase, as they are talking about their holiday plans. This ‘narrative’ is a great way to break up a long piece of dialogue which otherwise could become boring and tedious for readers. 

You have now planned your dialogue for your story. The final step is to incorporate these dialogue scenes into your story. Remember to follow our formatting dialogue formatting rules explained above to create effective dialogue for your stories!

That’s all for today! We hope this post has taught you how to write dialogue in a story effectively. If you have any questions, please let us know in the comments below!

Marty the wizard is the master of Imagine Forest. When he's not reading a ton of books or writing some of his own tales, he loves to be surrounded by the magical creatures that live in Imagine Forest. While living in his tree house he has devoted his time to helping children around the world with their writing skills and creativity.

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Last updated on Sep 21, 2023

How to Write Fabulous Dialogue [9 Tips + Examples]

About tom bromley.

Author, editor, tutor, and bestselling ghostwriter. Tom Bromley is the head of learning at Reedsy, where he has created their acclaimed course, 'How to Write a Novel.'

Good dialogue isn’t about quippy lines and dramatic pauses.

Good dialogue is about propelling the story forward, pulling the reader along, and fleshing out characters and their dynamics in front of readers. Well-written dialogue can take your story to a new level — you just have to unlock it.

In this article, I’ll break down the major steps of writing great dialogue, and provide exercises for you to practice your own dialogue on.

Here's how to write great dialogue in 9 steps:

1. Use quotation marks to signal speech

2. pace dialogue lines by three , 3. use action beats , 4. use ‘said’ as a dialogue tag  , 5. write scene-based dialogue, 6. model any talk on real life , 7. differentiate character voices, 8. "show, don't tell" information in conversation , 9. delete superfluous words, which dialogue tag are you.

Find out in just a minute.

Alfred Hitchcock once said, “Drama is life with all the boring bits cut out.”

Similarly, I could say that good dialogue in a novel is a real conversation without all the fluff — and with quotation marks. 

Imagine, for instance, if every scene with dialogue in your novel started out with:

'Hey, buddy! How are you doing?"

“Great! How are you?""

'Great! Long time no see! Parking was a nightmare, wasn’t it?"

Firstly, from a technical perspective, the quotation marks are inconsistent and incorrectly formatted. To learn about the mechanics of your dialogue and how to format it, we also wrote this full post on the topic that I recommend reading.

Secondly, from a novel perspective, such lines don’t add anything to the story. And finally, from a reading perspective, your readers will not want to sit through this over and over again. Readers are smart: they can infer that all these civilities occur. Which means that you can skip the small talk (unless it’s important to the story) to get to the heart of the dialogue from the get-go.  

For a more tangible example of this technique, check out the dialogue-driven opening to Barbara Kingsolver's novel, Unsheltered .

Screenwriter Cynthia Whitcomb once proposed an idea called the “Three-Beat Rule.” What this recommends, essentially, is to introduce a maximum of three dialogue “beats” (the short phrases in speech you can say without pausing for breath) at a time. Only after these three dialogue beats should you insert a dialogue tag, action beat, or another character’s speech.

Here’s an example from Jane Gardam’s short story, “Dangers”, in which the boy Jake is shooting an imaginary gun at his grandmother:

In theory, this sounds simple enough. In practice, however, it’s a bit more complicated than that, simply because dialogue conventions continue to change over time. There’s no way to condense “good dialogue” into a formula of three this, or two that. But if you’re just starting out and need a strict rule to help you along, then the Three-Beat Rule is a good place to begin experimenting.

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Let’s take a look at another kind of “beats” now — action beats.

Action beats are the descriptions of the expressions, movements, or even internal thoughts that accompany the speaker’s words. They’re always included in the same paragraph as the dialogue, so as to indicate that the person acting is also the person speaking.

On a technical level, action beats keep your writing varied, manage the pace of a dialogue-heavy scene, and break up the long list of lines ending in ‘he said’ or ‘she said’.

But on a character level, action beats are even more important because they can go a level deeper than dialogue and illustrate a character’s body language.

When we communicate, dialogue only forms a half of how we get across what we want to say. Body language is that missing half — which is why action beats are so important in visualizing a conversation, and can help you “show” rather than “tell” in writing.

Here’s a quick exercise to practice thinking about body language in the context of dialogue: imagine a short scene, where you are witnessing a conversation between two people from the opposite side of a restaurant or café. Because it’s noisy and you can’t hear what they are saying, describe the conversation through the use of body language only.

Remember, at the end of the day, action beats and spoken dialogue are partners in crime. These beats are a commonly used technique so you can find plenty of examples —  here’s one from  Never Let Me Go  by Kazuo Ishiguro . 

If there’s one golden rule in writing dialogue, it’s this: ‘said’ is your friend.

Yes, ‘said’ is nothing new. Yes, ‘said’ is used by all other authors out there already. But you know what? There’s a reason why ‘said’ is the king of dialogue tags: it works.

Pro-tip: While we cannot stress enough the importance of "said," sometimes you do need another dialogue tag. Download this free cheatsheet of 270+ other words for said to get yourself covered!

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Upgrade your dialogue with our list of 270 alternatives to “said.”

The thinking goes that ‘said’ is so unpretentious, so unassuming that it focuses readers’ attention on what’s most important on the page: the dialogue itself. As writer Elmore Leonard puts it: 

“Never use a verb other than ‘said’ to carry dialogue. The line of dialogue belongs to the character; the verb is the writer sticking his nose in. But ‘said’ is far less intrusive than ‘grumbled,’ ‘gasped,’ ‘cautioned,’ ‘lied.’”

It might be tempting at times to turn towards other words for ‘said’ such as ‘exclaimed,’ or ‘declared,’ but my general rule of thumb is that in 90% of scenarios, ‘said’ is going to be the most effective dialogue tag for you to use while writing dialogue.

So now that we have several guidelines in place, this is a good spot to pause, reflect, and say that there’s no wrong or right way to write dialogue. It depends on the demands of the scene, the characters, and the story. Great dialogue isn’t about following this or that rule — but rather learning what technique to use when . 

If you stick to one rule the whole time — i.e. if you only use ‘said,’ or you finish every dialogue line with an action beat — you’ll wear out readers. Let’s see how unnaturally it plays out in the example below with Sophie and Ethan: 

All of which is to say: don’t be afraid to make exceptions to the rule if the scene asks for it. The key is to know when to switch up your dialogue structure or use of dialogue tags or action beats throughout a scene — and by extension, throughout your book.

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Dialogue isn’t always about writing grammatically perfect prose. The way a person speaks reflects the way a person is — and not all people are straight-A honor students who speak in impeccable English. In real life, the way people talk is fragmented, and punctuated by pauses.

That’s something that you should also keep in mind when you’re aiming to write authentic dialogue.

It can be tempting to think to yourself, “ Oh, I’ll try and slip in some exposition into my dialogue here to reveal important background information.” But if that results in an info-dump such as this — “ I’m just going to the well, Mother — the well that my brother, your son, tragically fell down five years ago ” — then you’ll probably want to take a step back and find a more organic, timely, and digestible way to incorporate that into your story.

Kay Adams is Michael’s date at his sister’s wedding in this scene. Her interest in his family is natural enough that the expository conversation doesn’t feel shoehorned in. 

A distinctive voice for each character is perhaps the most important element to get right in dialogue. Just as no one person in the world talks the same as each other, no one person in your book should also talk similarly.

To get this part of writing dialogue down pat, you need to start out by knowing your characters inside out. How does your character talk? Do they come with verbal quirks? Non-verbal quirks?

Jay Gatsby’s “old sport,” for example, gives him a distinctive, recognizable voice. It stands out because no one else has something as memorable about their speech. But more than that, it reveals something valuable about Gatsby’s character: he’s trying to impersonates a gentleman in his speech and lifestyle.

Likewise, think carefully about your character’s voice, and use catchphrases and similar quirks when they can say something about your character. 

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“Show, don’t tell” is one of the most oft-repeated rules in writing, and a conversation on the page can be a gold mine for “showing.”

Authors can use action beats and descriptions to provide clues for readers to read between the lines. Let’s revisit Sophie and Ethan in this example:

While Sophie claims she hasn’t been obsessing over this project all night, the actions in between her words indicate there’s nothing on her mind  but  work. The result is that you show , through the action beats vs. the dialogue, Sophie being hardworking—rather than telling it.

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As always when it comes to writing a novel: all roads lead back to The Edit, and the dialogue you’ve written is no exception.

So while you’re editing your novel at the end, you may find that a “less is more” mentality will be helpful. Remember to cut out the unnecessary bits of dialogue, so that you can focus on making sure the dialogue you  do  keep matters. Good writing is intentional and purposeful, always striving to keep the story going and readers engaged. The importance lies in quality rather than quantity. 

One point I haven’t addressed yet is repetition. If used well (i.e. with clear intention), repetition is a  literary device  that can help you build motifs in your writing. But when you find yourself repeating information in your dialogue, it might be a good time to revise your work. 

For instance, here’s a scene with Sophie and Ethan later on in the story: 

As I’ve mentioned before, good dialogue shows character — and dialogue itself is a playground where character dynamics play out. If you write and edit your dialogue with this in mind, then your dialogue will be sharper, cleaner, and more organic. 

I know that writing dialogue can be intimidating, especially if you don’t have much experience with it. But that should never keep you from including it in your work! Just remember that the more you practice — especially with the help of these tips — the better you’ll get.

And once you’re confident with the conversational content you can conjure up, follow along to the next part of our guide to see how you can punctuate and format your dialogue flawlessly .

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Novel writing ,

Writing dialogue in fiction: 7 easy steps.

By Harry Bingham

Speech gives life to stories. It breaks up long pages of action and description, it gives us an insight into a character, and it moves the action along. But how do you write effective dialogue that will add depth to your story and not take the reader away from the action?

In this article I will be guiding you through seven simple steps for keeping your fictional chat fresh, relevant and tight. As well as discussing dialogue tags and showing you dialogue examples.

Time to talk…

7 Easy Steps For Compelling Dialogue

Getting speech right is an art but, fortunately, there are a few easy rules to follow. Those rules will make writing dialogue easy – turning it from something static, heavy and un-lifelike into something that shines off the page.

Better still, dialogue should be fun to write, so don’t worry if we talk about ‘rules’. We’re not here to kill the fun. We’re here to increase it. So let’s look at some of these rules along with dialogue examples.

“Ready?” she asked.

“You bet. Let’s dive right in.”

How To Write Dialogue In 7 Simple Steps:

• Keep it tight and avoid unnecessary words
• Hitting beats and driving momentum
• Keep it oblique, where characters never quite answer each other directly
• Reveal character dynamics and emotion
• Keep your dialogue tags simple
• Get the punctuation right
• Be careful with accents

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Dialogue Rule 1: Keep It Tight

One of the biggest rules when writing with dialogue is: no spare parts. No unnecessary words. Nothing to excess.

That’s true in all writing, of course, but it has a particular acuteness (I don’t know why) when it comes to dialogue.

Dialogue Helps The Character And The Reader

Everything your character says has to have a meaning. It should either help paint a more vivid picture of the person talking (or the one they are talking to or about), or inform the other character (or the reader) of something important, or it should move the plot forward.

If it does none of those things then cut it out! Here’s an example of excess chat:

“Good morning, Henry!”

“Good morning, Diana.”

“How are you?” she asked.

“I’m well. How are you?”

“I’m fine, thank you.” She looked up at the blue sky. “Lovely weather we’re having.”

Are you asleep yet? You should be. It’s boring, right?

Sometimes you don’t need two pages of dialogue. Sometimes a simple exchange can be part of the narrative. If you want your readers to know an interaction like this has taken place, then simply say – Henry passed Diana in the street and they exchanged pleasantries.

If you want the reader to know that Henry finds Diana insufferably then you can easily sum that up by writing – Henry passed Diana in the street and they exchanged pleasantries. As always she looked up at the sky before commenting on the weather, as if every day that week hadn’t been gloriously sunny. It took ten minutes to get away, by which time his cheeks were aching from all the forced smiling.

No Soliloquies Allowed (Unless You’re Shakespeare)

This rule also applies to big chunks of dialogue. Perhaps your character has a lot to say, but if you present it as one long speech it will feel to the modern reader like they’ve been transported back to Victorian England.

So don’t do it!

Keep it spare. Allow gaps in the communication (intersperse with action and leave plenty unsaid) and let the readers fill in the blanks. It’s like you’re not even giving the readers 100% of what they want. You’re giving them 80% and letting them figure out the rest.

Take this example of dialogue, for instance, from Ian Rankin’s fourteenth Rebus crime novel,  A Question of Blood . The detective, John Rebus, is phoned up at night by his colleague:

… “Your friend, the one you were visiting that night you bumped into me …” She was on her mobile, sounded like she was outdoors.

“Andy?” he said. ‘Andy Callis?”

“Can you describe him?”

Rebus froze. “What’s happened?”

“Look, it might not be him …”

“Where are you?”

“Describe him for me … that way you’re not headed all the way out here for nothing.”

That’s great isn’t it? Immediate. Vivid. Edgy. Communicative.

But look at what isn’t said. Here’s the same passage again, but with my comments in square brackets alongside the text:

[Your friend: she doesn’t even give a name or give anything but the barest little hint of who she’s speaking about. And ‘on her mobile, sounded like she was outdoors’. That’s two sentences rammed together with a comma. It’s so clipped you’ve even lost the period and the second ‘she’.]

[Notice that this is exactly the way we speak. He could just have said “Andy Callis”, but in fact we often take two bites at getting the full name, like this. That broken, repetitive quality mimics exactly the way we speak . . . or at least the way we think we speak!]

[Uh-oh. The way she jumps straight from getting the name to this request indicates that something bad has happened. A lesser writer would have this character say, ‘Look, something bad has happened and I’m worried. So can you describe him?’ This clipped, ultra-brief way of writing the dialogue achieves the same effect, but (a) shows the speaker’s urgency and anxiety – she’s just rushing straight to the thing on her mind, (b) uses the gap to indicate the same thing as would have been (less well) achieved by a wordier, more direct approach, and (c) by forcing the reader to fill in that gap, you’re actually making the reader engage with intensity. This is the reader as co-writer – and that means super-engaged.]

[Again: you can’t convey the same thing with fewer words. Again, the shimmering anxiety about what has still not been said has extra force precisely because of the clipped style.]

[A brilliantly oblique way of indicating, ‘But I’m frigging terrified that it is.’ Oblique is good. Clipped is good.]

[A  non-sequitur,  but totally consistent with the way people think and talk.]

[Just as he hasn’t responded to what she just said, now it’s her turn to ignore him. Again, it’s the absences that make this bit of dialogue live. Just imagine how flaccid this same bit would be if she had said, “Let’s not get into where I am right now. Look, it’s important that you describe him for me . . .”]

Gaps are good. They make the reader work, and a ton of emotion and inference swirls in the gaps.

Want to achieve the same effect?  Copy Rankin. Keep it tight. And read this .

Dialogue Rule 2: Watch Those Beats

More often than not, great story moments hinge on character exchanges with dialogue at their heart.  Even very short dialogue can help drive a plot, showing more about your characters and what’s happening than longer descriptions can.

(How come? It’s the thing we just talked about: how very spare dialogue makes the reader work hard to figure out what’s going on, and there’s an intensity of energy released as a result.)

But right now, I want to focus on the way dialogue needs to create its own emotional beats. So that the action of the scene and the dialogue being spoken becomes the one same thing.

Here’s how screenwriting guru Robert McKee puts it:

Dialogue is not [real-life] conversation. … Dialogue [in writing] … must have direction. Each exchange of dialogue  must turn the beats of the scene  … yet it must sound like talk.

This excerpt from Thomas Harris’  The Silence of the Lambs  is a beautiful example of exactly that. It’s  short as heck, but just see what happens.

As before, I’ll give you the dialogue itself, then the same thing again with my notes on it:

“The significance of the chrysalis is change. Worm into butterfly, or moth. Billy thinks he wants to change. … You’re very close, Clarice, to the way you’re going to catch him, do you realize that?”

“No, Dr Lecter.”

“Good. Then you won’t mind telling me what happened to you after your father’s death.”

Starling looked at the scarred top of the school desk.

“I don’t imagine the answer’s in your papers, Clarice.”

Here Hannibal holds power, despite being behind bars. He establishes control, and Clarice can’t push back, even as he pushes her. We see her hesitancy, Hannibal’s power. (And in such few words! Can you even imagine trying to do as much as this without the power of dialogue to aid you? I seriously doubt if you could.)

But again, here’s what’s happening in detail

[ Beat 1:  What a great line of dialogue! Invoking the chrysalis and moth here is magical language. it’s like Hannibal is the magician, the Prospero figure. Look too at the switch of tack in the middle of this snippet. First he’s talking about Billy wanting to change – then about Clarice’s ability to find him. Even that change of tack emphasises his power: he’s the one calling the shots here; she’s always running to keep up.]

[ Beat 2 : Clarice sounds controlled, formal. That’s not so interesting yet . . . but it helps define her starting point in this conversation, so we can see the gap between this and where she ends up.]

[ Beat 3 : Another whole jump in the dialogue. We weren’t expecting this, and we’re already feeling the electricity in the question. How will Clarice react? Will she stay formal and controlled?]

[ Beat 4 : Nope! She’s still controlled, just about, but we can see this question has daunted her. She can’t even answer it! Can’t even look at the person she’s talking to. Notice as well that we’re outside quotation marks here – she’s not talking, she’s just looking at something. Writing great dialogue is about those sections of silence too – the bits that happen beyond the quotation marks.]

[ Beat 5:  And Lecter immediately calls attention to her reaction, thereby emphasising that he’s observed her and knows what it means.]

Overall, you can see that not one single element of this dialogue leaves the emotional balance unaltered. Every line of dialogue alters the emotional landscape in some way. That’s why it feels so intense & engaging.

Want to achieve the same effect?  Just check your own dialogue, line by line. Do you feel that emotional movement there all the time? If not, just delete anything unnecessary until you  feel the intensity and emotional movement  increase.

Dialogue Rule 3: Keep It Oblique

One more point, which sits kind of parallel to the bits we’ve talked about already.

If you want to create some terrible dialogue, you’d probably come up with something like this (very similar to my previous bad dialogue example):

“Hey Judy.”

“Hey, Brett.”

“Yeah, not bad. What do you say? Maybe play some tennis later?”

“Tennis? I’m not sure about that. I think it’s going to rain.”

Tell me honestly: were you not just about ready to scream there? If that dialogue had continued like that for much longer, you probably would have done.

And the reason is simple. It was direct, not oblique.

So direct dialogue is where person X says something or asks a question, and person Y answers in the most logical, direct way.

We hate that! As readers, we hate it.

Oblique dialogue is where people never quite answer each other in a straight way. Where a question doesn’t get a straightforward response. Where random connections are made. Where we never quite know where things are going.

As readers, we love that. It’s dialogue to die for.

And if you want to see oblique dialogue in action, here’s a snippet from Aaron Sorkin’s  The Social Network . (Because dialogue in screenwriting should follow the same rules as a novel. Some may argue that it should be even more snipped!)

So here goes. This is the young Mark Zuckerberg talking with a lawyer:

Lawyer:  “Let me re-phrase this. You sent my clients sixteen emails. In the first fifteen, you didn’t raise any concerns.” MZ:  ‘Was that a question?’ L:  “In the sixteenth email you raised concerns about the site’s functionality. Were you leading them on for 6 weeks?” MZ:  ‘No.’ L:  “Then why didn’t you raise any of these concerns before?” MZ:  ‘It’s raining.’ L:  “I’m sorry?” MZ:  ‘It just started raining.’ L:  “Mr. Zuckerberg do I have your full attention?” MZ:  ‘No.’ L:  “Do you think I deserve it?” MZ:  ‘What?’ L:  “Do you think I deserve your full attention?”

I won’t discuss that in any detail, because the technique really leaps out at you. It’s particularly visible here, because the lawyer wants and expects to have a direct conversation. ( I ask a question about X, you give me a reply that deals with X. I ask a question about Y, and … ) Zuckerberg here is playing a totally different game, and it keeps throwing the lawyer off track – and entertaining the viewer/reader too.

Want to achieve the same effect?  Just keep your dialogue not quite joined up. People should drop in random things, go off at tangents, talk in non-sequiturs, respond to an emotional implication not the thing that’s directly on the page – or anything. Just keep it broken. Keep it exciting!

This not only moves the story forward but also says a lot about the character speaking.

Dialogue Rule 4: Reveal Character Dynamics And Emotion

Most writers use dialogue to impart information – it’s a great way of explaining things. But it’s also a perfect (and subtler) tool to describe a character, highlighting their mannerisms and personality. It can also help the reader connect with the character…or hate them.

Let’s take a look here at Stephen Chbosky’s  The Perks of Being a Wallflower  as another dialogue example.

Here we have two characters, when protagonist Charlie, a high school freshman, learns his long-time crush, Sam, may like him back, after all. Here’s how that dialogue goes:

“Okay, Charlie … I’ll make this easy. When that whole thing with Craig was over, what did you think?”

… “Well, I thought a lot of things. But mostly, I thought your being sad was much more important to me than Craig not being your boyfriend anymore. And if it meant that I would never get to think of you that way, as long as you were happy, it was okay.” …

… “I can’t feel that. It’s sweet and everything, but it’s like you’re not even there sometimes. It’s great that you can listen and be a shoulder to someone, but what about when someone doesn’t need a shoulder? What if they need the arms or something like that? You can’t just sit there and put everybody’s lives ahead of yours and think that counts as love. You just can’t. You have to do things.”

“Like what?” …

“I don’t know. Like take their hands when the slow song comes up for a change. Or be the one who asks someone for a date.”

The words sound human.

Sam and Charlie are tentative, exploratory – and whilst words do the job of ‘turning’ a scene, both receiving new information, driving action on – we also see their dynamic.

And so we connect to them.

We see Charlie’s reactive nature, checking with Sam what she wants him to do. Sam throws out ideas, but it’s clear she wants him to be doing this thinking, not her, subverting Charlie’s idea of passive selflessness as love.

The dialogue shows us the characters, as clearly as anything else in the whole book. Shows us their differences, their tentativeness, their longing.

Want to achieve the same effect?  Understand your characters as fully as you can. The more you can do this, the more naturally you’ll write dialogue that’s right  for them . You can get  tips on knowing your characters here .

Dialogue Rule 5: Keep Your Dialogue Tags Simple

A dialogue tag is the part that helps us know who is saying what – the he said/she said part of dialogue that helps the reader follow the conversation.

Keep it Simple

A lot of writers try to add colour to their writing by showering it with a lot of vigorous dialogue tags. Like this:

“Not so,” she spat.

“I say that it is,” he roared.

“I know a common blackbird when I see it,” she defended.

“Oh. You’re a professional ornithologist now?” he attacked, sarcastically.

That’s pretty feeble dialogue, no matter what. But the biggest part of the problem is simply that the dialogue tags ( spat, roared , and so on) are so highly coloured, they take away interest from the dialogue itself – and it’s the words spoken by the characters that ought to capture the reader’s interest.

Almost always, therefore, you should confine yourself to the blandest of words:

She answered

And so on. Truth is, in a two-handed dialogue where it’s obvious who’s speaking, you don’t even need the word  said .

Get Creative

As an alternative, you can have action and body language demonstrate who is saying what and their emotions behind it. The scene description can say just as much as the dialogue.

Here’s another example of the same exchange:

Joan clenched her jaw. “Not so!”

“I say that it is.”

His voice kept rising with every word he shouted, but Joan was not going to be deterred.

“I know a common blackbird when I see it.”

“Oh. You’re a professional ornithologist now?”

Not one dialogue tag nor adverb was used there, but we still know who said what and how it was delivered. And , if you’re really smart and develop how your characters speak (pacing, words, syntax and speech pattern), a reader can know who is talking simply by how they’re talking.

The simple rule: use dialogue tags as invisibly as you can. I’ve written about a million words of my Fiona Griffiths series, and I doubt if I’ve used words other than say / reply and other very simple tags more than a dozen or so times in the entire series.

Keep it simple!

Dialogue Rule 6: Get The Punctuation Right

Dialogue punctuation is so simple and important, and looks so bad if you get it wrong. Here are eight simple rules to know before your character starts to speak:

• Each new line of dialogue (i.e: each new speaker) needs a new paragraph – even if the dialogue is very short.
• Action sentences within dialogue get their own paragraphs too. The first paragraph of a chapter or section starts on the far left, and the next paragraph (whether it starts with dialogue or not) is indented.
• The only exception to this rule is if the sentence interrupts an otherwise continuous piece of dialogue. for example:  “Yes,” she said. She brushed away a fly that had landed on her cheek. “I do think hippos are the best animals.”
• When you are ending a line of dialogue with  he said / she said , the sentence beforehand ends with a comma not a full stop (or period), as in this for example:  “Yes,” she said.
• If the line of dialogue ends with a question mark or exclamation mark, you still don’t have a capital letter for  he said / she said .  For example:  “You like hippos?” he said .
• If the he said / she said lives in the middle of one continuous sentence of dialogue, you need to deploy those commas like a comma-deploying ninja. Like this for example:  “If you like hippos,” he said, “then you deserve to be sat on by one.”
• And use quotation marks, dummy. You know to do that, without me telling you, right? (Yes, yes, some serious writers of literary fiction have written entire novels without one speech mark – but they are the exception to the rule.)
• Use the exclamation point sparingly. Otherwise! Your! Book! Is! Going! To! Sound! Very! Hysterical!

Dialogue Rule 7: Accents And Verbal Mannerisms

Realistic dialogue is important, but writing dialogue is not the same as speaking. Remember that the reader’s experience has to be smooth and enjoyable, so even if your character has an accent, speech impediment, or talks excessively…writing it exactly as it’s spoken doesn’t always work.

If you want to show that your character is from a certain part of the UK, it often helps to add a smattering of colloquial words or

In The Last Thing To Burn by Will Dean, the antagonist, Len, has an accent (Yorkshire or Lancashire, it’s obvious but never stated). The protagonist is trapped inside this man’s home, she has no idea where she is, but by describing the endless fields and hearing his subtle accent the reader knows exactly where in the UK she’s trapped.

Len says things like:

‘Going to go feed pigs’ and ‘There’s a good lass.’

You can highlight location, a character’s age, and their social standing simply by giving a nod to their accent.

On the flip-side, if they have a foreign accent, it can sometimes be too jarring to write dialogue exactly as it sounds.

‘Amma gonna eata the pizza’ is an awful way to write an Italian accent – it’s verging on racist. Try to avoid that. Instead, simply mention they have an Italian accent and let the reader fill in the blanks.

Accents Written Well

But, of course, there’s always an exception!

Irvine Welsh writes English in his native Scottish dialect and it’s exemplary – but nothing something we would recommend for a novice writer.

Here’s an excerpt from Trainspotting:

Third time lucky.  It wis like Sick Boy telt us: you’ve got tae know what it’s like tae try tae come off it before ye can actually dae it.  You can only learn through failure, and what ye learn is the importance ay preparation.  He could be right.  Anywey, this time ah’ve prepared. 

Perhaps, if you have a Scottish character in your novel you may want them to speak in a strong accent. But getting it wrong can ruin an entire novel, so unless you are very skilled and very confident, stick to the odd colloquialism or word and leave it there.

Verbal Mannerisms

Whether you realise it or not, we all have speech patterns. Some of us speak slowly, others pause, people also trail off mid-sentence. Some people also use verbal mannerisms, such as adding a word to a sentence that is unnecessary but becomes a personal tic (such as ‘man’, ‘like’ or ‘innit’). Or repeat favourite words. These can be influenced by age, background, class, and the period in which the book is set.

Here’s an example of two people talking. I won’t mention their ages or backgrounds, but see if you can guess.

“Chill, Bro.”

“Chill? I’m far from chilled, you scoundrel. That’s my flower bed you’ve just dug up.”

“I found something, though. It was sticking out the ground.”

“Outrageous behaviour. So… You… One simply can’t go around digging up people’s gardens!”

“Yeah. And what?” They both stared down at the swollen white lumps pressing out of the soil like plump snowdrops.”What is it, though?”

Harold swallowed. “Fingers.”

A Few Last Dialogue Rules

If want some great examples of how to write in dialogue, read plays or screenplays for inspiration. Read Tennessee Williams or Henrik Ibsen. Anything by Elmore Leonard is great. Ditto Raymond Chandler or Donna Tartt.

Some last tips:

• Keep speeches short . If a speech runs for more than three sentences or so, it (usually) risks being too long. Break it up with some action or someone else talking.
• Ensure characters speak in their own voice . And make sure your characters don’t sound the same as each other. Remember mannerisms, speech patterns, and how age and background influences speech.
• Add intrigue . Add slang and banter. Lace character chats with foreshadowing. You needn’t be writing a thriller to do this.
• Get in late and out early.  Don’t bother with small talk. Decide the point of each interaction, begin with it as late as possible, ending as soon as your point is made.
• Interruption is good.  So are characters pursuing their own thought processes and not quite engaging with the other.

Frequently Asked Questions

What are the 5 typesetting rules of writing dialogue.

Part of the editing process is to ensure you format dialogue correctly. Formatting dialogue correctly means remembering 5 simple steps:

• Only spoken words go within quotation marks.
• Use a separate sentence for every new thing someone says or does.
• Punctuation marks stay inside quotation marks and don’t forget about closing quotation marks at the end of the sentence.
• You can use single quotation marks or double quotation marks – but you must be consistent!
• Beware of capital letters. Always at the start of a sentence and after the quotations mark.

How Can You Use Everyday Life To Perfect Your Dialogue?

Listening to people speak will really help you perfect good dialogue. Sit in a cafe and people watch. Watch their body language and how they express themselves. Their verbal mannerisms, tics, how they choose their words, the syntax, speech patterns and turns of phrase. Make notes (without being spotted) and look out for contrasting word choices and personas.

What Is A Bad Example Of Dialogue?

There are plenty to choose from above – but the worst things you can do include:

• Using too many words
• Writing an accent how it’s heard (unless you are Irvine Welsh, which most people are not)
• Writing dialogue that’s irrelevant or misleading
• Using too many dialogue tags (or none at all)
• Bad punctuation – remember dialogue formatting
• Avoid long speeches

How Do You Start Dialogue?

There are many ways to start dialogue. You can ease into it, by introducing the character to the scene. Or you can jump in median res, slap bang into the centre of the action. Much like life, sometimes we hear a person’s voice before we see them – they pop up out of nowhere – and sometimes we call them or walk into a room where they are, and we have rehearsed what we plan to say.

See what works best for your scene, your characters, and the genre you are writing in (dialogue in a crime thriller will sound very different to dialogue in a young adult novel, for instance).

That’s All I Have To Say About That

We really hope you have found this article interesting and that you have now found the confidence to tackle the dialogue in your novel.

What your characters say and how they say it can make the difference between a good book and one that everyone is talking about. So get eavesdropping, get practising, and read as many books and plays as you can to create better dialogue.

Practice makes perfect and don’t forget to enjoy yourself!

About the author

Harry has written a variety of books over the years, notching up multiple six-figure deals and relationships with each of the world’s three largest trade publishers. His work has been critically acclaimed across the globe, has been adapted for TV, and is currently the subject of a major new screen deal. He’s also written non-fiction, short stories, and has worked as ghost/editor on a number of exciting projects. Harry also self-publishes some of his work, and loves doing so. His Fiona Griffiths series in particular has done really well in the US, where it’s been self-published since 2015. View his website , his Amazon profile , his Twitter . He's been reviewed in Kirkus, the Boston Globe , USA Today , The Seattle Times , The Washington Post , Library Journal , Publishers Weekly , CulturMag (Germany), Frankfurter Allgemeine , The Daily Mail , The Sunday Times , The Daily Telegraph , The Guardian , and many other places besides. His work has appeared on TV, via Bonafide . And go take a look at what he thinks about Blick Rothenberg . You might also want to watch our " Blick Rothenberg - The Truth " video, if you want to know how badly an accountancy firm can behave.

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How to Write Dialogue: 7 Great Tips for Writers (With Examples)

By Hannah Yang

Great dialogue serves multiple purposes. It moves your plot forward. It develops your characters and it makes the story more engaging.

It’s not easy to do all these things at once, but when you master the art of writing dialogue, readers won’t be able to put your book down.

In this article, we will teach you the rules for writing dialogue and share our top dialogue tips that will make your story sing.

Dialogue Rules

How to format dialogue, 7 tips for writing dialogue in a story or book, dialogue examples.

Before we look at tips for writing powerful dialogue , let’s start with an overview of basic dialogue rules.

• Start a new paragraph each time there’s a new speaker. Whenever a new character begins to speak, you should give them their own paragraph. This rule makes it easier for the reader to follow the conversation.
• Keep all speech between quotation marks . Everything that a character says should go between quotation marks, including the final punctuation marks. For example, periods and commas should always come before the final quotation mark, not after.
• Don’t use end quotations for paragraphs within long speeches. If a single character speaks for such a long time that you break their speech up into multiple paragraphs, you should omit the quotation marks at the end of each paragraph until they stop talking. The final quotation mark indicates that their speech is over.
• Use single quotes when a character quotes someone else. Whenever you have a quote within a quote, you should use single quotation marks (e.g. She said, “He had me at ‘hello.’”)
• Dialogue tags are optional. A dialogue tag is anything that indicates which character is speaking and how, such as “she said,” “he whispered,” or “I shouted.” You can use dialogue tags if you want to give the reader more information about who’s speaking, but you can also choose to omit them if you want the dialogue to flow more naturally. We’ll be discussing more about this rule in our tips below.

Let’s walk through some examples of how to format dialogue .

The simplest formatting option is to write a line of speech without a dialogue tag. In this case, the entire line of speech goes within the quotation marks, including the period at the end.

• Example: “I think I need a nap.”

Another common formatting option is to write a single line of speech that ends with a dialogue tag.

Here, you should separate the speech from the dialogue tag with a comma, which should go inside the quotation marks.

• Example: “I think I need a nap,” Maria said.

You can also write a line of speech that starts with a dialogue tag. Again, you separate the dialogue tag with a comma, but this time, the comma goes outside the quotation marks.

• Example: Maria said, “I think I need a nap.”

As an alternative to a simple dialogue tag, you can write a line of speech accompanied by an action beat. In this case, you should use a period rather than a comma, because the action beat is a full sentence.

• Example: Maria sat down on the bed. “I think I need a nap.”

Finally, you can choose to include an action beat while the character is talking.

In this case, you would use em-dashes to separate the action from the dialogue, to indicate that the action happens without a pause in the speech.

• Example: “I think I need”—Maria sat down on the bed—“a nap.”

Now that we’ve covered the basics, we can move on to the more nuanced aspects of writing dialogue.

Here are our seven favorite tips for writing strong, powerful dialogue that will keep your readers engaged.

Tip #1: Create Character Voices

Dialogue is a great way to reveal your characters. What your characters say, and how they say it, can tell us so much about what kind of people they are.

Some characters are witty and gregarious. Others are timid and unobtrusive.

Speech patterns vary drastically from person to person.

To make someone stop talking to them, one character might say “I would rather not talk about this right now,” while another might say, “Shut your mouth before I shut it for you.”

When you’re writing dialogue, think about your character’s education level, personality, and interests.

• What kind of slang do they use?
• Do they prefer long or short sentences?
• Do they ask questions or make assertions?

Each character should have their own voice.

Ideally, you want to write dialogue that lets your reader identify the person speaking at any point in your story just by looking at what’s between the quotation marks.

Tip #2: Write Realistic Dialogue

Good dialogue should sound natural. Listen to how people talk in real life and try to replicate it on the page when you write dialogue.

Don’t be afraid to break the rules of grammar, or to use an occasional exclamation point to punctuate dialogue.

It’s okay to use contractions , sentence fragments , and run-on sentences , even if you wouldn’t use them in other parts of the story.

This doesn’t mean that realistic dialogue should sound exactly like the way people speak in the real world.

If you’ve ever read a court transcript, you know that real-life speech is riddled with “ums” and “ahs” and repeated words and phrases. A few paragraphs of this might put your readers to sleep.

Compelling dialogue should sound like a real conversation, while still being wittier, smoother, and better worded than real speech.

Tip #3: Simplify Your Dialogue Tags

A dialogue tag is anything that tells the reader which character is talking within that same paragraph, such as “she said” or “I asked.”

When you’re writing dialogue, remember that simple dialogue tags are the most effective .

Often, you can omit dialogue tags after the conversation has started flowing, especially if only two characters are participating.

The reader will be able to keep up with who’s speaking as long as you start a new paragraph each time the speaker changes.

When you do need to use a dialogue tag, a simple “he said” or “she said” will do the trick.

Our brains generally skip over the word “said” when we’re reading, while other dialogue tags are a distraction.

A common mistake beginner writers make is to avoid using the word “said.”

Characters in amateur novels tend to mutter, whisper, declare, or chuckle at every line of dialogue. This feels overblown and distracts from the actual story.

Another common mistake is to attach an adverb to the word “said.” Characters in amateur novels rarely just say things—they have to say things loudly, quietly, cheerfully, or angrily.

If you’re writing great dialogue, readers should be able to figure out whether your character is cheerful or angry from what’s within the quotation marks.

The only exception to this rule is if the dialogue tag contradicts the dialogue itself. For example, consider this sentence:

• “You’ve ruined my life,” she said angrily.

The word “angrily” is redundant here because the words inside the quotation marks already imply that the character is speaking angrily.

In contrast, consider this sentence:

• “You’ve ruined my life,” she said thoughtfully.

Here, the word “thoughtfully” is well-placed because it contrasts with what we might otherwise assume. It adds an additional nuance to the sentence inside the quotation marks.

You can use the ProWritingAid dialogue check when you write dialogue to make sure your dialogue tags are pulling their weight and aren’t distracting readers from the main storyline.

Sign up for your free ProWritingAid account to check your dialogue tags today.

Tip #4: Balance Speech with Action

When you’re writing dialogue, you can use action beats —descriptions of body language or physical action—to show what each character is doing throughout the conversation.

Learning how to write action beats is an important component of learning how to write dialogue.

Good dialogue becomes even more interesting when the characters are doing something active at the same time.

You can watch people in real life, or even characters in movies, to see what kinds of body language they have. Some pick at their fingernails. Some pace the room. Some tap their feet on the floor.

Including physical action when writing dialogue can have multiple benefits:

• It changes the pace of your dialogue and makes the rhythm more interesting
• It prevents “white room syndrome,” which is when a scene feels like it’s happening in a white room because it’s all dialogue and no description
• It shows the reader who’s speaking without using speaker tags

You can decide how often to include physical descriptions in each scene. All dialogue has an ebb and flow to it, and you can use beats to control the pace of your dialogue scenes.

If you want a lot of tension in your scene, you can use fewer action beats to let the dialogue ping-pong back and forth.

If you want a slower scene, you can write dialogue that includes long, detailed action beats to help the reader relax.

You should start a separate sentence, or even a new paragraph, for each of these longer beats.

Tip #5: Write Conversations with Subtext

Every conversation has subtext , because we rarely say exactly what we mean. The best dialogue should include both what is said and what is not said.

I once had a roommate who cared a lot about the tidiness of our apartment, but would never say it outright. We soon figured out that whenever she said something like “I might bring some friends over tonight,” what she meant was “Please wash your dishes, because there are no clean plates left for my friends to use.”

When you’re writing dialogue, it’s important to think about what’s not being said. Even pleasant conversations can hide a lot beneath the surface.

Is one character secretly mad at the other?

Is one secretly in love with the other?

Is one thinking about tomorrow’s math test and only pretending to pay attention to what the other person is saying?

Personally, I find it really hard to use subtext when I write dialogue from scratch.

In my first drafts I let my characters say what they really mean. Then, when I’m editing, I go back and figure out how to convey the same information through subtext instead.

Tip #6: Show, Don’t Tell

When I was in high school, I once wrote a story in which the protagonist’s mother tells her: “As you know, Susan, your dad left us when you were five.”

I’ve learned a lot about the writing craft since high school, but it doesn’t take a brilliant writer to figure out that this is not something any mother would say to her daughter in real life.

The reason I wrote that line of dialogue was because I wanted to tell the reader when Susan last saw her father, but I didn’t do it in a realistic way.

Don’t shoehorn information into your characters’ conversations if they’re not likely to say it to each other.

One useful trick is to have your characters get into an argument.

You can convey a lot of information about a topic through their conflicting opinions, without making it sound like either of the characters is saying things for the reader’s benefit.

Here’s one way my high school self could have conveyed the same information in a more realistic way in just a few lines:

Susan: “Why didn’t you tell me Dad was leaving? Why didn’t you let me say goodbye?”

Mom: “You were only five. I wanted to protect you.”

Tip #7: Keep Your Dialogue Concise

Dialogue tends to flow out easily when you’re drafting your story, so in the editing process, you’ll need to be ruthless. Cut anything that doesn’t move the story forward.

Try not to write dialogue that feels like small talk.

You can eliminate most hellos and goodbyes, or summarize them instead of showing them. Readers don’t want to waste their time reading dialogue that they hear every day.

In addition, try not to write dialogue with too many trigger phrases, which are questions that trigger the next line of dialogue, such as:

• “And then what?”
• “What do you mean?”

It’s tempting to slip these in when you’re writing dialogue because they keep the conversation flowing. I still catch myself doing this from time to time.

Remember that you don’t need three lines of dialogue when one line could accomplish the same thing.

Let’s look at some dialogue examples from successful novels that follow each of our seven tips.

Dialogue Example #1: How to Create Character Voice

Let’s start with an example of a character with a distinct voice from Harry Potter and the Chamber of Secrets by J.K. Rowling.

“What happened, Harry? What happened? Is he ill? But you can cure him, can’t you?” Colin had run down from his seat and was now dancing alongside them as they left the field. Ron gave a huge heave and more slugs dribbled down his front. “Oooh,” said Colin, fascinated and raising his camera. “Can you hold him still, Harry?”

Most readers could figure out that this was Colin Creevey speaking, even if his name hadn’t been mentioned in the passage.

This is because Colin Creevey is the only character who speaks with such extreme enthusiasm, even at a time when Ron is belching slugs.

This snippet of written dialogue does a great job of showing us Colin’s personality and how much he worships his hero Harry.

Dialogue Example #2: How to Write Realistic Dialogue

Here’s an example of how to write dialogue that feels realistic from A Thousand Splendid Suns by Khaled Hosseini.

“As much as I love this land, some days I think about leaving it,” Babi said. “Where to?” “Anyplace where it’s easy to forget. Pakistan first, I suppose. For a year, maybe two. Wait for our paperwork to get processed.” “And then?” “And then, well, it is a big world. Maybe America. Somewhere near the sea. Like California.”

Notice the punctuation and grammar that these two characters use when they speak.

There are many sentence fragments in this conversation like, “Anyplace where it’s easy to forget.” and “Somewhere near the sea.”

Babi often omits the verbs from his sentences, just like people do in real life. He speaks in short fragments instead of long, flowing paragraphs.

This dialogue shows who Babi is and feels similar to the way a real person would talk, while still remaining concise.

Dialogue Example #3: How to Simplify Your Dialogue Tags

Here’s an example of effective dialogue tags in Rebecca by Daphne du Maurier.

In this passage, the narrator’s been caught exploring the forbidden west wing of her new husband’s house, and she’s trying to make excuses for being there.

“I lost my way,” I said, “I was trying to find my room.” “You have come to the opposite side of the house,” she said; “this is the west wing.” “Yes, I know,” I said. “Did you go into any of the rooms?” she asked me. “No,” I said. “No, I just opened a door, I did not go in. Everything was dark, covered up in dust sheets. I’m sorry. I did not mean to disturb anything. I expect you like to keep all this shut up.” “If you wish to open up the rooms I will have it done,” she said; “you have only to tell me. The rooms are all furnished, and can be used.” “Oh, no,” I said. “No. I did not mean you to think that.”

In this passage, the only dialogue tags Du Maurier uses are “I said,” “she said,” and “she asked.”

Even so, you can feel the narrator’s dread and nervousness. Her emotions are conveyed through what she actually says, rather than through the dialogue tags.

This is a splendid example of evocative speech that doesn’t need fancy dialogue tags to make it come to life.

Dialogue Example #4: How to Balance Speech with Action

Let’s look at a passage from The Princess Bride by William Goldman, where dialogue is melded with physical action.

With a smile the hunchback pushed the knife harder against Buttercup’s throat. It was about to bring blood. “If you wish her dead, by all means keep moving," Vizzini said. The man in black froze. “Better,” Vizzini nodded. No sound now beneath the moonlight. “I understand completely what you are trying to do,” the Sicilian said finally, “and I want it quite clear that I resent your behavior. You are trying to kidnap what I have rightfully stolen, and I think it quite ungentlemanly.” “Let me explain,” the man in black began, starting to edge forward. “You’re killing her!” the Sicilian screamed, shoving harder with the knife. A drop of blood appeared now at Buttercup’s throat, red against white.

In this passage, William Goldman brings our attention seamlessly from the action to the dialogue and back again.

This makes the scene twice as interesting, because we’re paying attention not just to what Vizzini and the man in black are saying, but also to what they’re doing.

This is a great way to keep tension high and move the plot forward.

Dialogue Example #5: How to Write Conversations with Subtext

This example from Ender’s Game by Orson Scott Card shows how to write dialogue with subtext.

Here is the scene when Ender and his sister Valentine are reunited for the first time, after Ender’s spent most of his childhood away from home training to be a soldier.

Ender didn’t wave when she walked down the hill toward him, didn’t smile when she stepped onto the floating boat slip. But she knew that he was glad to see her, knew it because of the way his eyes never left her face. “You’re bigger than I remembered,” she said stupidly. “You too,” he said. “I also remembered that you were beautiful.” “Memory does play tricks on us.” “No. Your face is the same, but I don’t remember what beautiful means anymore. Come on. Let’s go out into the lake.”

In this scene, we can tell that Valentine missed her brother terribly, and that Ender went through a lot of trauma at Battle School, without either of them saying it outright.

The conversation could have started with Valentine saying “I missed you,” but instead, she goes for a subtler opening: “You’re bigger than I remembered.”

Similarly, Ender could say “You have no idea what I’ve been through,” but instead he says, “I don’t remember what beautiful means anymore.”

We can deduce what each of these characters is thinking and feeling from what they say and from what they leave unsaid.

Dialogue Example #6: How to Show, Not Tell

Let’s look at an example from The Name of the Wind by Patrick Rothfuss. This scene is the story’s first introduction of the ancient creatures called the Chandrian.

“I didn’t know the Chandrian were demons,” the boy said. “I’d heard—” “They ain’t demons,” Jake said firmly. “They were the first six people to refuse Tehlu’s choice of the path, and he cursed them to wander the corners—” “Are you telling this story, Jacob Walker?” Cob said sharply. “Cause if you are, I’ll just let you get on with it.” The two men glared at each other for a long moment. Eventually Jake looked away, muttering something that could, conceivably, have been an apology. Cob turned back to the boy. “That’s the mystery of the Chandrian,” he explained. “Where do they come from? Where do they go after they’ve done their bloody deeds? Are they men who sold their souls? Demons? Spirits? No one knows.” Cob shot Jake a profoundly disdainful look. “Though every half-wit claims he knows...”

The three characters taking part in this conversation all know what the Chandrian are.

Imagine if Cob had said “As we all know, the Chandrian are mysterious demon-spirits.” We would feel like he was talking to us, not to the two other characters.

Instead, Rothfuss has all three characters try to explain their own understanding of what the Chandrian are, and then shoot each other’s explanations down.

When Cob reprimands Jake for interrupting him and then calls him a half-wit for claiming to know what he’s talking about, it feels like a realistic interaction.

This is a clever way for Rothfuss to introduce the Chandrian in a believable way.

Dialogue Example #7: How to Keep Your Dialogue Concise

Here’s an example of concise dialogue from The Catcher in the Rye by J.D. Salinger.

“Do you blame me for flunking you, boy?” he said. “No, sir! I certainly don’t,” I said. I wished to hell he’d stop calling me “boy” all the time. He tried chucking my exam paper on the bed when he was through with it. Only, he missed again, naturally. I had to get up again and pick it up and put it on top of the Atlantic Monthly. It’s boring to do that every two minutes. “What would you have done in my place?” he said. “Tell the truth, boy.” Well, you could see he really felt pretty lousy about flunking me. So I shot the bull for a while. I told him I was a real moron, and all that stuff. I told him how I would’ve done exactly the same thing if I’d been in his place, and how most people didn’t appreciate how tough it is being a teacher. That kind of stuff. The old bull.

Here, the last paragraph diverges from the prior ones. After the teacher says “Tell the truth, boy,” the rest of the conversation is summarized, rather than shown.

The summary of what the narrator says in the last paragraph—“I told him I was a real moron, and all that stuff”—serves to hammer home that this is the type of “old bull” that the narrator has fed to his teachers over and over before.

It doesn’t need to be shown because it’s not important to the narrator—it’s just “all that stuff.”

Salinger could have written out the entire conversation in dialogue, but instead he kept the dialogue concise.

Final Words

Now you know how to write clear, effective dialogue! Start with the basic rules for dialogue and try implementing the more advanced tips as you go.

What are your favorite dialogue tips? Let us know in the comments below.

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Hannah Yang is a speculative fiction writer who writes about all things strange and surreal. Her work has appeared in Analog Science Fiction, Apex Magazine, The Dark, and elsewhere, and two of her stories have been finalists for the Locus Award. Her favorite hobbies include watercolor painting, playing guitar, and rock climbing. You can follow her work on hannahyang.com, or subscribe to her newsletter for publication updates.

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Realistic dialogue: Creating characters’ speech patterns

Realistic dialogue moves stories along. When you give each character an interesting voice and persona, it’s a joy to read their conversations. Varied, entertaining speech takes readers into the heart of your characters. Here are six ways to make characters’ speech colorful and interesting

• Post author By Jordan
• 9 Comments on Realistic dialogue: Creating characters’ speech patterns

Realistic dialogue moves stories along. When you give each character an interesting voice and persona, it’s a joy to read their conversations. Varied, entertaining speech takes readers into the heart of your characters.

Remember, too, that dialogue is crafted speech, and doesn’t have to be exact ‘real speech’. Common speech patterns can be boring to read, and are usually full of phrases like ‘you know’ and umms and ahhs and so on. 

Here are six ways to make characters’ speech colorful and interesting.

1. Make characters’ voices reflect their place and time

Great dialogue illustrates its speakers. Who is this person? Why do they speak this way? What odd curse words or phrases do they use that are particular to their era or home town? Dialogue executed well develops characters, adding rich texture to the personalities filling your story. One way to make dialogue effective is to have it reflect your characters’ place and time.

In Shakespeare’s plays, we gain a strong sense of an older time through characters’ use of archaic language. For example, characters say ‘thy’ and ‘thou’ in place of ‘your’ and ‘you’.

Era-appropriate character speech helps to establish setting and context. If your character lives in the 21st Century but speaks as though they’re living in 1700, this will confuse readers. The reverse is also true. If a 19th century teenager speaks as though it is the 21st century, this can jolt your reader right out of the story.

So how do you make characters’ speech show where they are in place and time?

• Use occasional language appropriate to the time period in dialogue. In the 60s, for example, common slang terms in parts of the US included ‘old lady’ and ‘old man’ for a person’s significant other.
• Make sure characters don’t use language more modern than their time period – if you’re unsure when a word was coined, Google its etymology
• Use regional accent details

The third suggestion should be used in moderation. Trying to recreate how different groups speak in dialogue using written accents can create stereotypes or be difficult to read. Perhaps you want to portray a character whose native language isn’t English? Again, be mindful when doing so. Character speech should be clear and easy to read. This is particularly the case when there are sensitive issues of culture or race involved. Read this post for tips on creating regional speech patterns without using stereotypes as a crutch.

2. Show characters’ unique personalities in their speech

What do we mean when we talk about a character’s ‘voice’? ‘Voice’ in characterization refers to two things:

• The actual way a person’s voice sounds to the ear (details such as pitch, volume, placement (is it nasal or throaty?) and tone of voice.
• The personality that comes across in how a character expresses themselves. Do they seem blunt and bolshie? Or is their voice gentle, kind and reserved? Do they use concise language? Do they use consistently negative language? 

Pause for a second and think of people you know well. Write down an adjective (describing word) that sums up their voice for you. What creates this effect? Are they loud? Soft-spoken? Confident? Self-doubting? Comical?

Include brief descriptions of voice when you are writing character sketches for your outline. You can create full, detailed character outlines using Now Novel’s dashboard process . Decide:

• What a character’s general personality will be: Are they sanguine/happy-go-lucky, melancholic, plodding and pragmatic, irritable and aggressive?
• How these personality details could show in your character’s voice – an irritable character could curse a lot, while a melancholic character may enjoy grumbling. Also think of ways characters can be against type. A deeply melancholic character could put on a bright, sunny voice to avoid dragging others down, for example.
• Think of other elements of speech, such as whether a character is a greater talker or listener.

Remember to use gestures or beats too to make characters’ speech have even more personality . These can reinforce or contradict what a character says. They also help you to be more nuanced about what a character feels while they are talking. Does the character speak with dramatic, outsized gestures? Might your character have memorable recurring gestures such as running a hand through her hair or taking off his glasses and polishing them? Believable dialogue involves the character as a fully embodied person, not just a talking head.

Find more of our articles on describing characters via our character writing hub .

3. Show background in how characters talk

Think about each character’s background and how that may affect the character’s speech. How educated is the character, and does that show in the character’s speech? Where is the character from? What is the character’s social class?

Perhaps your character grew up poor in an uneducated family and has returned home. How does the character feel about coming home and her family and old neighbours? Maybe she has picked up words and phrases in the big city that people poke fun at her for using. Details such as these in characters’ speech bring them to life, and add vivid colour to character portraits. For the same example, the character could resent or feel embarrassed of where she comes from. In that case, she might deliberately speak in a mannered way that sets her apart from her family back home.

How we speak isn’t entirely arbitrary . We might talk a certain way because we’ve embraced a subculture and particular identity, for example. Think about how ‘bros’ perform their masculinity to each other. They might speak quite differently when conversing with a grandparent versus a friend. Maybe their language is more ‘proper’ and less slang-filled when speaking to an elder. Or maybe they make no effort to modulate their speech at all. Even this can suggest your character’s personality – how much their speech changes depending on who they’re with.

A last word about punctuating dialogue in fiction. The US convention is to use double speech marks, while the UK convention is to use single speech marks. Some writers dispense with that entirely, and have speech rendered as part of the narrative flow.

Paying attention to details such as these will help you write realistic dialogue and bring your characters’ voices to life.

4. Use the ‘shibboleth’ to create realistic dialogue between outsiders and others

Sometimes how a person speaks can be particularly revealing if they are trying to assimilate into an unfamiliar group. The ‘ shibboleth ‘ is a word that distinguishes one in-group from another. That group might be as small as a clique or as large as an entire nationality.

In the past, shibboleths have been used to identify spies or enemy combatants. But a Shibboleth can also trip your character up in a social sense. The wrong pronunciation or choice of vocabulary might reveal that person as someone who is ‘different’. A foreign exchange student for example may stumble over strange idioms the locals use that don’t make immediate sense. For example, an English character studying in Germany might be confused why everyone’s talking about sausages and pony farms .

5. Show how characters’ speech changes according to their situation

A character’s speech should change according to the situation they’re in.

If we spoke with one limited range of vocabulary and intonation all the time, we’d be boring speakers. Consider what speech might reveal about your character under duress. Perhaps a character who seems mild-mannered might suddenly burst into a flurry of obscenities?

Subtle differences in speech depending on what’s happening can show details such as how your characters handle stress and tension .

6. Remember differences between everyday speech and written dialogue

Although we talk of ‘realistic dialogue’, much fictional dialogue is far from how people actually  speak. Yet it creates the effect  of realistic speech. Here are important differences to remember when creating characters’ voices and the unique things they say:

• Good dialogue rarely represents ordinary speech accurately. It generally leaves out the ‘Hi, who’s speaking?’ as well as other commonplace stock phrases and words. Read our tips for creating natural-sounding dialogue.
• In day to day speech, we obviously don’t have ‘he said’ and ‘she said’ punctuating our conversations. Try to keep dialogue tags to a minimum . Remove them where it’s clear from context who has just spoken. And use actions and gestures leading into or following from dialogue to show who the speaker is
• A few writers can get away with writing in dialect, but again, here is where it is better to create the impression of the way a character speaks. A little goes a long way. Don’t make every single phrase a culturally-specific idiom or exclamation
• Similarly, avoid overuse of punctuation marks like exclamation marks and ellipses. These are dramatic effects and the words characters use and their ideas should do most of the expressive ‘heavy lifting’

Read our detailed dialogue writing guide for more on creating conversation that advances your story.

Need to develop further aspects of your characters? Get  How to Write Real Characters – our eBook guide to developing believable characters, including practical exercises and prompts.

Related Posts:

• Context and subtext in dialogue: Creating layered speech
• Realistic dialogue: 5 missteps to avoid
• Beyond stereotypes: portraying realistic LGBTIQ+ characters
• Tags character speech , writing dialogue

Jordan is a writer, editor, community manager and product developer. He received his BA Honours in English Literature and his undergraduate in English Literature and Music from the University of Cape Town.

9 replies on “Realistic dialogue: Creating characters’ speech patterns”

[…] Talking about your character: Speech […]

Love the website! Great information! Lots of detail and unique areas of focus.

One correction: “Introverts, on the other hand, are usually soft-spoken.”

This would be truer of “shy” people, not introverts. Please redefine your understanding of the difference between “introvert” and “shy” so as not to perpetuate this misconception.

“Introverted people are commonly thought to be shy, but introverts’ low motivation to socialize is not the same as the inhibited behavior, tension, and awkwardness that characterize shyness. Introverts who are not shy can behave extrovertively when they choose; whereas shy people, both introverts and extroverts, can’t turn their tension and awkwardness off and on.” —Sophia Dembling (The Introvert’s Corner)

Thank you! KT

Hi KT – thanks, glad you like the site. Good point about the distinction between introversion and extroversion.

I try to throw in key slang words if a character is from a certain country or region. I also attempt to keep them to a minimum in order to not overdo it. I do struggle with minimizing dialogue tags some of the time though. I understand it helps to read it out loud.

Thank you for sharing that, Jeremiah. It really does help to read dialogue aloud. It sounds as though you have a good process.

I was wondering if you happened to know how to write the speech of young children, a friend and I are trying to write a book but are worried that they may sound too advanced for their age. This article was really helpful, so thank you for writing it.

It’s a pleasure, Cristian, thank you for your question.

For writing the speech of young children, I have some suggestions: – Simplify vocabulary and abstraction. A 5-year-old will typically have a much smaller vocabulary than, for example, an 18-year-old. So avoid overly formal and/or complex phrasing and sentence structure unless the child character is meant to sound precocious/advanced for their age. – Think of the ways children are playing with and ‘trying out’ language. For example, when my nephew learned the word ‘marvelous’, everything was suddenly marvelous, including things that definitely are not marvelous. Children mix up words, too (as a kid, I am told I loved a book on optical illusions and would talk about ‘trickmatography’ meaning ‘trick photography’). Kids might invent words based on misreadings/mishearings. – Watch clips of kids’ shows such as Sesame Street on YouTube and listen for the complexity of language/phrase. Where is it pitched? There are online editing tools such as the Hemingway editor that can estimate the reading age/age norms of a piece of writing approximately, too.

I hope this helps!

Thank you so much!

Thanks so much for this piece. It’s a great and energizing lecture.

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Jill French

Chapter Charmer®

How to Write Speech in a Story

Being confident about a few style choices and applying them consistently can make all the difference to writing speech clearly. Even though it should not be a main priority for the first draft, it is good to try to standardise these decisions and aim for consistency in the second and subsequent versions of a manuscript.

Done right, speech will add to your writing and make for a better reader experience. Here I set out detailed advice with examples for:

Reported and direct speech

• Quote mark styles
• Choosing speech tags
• Punctuating speech tags

Broken speech

Action beats.

• Refining dialogue.

Reported speech within narrative is not set out with speech marks (also called quote marks):

• He said that they were under arrest.
• She told Dad to climb the wall.
• He asked where I went.

Conventionally, direct speech will include a vocative word or phrase (which indicates, or evokes, the speaker) and is set apart from narrative using quote marks and dialogue tags (also called speech tags).

Style of quote marks

The usual style for quote marks in UK fiction is single, as in this from Leonard and Hungry Paul (2019) by Rónán Hession, p19:

‘Indeed. And sometimes it’s difficult to know whether you want to scream or block out a scream,’ said Leonard.

Whereas in the US double quote marks are the convention, as in this from Room (2010) by Emma Donoghue, p127:

“Look,” she says, “a flamingo flying by.”

“Look, a zombie all drooling.”

“Jack!” That makes her smile for half a second.

Nested quotes

In both UK and US styles, nested quotes (quotes within quotes) take the opposite form of quote mark to that used for the outer quote mark. Thus, the UK convention would be to use double quotes within single; an example would be this from Hot Milk by Deborah Levy, p48:

‘I was very agitated at the conference … and to look out at the South China Sea in the afternoon. Are those not beautiful words … “South China Sea”?’

Whereas, the US convention would be to use single quotes within double, as in this from The Lives of Animals (1999) by J.M. Coetzee and in my 2016 edition, p86:

“Didn’t you write a book the first chapter of which was called ‘All Animals are Equal?’”

Smart quotes versus straight quotes

With UK and US styles, the quote marks, and any apostrophes, are smart ones (sometimes called intelligent or curly). They are favoured over straight ones (which typically came from typewriter use, where they were adopted due to space and mechanical constraints).

To make a single smart quote in MS Word for PC use ALT +0145 for left and ALT +0146 for right, and for MS Word on a MAC use Option+] for left and Shift+Option +] for right.

If you do want to enforce the use of straight quotes in a document within MS Word on a PC select the file tab and click options.

Select Proofing and the AutoCorrect Options button.

Click the AutoFormat tab and in the Replace section untick the box next to “Straight quotes” with “smart quotes”, click OK, OK.

 Conversely to enforce smart quotes leave this box ticked.

Speech tags

In these examples, I have added bold to indicate the words that indicate speech (which is the tag). They come from What You Wish For (2014) by Mark Edwards:

• ‘Who do you mean by “this lot”?’ I asked softly. (p130)
• ‘I take it you’ve had no word from Cherry?’ I said . (p138)
• ‘A friend,’ I said . ‘Someone else who loves visitors.’ (p168)

These clarify that the section is different to narrative, clue the reader as to who is talking, and help create pace and rhythm. To guide your use and selection of dialogue tags, think of them as supportive of speech, so:

• only there if necessary
• secondary to the dialogue
• speech based.

Only tag where needed

Think of dialogue tags as traffic lights at a minor road junction, the sort which only operate at peak times. When there are many vehicles, they are needed, but when the there is little traffic, they would hold things up unnecessarily, so stay off.

In sections of direct speech when many people are talking together the tags save confusion, but if there are as few as two people in a scene, tags can often be dispensed with. This avoids slowing the pace, as the conversation is already easy to follow.

Dialogue is superior to its tag

Conventionally, when there is a new speaker, one would open a new paragraph. There are times when this is not followed, such as when those speaking only say a few words to one another.

This works as a rule of thumb, and is what most readers expect. Avoid over flamboyant speech tags, as these take the limelight from where it needs to be for the storytelling.

Sadly, I can remember being set a class exercise in school, which was to create chunks of writing with as many different tags in as we could dream up. We were encouraged to flip through a thesaurus in an effort to add obscure and flowery terms.  I shudder to think of it now and want my school-child self to march to the front of the class and say, ‘I have an urgent message from my editor-to-be self, “No! please don’t.”’

Mostly ‘said’ works, as does ‘asked’ with a question. These are transparent to the reader and have the subtlety of a gentle nod from a parent, leaving the dialogue front and centre.

Keep it about speech

Occasionally, you will decide it is appropriate to use other tags and, properly considered, this can be a good choice. However, if you do, remember to keep the tag relevant to the speech.

These examples from Smith (1967) by Leon Garfield all work well and do not dominate:

• ‘And who, miss, would you ask?’ queried Miss Bridget irritably. (p17)
• ‘And so say all of us,’ murmured Miss Fanny, as she might have said, Amen! (p35)
• ‘Oh, Smith!’ she whispered, and turned away. (p105)

Used less well, tags can be distracting and annoying and can put readers off. I have created the following examples of how not to do it:

• ‘Climb the wall,’ fantasised the prince.
• ‘This one is for me,’ gobbled the child greedily.
• ‘I can’t speak through this mask,’ muffled Sarah.

And some frequently seen terms just do not work :

• ‘I did not know that,’ laughed Tony.
• ‘Here take an ice cream,’ she smiled generously.
• ‘Catch the bus home,’ he pointed.
• ‘Good grief,’ they snarled.

Speech tags have to be something which can be done with words and must present the possible; otherwise they pose a puzzle.

These are not so much firm rules, as guidelines, to consider when seeking to engage readers. Ignore them, and you risk spinning readers out of your story, wondering how they would have written that sentence differently had they been the writer.  

As with so much about writing, once you are aware of the conventions you may decide to go against them but with knowledge, foresight and intention.

Punctuating the speech tag

A speech tag can be placed before, in the middle of or after a piece of speech and, in most cases, is set out with a comma (although a question mark or exclamation mark might be used instead where appropriate).

These examples all come from Me Before You (2012) by Jojo Moyes.

• Granddad called out something that may well have been, ‘Hear, hear.’ (p229)
• ‘Let’s get some lunch,’ I said to Nathan. (p187)
• ‘Yiss,’ he said, and broke out a smile. ‘Yes, it is let’s head for the gee-gees.’ (p181)

Where there is a long passage of speech, which crosses into a new paragraph, the convention is to place an opening quote mark at the start of the new paragraph within the speech. But not to close the preceding paragraph with a quote mark.

An example of this can be seen in The Lives of Animals (1999) by J.M. Coetzee, which in the 2016 edition is on p56:

“Let me now turn to Gulliver’s Travels.

“On the one hand you have the Yahoos, who are associated …”

Not all speech will be neatly complete sentences, especially when a speaker is interrupted or distracted. To present this, an ellipsis is used.

Trailing off speech

Where a character’s speech either dries up or is interrupted is indicated by an ellipsis. In a part sentence, an ellipsis is placed after the last word uttered and is followed by the closing speech mark.

This example is from The Comfort of Strangers (1981) by Ian McEwan – 2006 edition p35:

‘Yes, two of those,’ Colin said eagerly, ‘and …’

Faltering speech

Hesitant, uncertain or tentative speech is indicated by a spaced ellipsis. There is no need to indicate this further – instead respect the reader’s ability to understand the pauses, stumbles or breaks.

This example is from Cold Sunflowers (2018) by Mark Sippings p160:

‘It’s a book about the First World War. I got it from the club – It was only two bob, well, ten pence. You wouldn’t believe what those soldiers went through; they were only youngsters. Some were even shot for desertion. It was terrible … terrible, the conditions … goodness me.’

An action beat is a short section of writing which is attached to dialogue and indicates who is speaking. The use of an action beat can add to the pace of writing and can help show a character’s voice or provide insight into their emotions and perhaps their movement in a scene.

These examples from The Snow Child (2012) Eowyn Ivey:

‘It’s her.’ She turned her hand at her throat. (In the 2016 edition p86.)

‘So you do have some fight in you, my girl.’ Esther hugged her waist. ‘You’ll need every bit of that to survive around here.’ (In the 2016 edition p140.)

And from The Crow Trap (1999) Ann Cleeves, p323:

‘This is all I could find.’ She grinned so they would know she was lying.

‘That’s very kind.’ Anne took the letter and added, ‘Do you know where Edmund Fulwell is?’

Refining dialogue

Good advice to an aspiring writer would be to read their dialogue out loud, as this helps to bring authenticity. It is also a good idea to look at a selection of titles and see how speech is presented, as some authors make unconventional approaches work well.

Some prefer not to use speech marks at all, seeing them as an interruption, distraction or perhaps slowing the pace too much. Not using speech marks seems especially popular for writing in the present tense or over a restricted timespan.

Some genres and target readerships may lend themselves to less conventional approaches; some recent books which present speech unconventionally include Normal People (2019) by Sally Rooney and Summer (2020) by Ali Smith.

There is a great deal to writing well and, as the communication medium, writing needs to convey the writer’s message to the reader. The writer decides on what the message is, and the extent to which conventional approaches are used is their choice.

Where editorial assistance is sought, the author needs to consider their style decisions and present these within their project brief to enable an efficient collaboration.

These points should help you to consider what is involved in writing engaging dialogue and presenting it clearly.  Get it right, and it will give your story variety, interest and pace.

Illustration courtesy of sketchrobin.com

If your question has not been answered do get in touch .

Click here for published author interview

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Get in touch if you’d like to discuss editing

Bailey, M. (2020). Editing Fiction , UK: August Publishing

New Hart’s Rules: New Oxford Style Manual (2012). Oxford: Oxford University Press

Quoted books (in quoted order)

Hession, R. (2019). Leonard and Hungry Paul. Hebden Bridge: Bluemoose Books Ltd

Donaghue, E. (2010). Room . London: Picador

Levy, D. (2016) Hot Milk . UK: Penguin Random House

Coetzee, JM. (1999) The Lives of Animals . Princetown: Princetown University Press

McEwan, I. (1981) The Comfort of Strangers . 2006 edition. London: Vintage

Sippings, M. (2018) Cold Sunflowers . Amazon

Ivey, E. (2016) The Snow Child . Second edition. London: Tinder Press

Edwards, M. (2014) What You Wish For . Seattle: Thomas & Mercer

Garfield, L. (1967) Smith . 2004 Edition. London: Puffin Modern Classics

Moyes, J. (2012) Me Before You . London: Penguin Books

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The Editor’s Manual

Free learning resource on English grammar, punctuation, usage, and style.

• Punctuation |

Quotation marks

How to punctuate dialogue in fiction.

Structure and punctuate the dialogue in your novel or story to make readers believe they are listening to a real conversation and watching your characters interact with one another. You want to make it clear who is saying what, but achieve this as unobtrusively as possible.

Enclose direct speech (also called quoted speech, in which you repeat a character’s exact words) in quotation marks.

• “The cake tastes like bread,” Maya said.
• Lulu said, “The water tastes like paper.”
• “And the apples smell like tangerines,” said Farley.
• “Run!” she shouted.
• He asked, “Why?”

In American and Canadian writing, double quotation marks enclose quoted speech. Single quotes are generally used instead as speech marks in British, Australian, and other writing.

Use a comma to separate quoted speech from the speaker.

• “This vacation is boring , ” said Lulu.
• “I knew that , ” Maya said.
• She yelled , “Dragon!”
• Farley said , “I can’t find my shoes.”

Such clauses (“Maya said,” “she yelled”) identify the speaker and are called speech tags. Use commas both before and after a speech tag if it interrupts a speaker’s sentence.

• “The cake , ” she said , “tastes like bread.”
• “Why , ” she wondered , “do we need money?”

But use a period after a speech tag if a new sentence of quoted speech begins after it.

• “The cake tastes like bread,” said Maya . “ T he tea smells of coffee.”
• “I don’t know,” she said . “ Y ou can ask him yourself.”
• “We sell all kinds of packages,” Poco said . “ L et me show you our catalog.”

Capitalization

Capitalize the first word of a sentence of direct or quoted speech.

• Maya said, “ T he hens are loose again.”
• Lulu asked, “ D o you know where they are?”
• Farley cried, “ N ot again!”
• “ W e haven’t booked our tickets yet,” said Maya.

Capitalize the first word after a speech tag if it starts a new sentence.

• “We’ll call him again tonight,” Maya said. “ M aybe this time he’ll answer.” A new sentence begins after the speech tag.
• “Is he here?” she asked. “ W e need to speak with him.”

If a sentence of quoted speech that began before a speech tag continues after it (i.e., the speech tag appears mid-sentence), don’t capitalize the word that follows.

• “I think,” Maya said, “ w e should call him again tonight.” The same sentence continues after the speech tag.
• “Do you know,” she asked, “ i f he is here yet?”

Question marks and exclamation points

If a line of quoted speech ends in a question mark or an exclamation point, omit the comma that generally appears before the speech tag.

• Incorrect: “Who are you? , ” she asked. Correct: “Who are you?” she asked.
• Incorrect: “It’s here! , ” she cried. Correct: “It’s here!” she cried.

However, if the question or exclamation follows the speech tag, use a comma as usual.

• She asked , “Who are you?”
• She cried , “It’s here!”

Dashes and ellipses

Mark interrupted speech using an em dash .

• “You really should—” “Don’t you tell me what to do, Farley Dash!”

An ellipsis (three consecutive periods) can also mark an interruption. More often, it signifies indecision, an incomplete thought, or a pause. In dialogue, an ellipsis can show faltering speech or a thought trailing off.

• Maya asked, “Would you like another slice of chocolate cake?” “Oh, I really shouldn’t, but . . .”
• “I heard . . . what was that? Did you hear that?”

Speech tags: Who said what

Use a speech tag (also called a dialogue tag) to identify the character who is speaking. Here is a dialogue from The Light Fantastic by Terry Pratchett.

• The tree , in a voice like a very old door swinging open, said , “Serves you right.” There was a long silence. Then Rincewind said , “Did you say that?” “Yes.” “And that too?” “Yes.”

See how the conversation continues without a speech tag attached to every line of dialogue? Once the two speakers have been identified, the reader understands that they take turns speaking. Another speech tag is needed only when a new speaker is introduced or clarification is needed, as in the following conversation from Little Women .

• “Jo does use such slang words!” observed Amy , with a reproving look at the long figure stretched on the rug. Jo immediately sat up, put her hands in her pockets, and began to whistle. “Don’t, Jo. It’s so boyish!” “That’s why I do it.” “I detest rude, unladylike girls!” “I hate affected, niminy-piminy chits!” “Birds in their little nests agree,” sang Beth , the peacemaker, with such a funny face that both sharp voices softened to a laugh, and the “pecking” ended for that time. “Really, girls, you are both to be blamed,” said Meg , beginning to lecture in her elder-sisterly fashion.

Omitting unnecessary speech tags helps the reader follow along with minimal disruption. You can also omit speech tags the first time a person speaks if it is clear who is speaking, as in the following excerpt from The Adventures of Tom Sawyer , where both boys have already been introduced to us.

• Neither boy spoke. If one moved, the other moved—but only sidewise, in a circle; they kept face to face and eye to eye all the time. Finally Tom said : “I can lick you!” “I’d like to see you try it.” “Well, I can do it.” “No you can’t, either.” “Yes I can.” “No you can’t.” “I can.” “You can’t.” “Can!” “Can’t!”

Of course in a conversation with more than two characters involved, you may have to use speech tags more often, as in the following extract from To Kill a Mockingbird by Harper Lee.

• We stared at him until he spoke: “Hey.” “Hey yourself,” said Jem pleasantly. “I’m Charles Baker Harris,” he said . “I can read.” “So what?” I said . “I just thought you’d like to know I can read. You got anything needs readin’ I can do it. . .” “How old are you,” asked Jem , “four-and-a-half?” “Goin’ on seven.”

Use clear and simple speech tags. Don’t try to mix things up by unnecessarily finding synonyms for the verb say . Use alternatives to the word said (such as observed , whispered , cried , shouted , yelled , noted , remarked ) only if necessary to convey meaning to the reader.

Action tags

Action tags describe an action different from speaking and merit a sentence of their own. They are therefore separated from speech using a period, unlike speech tags, which take commas.

• “Farley says he ate a whole bar of chocolate this morning,” said Poco, looking up from his phone. Rita leaned forward . “Did he say chocolate ?” “Hmm? Yes. Why?” “Farley hates chocolate. It’s code . ” She got up and peered out the window . “Someone’s watching us.” “Nobody’s watching us, Rita . ” Poco scratched irritably at his chin . “You and Farley are always worrying about nothing.” “Oh yeah?” Rita pointed to the building opposite . “Then who is that?”

Here is an extract from The House of Mirth in which Edith Wharton effectively uses action tags to make us feel we are in the room, watching what’s going on. Note how she uses commas with speech tags but periods with action tags.

• “How delicious to have a place like this all to one’s self! What a miserable thing it is to be a woman . ” She leaned back in a luxury of discontent . Selden was rummaging in a cupboard for the cake. “Even women , ” he said , “have been known to enjoy the privileges of a flat.” “Oh, governesses—or widows. But not girls—not poor, miserable, marriageable girls!” “I even know a girl who lives in a flat.” She sat up in surprise . “You do?” “I do , ” he assured her, emerging from the cupboard with the sought-for cake.

If the action is described in an adverbial phrase appended to a speech tag, use commas as usual, as in the final line of the example above. But don’t use verbs that don’t describe speech as speech tags. Smiling , yawning , winking , and laughing , for example, are acts different from speaking.

• Incorrect: I don’t know what you mean,” she yawned . Correct: “I don’t know what you mean,” she said with a yawn.
• Incorrect: “Here it is,” he smiled . Correct: “Here it is,” he said , smiling.

Of course you can use such verbs in action tags, but use a period then rather than a comma to separate the tag from the speech.

• Incorrect: She yawned , “I don’t know what you mean.” Correct: She yawned . “I don’t know what you mean.”
• Incorrect: He smiled , “Here it is.” Correct: He smiled . “Here it is.”

New line for each speaker

To make it easy for the reader to follow a conversation, use a new line (paragraph change) each time the speaker changes. End each line of dialogue with a period. The paragraph change indicates to the reader a change in speaker, as in the following extract from The Accidental Tourist by Anne Tyler.

• “Sarah, it’s bad for you to talk like that.” “Oh? How am I supposed to talk?” “I mean if you let yourself get angry you’ll be . . . consumed. You’ll burn up. It’s not productive.” “Oh, productive! Well, goodness, no, let’s not waste time on anything unproductive.”

Multiple paragraphs, single speaker

In the rare case that speech by a single speaker runs into multiple paragraphs (a running quotation), place an opening quotation mark at the start of each paragraph but a closing quotation mark only at the end of the final paragraph. All previous paragraphs remain unclosed. This tells the reader that the speaker has not changed at paragraph change.

• As Dash writes: “ Paragraph 1. “ Paragraph 2. “ Paragraph 3. ”

You will probably need to do this only when quoting a long speech, essay, or monologue. In normal dialogue, characters don’t speak entire paragraphs’ worth of words in one go.

Thoughts and internal dialogue

A character’s thoughts are often enclosed in quotation marks.

• “Why not?” he thought. “I can always change my mind later.”
• “She seems kind,” mused Maya. “I’m glad he met her.”

Quotation marks may be omitted with interior monologue. This can make it seem as though you are in a person’s head, listening in on their thoughts.

• It is, thought Peter Walsh, beginning to keep step with them, a very fine training. ( Mrs Dalloway by Virginia Woolf)
• Mrs. Rachel felt that she had received a severe mental jolt. She thought in exclamation points. A boy! Marilla and Matthew Cuthbert of all people adopting a boy! From an orphan asylum! Well, the world was certainly turning upside down! ( Anne of Green Gables by L.M. Montgomery)

When quotation marks are omitted and a thought appears mid-sentence, the first word is often capitalized to set off the thought from the rest of the sentence.

• Then suddenly I thought: Why, what would life be without my puppy! ( A Dog’s Tale by Mark Twain)
• So I thought, Why waste five hours trying to versify the incident? ( Something Else Again by Franklin P. Adams)

But it is not essential to capitalize the first word of a thought if it is clearly being directly quoted, as in the following sentence from Iris Murdoch’s The Sea, The Sea .

• I suddenly thought, if he is no longer in the army, why does he have to come and see me at a holiday weekend when the roads are full of traffic?

A writer may also use formatting options, such as italics, as Terry Pratchett does in Going Postal , where the main character, Moist (yes, that’s his name), is in conversation with another character. Moist’s spoken words are enclosed in quotes and his thoughts shown in italics.

• Hold on a minute , Moist thought, this is only one city. It’s got gates. It’s completely surrounded by different directions to run. Does it matter what I sign?

Indirect or reported speech

Don’t use quotation marks if you are reporting a conversation or dialogue instead of quoting the speaker’s exact words.

• Direct (quoted) speech Poco started washing the apples. “Why didn’t you call me last night?” “I had a migraine,” Lulu said. but Indirect (reported) speech As he started washing the apples, Poco asked Lulu why she hadn’t called him the night before. She said it was because she’d had a migraine.

Dashes instead of quotes to mark dialogue

Dashes may be used instead of quotation marks to punctuate dialogue, as in this excerpt from A Star Called Henry by Roddy Doyle.

• — Will we go for a stroll, so? he said. — Yes, she said. — Right. He wiped the blade of the shovel on his sleeve. — Let’s get this gleaming for the lady. He let the spade hop gently on the path. Melody heard music. — Now we’re right, said Henry Smart. He held out his arm, offered it to Melody. — Hang on, said Melody.

Dashes can make dialogue seem more immediate, as though you’re watching two people talking. However, dashes are less common than quotation marks, which are more popular as speech marks for a reason: they indicate clearly where quoted speech begins and ends.

Omitting speech marks from dialogue

Some writers prefer to omit punctuation altogether, using neither quotation marks nor dashes. Cynan Jones’s The Dig omits speech marks to create an effect that is more immediate, more direct, more urgent.

• We’ve had a report of fly-tipping. He waited. I just wanted to ask whether you would know anything about that. What did they tip? asked the man. The policeman didn’t respond. He was looking at the junk and the big man saw and said, Does it look like I throw things away? Just wondered if you could help, sir, said the policeman.

Before opting for this minimalist style, ask yourself if your short story or novel requires it. Speech marks clearly outline quoted speech in a passage. By omitting them, you are making the reader pay extra attention to understand which words are quoted speech and which are narration. If you do use this method, review your writing carefully to make sure you don’t confuse (and irritate or tire out) the reader.

Share this article

Use a comma instead of a period at the end of a quote to separate it from the speaker.

Don’t use a comma after an exclamation point, even at the end of quoted text.

Don’t use a comma after a question mark.

Use a comma after a speech tag before the start of quoted speech.

Internal discourse can be punctuated with or without speech marks. A thought can begin either with a capital or a lowercase letter.

Both quotation marks and dashes can mark dialogue in fiction. Quotation marks are more common.

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He Said, She Said: How to Use Speech Tags & Dialogue Tags Effectively

by Fija Callaghan

What is dialogue?

Dialogue is the spoken interaction between two or more characters. Usually, dialogue is spoken out loud, but it can also be things like sign language or telekinesis — it’s any form of expression, as long as the characters can understand each other. Dialogue can be used to develop characters, convey exposition about your story’s world, or move the plot forward.

Ultimately, learning how to write dialogue in a story is one of the most important skills in a writer’s toolbox.

In order to write clear, concise dialogue that will elevate your story and engage your readers, you’ll need to understand how to use dialogue tags. Also called speech tags, these unassuming words can make or break an otherwise well-written scene. But what is a dialogue tag, exactly, and how do we use it to take our story to the next level? By following a few basic principles, you’ll be writing compelling dialogue in no time. Let’s dive in.

What are dialogue tags?

Dialogue tags (or speech tags) are short phrases that identify the speaker of a line of dialogue. They can occur before, during, or after a character’s spoken dialogue. They’re used to make it clear who’s speaking and help the reader follow the conversation. The most common dialogue tag in writing is “he said” or “she said.”

There are a few different ways to write dialogue tags, and we’ll look at them all in more detail below. Here’s a quick example:

“I made some coffee,” said Julie.

Here, “‘I made some coffee’” is the dialogue, and “said Julie” is the dialogue tag. They both appear on the same line in the story.

Why do we use dialogue tags in fiction writing?

We use dialogue tags and speech tags in a story to clarify who’s talking so that the reader doesn’t get confused, as well as to give more depth and context to the words that are being said. If your on-page conversation goes too long without a dialogue tag, your reader can lose track of who’s saying what. When this happens, they need to stop reading, go back to the top of the conversation, and count each line to try and remember whose turn it is to talk. At this point, you’ve broken their connection to the story.

However, be mindful of using repetitive dialogue tags. Punctuating dialogue with too many tags is one of the common mistakes new writers often make. Using too many can weigh down the actual dialogue and distract from the story. Instead, use tags only when needed or when they add another layer to the characters speaking.

Dialogue tags also give us a way to break up long stretches of story dialogue, to add movement to the scene, and to reveal something new about the character. Here are a few examples of effective dialogue tags:

“So you’re finally done with that jerk?” he said, leaning forward.

She took a sip of her drink. “Looks that way.”

The first speaker has an action attached to his speech tag that gives us a hint about how he’s feeling. The second speaker has an action preceding her dialogue that also gives a hint about how she’s feeling. With just these two simple lines, we can already imagine the story building up around them.

Sometimes, a speech tag can change the inflection of a line of story dialogue. For example,

“Look at that!” he said, spreading his cards out on the table. “A full house.”

“You’ve had a lot of luck this evening,” said John irritably.

What if we changed the dialogue tag?

“You’ve had a lot of luck this evening,” said John, grinning.

The dialogue stays exactly the same, but the context and the relationship between the two characters shifts because we’ve used a different dialogue tag. If you were to just use “said John” as your dialogue tag, the reader could imagine several different scenarios. You’d have to find other places to sneak in the background information they needed to understand the dialogue’s subtext.

Used in this way, a well-placed dialogue tag can communicate something a lot bigger about your story. We’ll look at different ways to say “said” in writing and other words for “said” when writing story dialogue later on in this article.

You may also notice that the capitalization changes when the line ends in an exclamation mark. We’ll take a closer look at placing dialogue tags and the rules of appropriate punctuation below.

When to use speech tags in writing

You’ll notice from the examples above that the placement of the dialogue tags can shift from one line to another; they don’t always stay in the same place. Let’s look at how to format dialogue when using dialogue tags before, during, and after a line of speech.

How to use speech tags before dialogue

In some older novels, you’ll see speech tags being used before the dialogue:

Shane said, “I didn’t think you’d mind.”

This sentence structure has generally fallen out of favor in contemporary writing. The exception? If your character is quoting someone else:

“And then what happened?”

“Well, then Shane said, ‘I didn’t think you’d mind.’”

Usually, the best way to use a dialogue tag before a line of speech is to choose an action for your character:

Sheila gasped. “He really said that?”

Here, the action tag identifies Sheila as the speaker. We’ll look closer at using action tags further below.

How to use speech tags in the middle of dialogue

Using dialogue tags can be a good way to break up long lines of dialogue, to imply a natural pause in the line, or to convey a shift in tone. For example:

“I just feel so tired all the time,” she said. “Like nothing matters anymore.”

Compare with the dialogue tag used at the end:

“I just feel so tired all the time. Like nothing matters anymore,” she said.

In the latter, the line of dialogue feels faster, like a singular thought. In the former, we feel like the speaker has paused for breath, or paused to add a new idea. Neither one of these is right or wrong; it’s up to you to decide which one is the best fit for that particular moment of your story.

Here’s another example:

“I just feel so tired all the time. Like nothing matters anymore,” she said. “But after tomorrow, things will be different.”

Here, the dialogue tag serves as an axis between one tone and another. The line begins feeling despondent, hinges on the dialogue tag, and ends feeling hopeful.

How to use tags at the end of the dialogue

Many contemporary writers favor placing speech tags after a line of dialogue. For example:

“It smells wonderful in here,” said Kate.

This structure puts the emphasis on the dialogue, rather than the dialogue tag. The reader’s attention focuses on what the character is saying, and the speech tag works on a near-subconscious level to make sure they don’t get confused about who’s saying what.

You can also give the character an action after their dialogue:

“It smells wonderful in here.” Kate opened the oven and peeked inside.

This gives the reader a bit more context about what’s happening and makes the scene come alive.

How to punctuate dialogue tags

You may have noticed in some of these examples that the punctuation in a dialogue tag can change. Let’s take a closer look at how to format dialogue tags, as well as some alternative speech tag formats you might come across in literature.

Using double and single quotation marks

In North American literature, lines of dialogue are enclosed in double quotation marks, like this:

“I love this song.”

In European English, however, you’ll often see single quotation marks used instead, like this:

‘I love this song.’

For this article we’ll be focusing on using standard North American grammar.

If your dialogue stands alone without any speech tag (like just above), you’ll end the line in a period. If you’re adding a speech tag in the form of a verb that describes the dialogue—said, whispered, shouted, etc—you’ll end the line of dialogue in a comma just before the closing quotation mark, and start the dialogue tag with a lowercase letter:

“I love this song,” she said.

(Unless your dialogue tag begins with a proper noun, such as “Charlotte said”—always capitalize these!)

However , if you follow the line of dialogue with an action that is separate from the speech, you’ll end the dialogue with a period and begin the next bit with a capital letter, the same as if you didn’t use any tag at all:

“I love this song.” She reached over and turned up the volume.

Always include your dialogue’s punctuation inside quotation marks.

So far so good? Now things are about to get a little weird. What happens if your dialogue ends in a question mark or an exclamation point? Strangely enough, the rules for capitalization actually stay the same:

“I love this song!” she said.

“I love this song!” She reached over and turned up the volume.

North American English does use single quotation marks too. As we saw in one of our earlier examples, single quotes are used for dialogue within dialogue. This is called “nested dialogue.”

“In the words of Shakespeare, ‘To thine self be true.’”

“I was on my way out when I overheard him say, ‘I’ll meet you at our old spot.’ What old spot was he talking about?”

In European English, the rules for nested dialogue is reversed, like this:

‘I was on my way out when I overheard him say, “I’ll meet you at our old spot.” What old spot was he talking about?’

Sometimes you’ll see dialogue being set off from the rest of the text with em-dashes. This can create a vivid, cinematic effect in your writing; however, you’ll have to be very careful that your dialogue doesn’t blur into your narrative. Here’s an example from Roddy Doyle’s Oh, Play That Thing :

—I want an American suit, I told him.

—Suit? I had the rest of the anarchist’s cash burning a hole in the pocket of my old one.

—American, I told him.—A good one.

You can see how the dialogue tags—“I told him”—are kept deliberately simple, and the longer action is set apart on its own line. The em-dashes show us when the speech starts up again. However, this type of dialogue punctuation is very rare and experimental; the safest option is always to use standard quotation marks, like we looked at above.

No punctuation

Sometimes authors will experiment with using no distinguishing punctuation at all. This makes the story read very smoothly and intimately, like the reader is really there in person. However, just like using em-dashes, care must be taken to keep the dialogue and the narrative very distinct from each other so that the reader understands what’s being said and what’s being thought or described.

Here’s an example from The Houseboat , by Dane Bahr:

This have something to do with that grave robbery?

No sir, Clinton said. I don’t believe so. That was down in Cedar Rapids.

I see. Well. Ness leaned back and closed his eyes again. What can I do for you, Deputy?

Yeh get the mornin paper up there? The Tribune I think it is?

Looking at it right now, Ness said. He leaned forward in his chair and looked at the picture on the front page.

Even though this is written in third person narrative, you can see how each dialogue tag begins with a name—“Clinton said,” rather than “said Clinton.” This gives the reader a subconscious cue that the words are shifting from dialogue to description. Stripping away the punctuation of your dialogue like this gives the reader a feeling like they’re listening in on a private conversation in the next room.

Experimenting with alternative dialogue tag punctuation can be a great way to stretch your comfort zone as a writer. However, clarity for the reader should always be at the forefront of your mind.

These two alternative punctuation methods are fun to work with, but they are very experimental and an unusual choice in modern literature. In professional writing, both fiction and non-fiction, quotation marks are the universal standard.

Other words for “said” when writing dialogue

Writers are big fans of using “said” for their dialogue tags, because it doesn’t draw attention away from what really matters: your story. But sometimes you might want to enhance your dialogue tag with another word to give it some more emphasis. Let’s look at different ways to say “said” in writing.

How to use verbs as dialogue tags

You may remember your primary school teacher telling you to look for other words for “said” in dialogue: whispered, shouted, chastised, sulked, muttered, screeched, sobbed… you can have a lot of fun digging up synonyms for “said” in story dialogue, but most of the time, less is more. You want your reader’s attention to be on the words that your characters are saying and the story surrounding them, rather than the mechanics of your dialogue tags.

However, there are times when using a different verb for your speech tag can enhance the narrative or convey new information. For example, compare the following:

“I hate you,” she said.

“I hate you!” she shouted.

“I hate you,” she whispered.

Each dialogue tag gives the line a slightly different feel. Because the words are so simple, “said” feels a bit empty and non-committal; using a different word gives the reader context for the words that are being spoken.

Now compare these two lines:

“Look at the state of your clothes! People are going to think you’ve been sleeping in a barn,” she chastised.

“Look at the state of your clothes! People are going to think you’ve been sleeping in a barn,” she said.

In this instance, the verb “chastised” is redundant because we can already tell that she’s chastising from what she’s saying. It doesn’t give the reader any new information. In this case, it’s better to fall back on “said” and allow the dialogue to do the (literal and figurative) talking.

When you’re considering using other verbs for your speech tag, ask yourself if it reveals something new about what the person is saying. If not, simpler is always better.

How to use dialogue tags with adverbs

Adverbial dialogue tags are where you use a modifying word to enhance your dialogue tag, such as “said angrily,” or “whispered venomously.” As with using other verbs instead of “said,” most of the time, less is more. However, sometimes using adverbial tags can contribute surprising new information about the scene.

Consider these examples:

“I hate you,” she said scathingly.

“I hate you,” she said gleefully.

“I hate you,” she said nervously.

Each adverb tells us something different about what’s being said. But do you need them?

Telling someone you hate them is already pretty scathing, so you probably don’t need to show it a second time with your dialogue tag. Saying it gleefully is very different in tone, and makes us wonder: what’s this person so happy about? What makes this moment special to her? Saying it nervously is different again, and raises questions about the scene—is this the first time it’s been said? What are the consequences for saying it?

“Gleefully” is probably the strongest adverb choice in these examples, because it’s at odds with what’s being spoken; it gives the line a whole new context. “Nervously” is nicely specific too, but you can also find other ways to show nervousness in the character’s actions, which might feel more natural and organic to the reader. “Scathingly” doesn’t really tell us anything new about what’s being said.

When considering adverbs for your dialogue tag, again ask yourself if they communicate something new to the reader that the dialogue doesn’t show on its own. If it does, then ask yourself if it communicates that something in the most natural, efficient way possible. You can explore different ways of conveying these emotions or details in your scene to find which one works best for your dialogue.

Dialogue tags vs. actions tags

Dialogue tags, as we’ve seen, begin with a speech verb—usually “said,” but sometimes other words like “whispered,” “yelled,” or “mumbled.” They work to identify the person who is speaking.

Action tags, on the other hand, work like a dialogue tag but aren’t directly connected to the line of dialogue. They can be related, but they stand independently. Just like dialogue tags, action tags work to identify the person speaking. These are especially helpful if you’re writing a scene with three or more people, where things can get confusing pretty quickly.

Additional speech tags examples

Here’s an example of action tags and dialogue tags working together:

“So here’s how it’s going to go down,” said Donny. “We’ll meet at midnight, after the cinema closes.”

Mark took a sip of his drink. “What about the night patrol?”

“The night patrol is a sixteen-year-old kid on minimum wage.” Roger leaned back in his chair. “You worry too much.”

“I’m not getting rough with a kid, Donny.”

“Then let’s hope he’s smart enough to stay out of the way.” He took a sip of his drink too, then stood up. “I’ll see you both tonight. Get the car ready.”

Let’s break down what we’ve done here. We have dialogue with a few variations: one dialogue tag, three action tags, and one freestanding line with no tag at all. The first dialogue tag, “said Donny,” establishes who the first speaker is. Then a new action tag introduces a second speaker, Mark. This works well because then we don’t have two “saids” in a row and it flows naturally for the reader. In the next line, a third speaker comes in, so we give him an action to make sure the reader knows who’s speaking.

As we get to the fourth line, the reader already understands enough about the scene to know who is speaking, so we can leave this one on its own. The next line doesn’t identify the speaker by name—we use “he”—but it’s a direct response to the line before it, so we know who it is. The action tag breaks up an otherwise long and unwieldy line of dialogue, and turns the scene in a new direction: the group is breaking up until later. Each speech tag gives the reader little clues that make the dialogue and the scene come alive.

“Said she” vs. “she said”—what’s the difference?

When you’re writing a dialogue tag, is it better to write “Jane said,” or “said Jane?” This is something that a lot of new writers get caught up on, and technically, either one can be correct. Most contemporary literature favors the subject followed by the verb—that is, “Jane” (the subject) “said” (the verb). If you’re using a pronoun—he, she, they—this is the only way it works grammatically. However, using a proper noun after the verb—“said Jane”—is more common in older literature and is still in use.

In general, “she said” is a better fit for modern stories. If you’re writing historical fiction or something influenced by archaic myth and fantasy, either one is acceptable. You can play around with both in your writing to see which one feels more natural in that moment of your scene.

When to use he said/she said vs. he says/she says

The distinction between when to use he said/she said vs. he says/she says often confuses newer writers. The answer to when to use one or the other goes back to the tense your story is written in.

Stories written in the present tense will use present tense speech tags like “he says” and “she says,” while stories written in the past tense will use past tense speech tags like “he said” and “she said.” You might use other tenses throughout your story, so always keep an eye out for the tense you’re currently using and adapt your speech tags accordingly.

Dialogue tags: Examples

Here are a few more examples of ways to use a descriptive dialogue tag to inspire your writing.

1. Hotel Magnifique , by Emily J. Taylor

One of the older girls shoved a lock of greasy blonde hair behind her pink ear. “That advertisement is a tease. It would be a miracle if any of us got a job.”

I straightened. “That’s not true.”

She shrugged as she turned away. “Do what you want. I wouldn’t waste my time.”

“Think she’s right?” Zosa asked, her delicate mouth turning down.

“Absolutely not,” I said, perhaps too quickly. When Zosa’s frown deepened, I cursed silently.

In this example, three girls are talking about a job advertisement. In the first three lines, action tags are used rather than dialogue tags, showing not only the action but the personality and feelings of the people speaking. After the first three lines, which all begin with action tags, the next two lines lead with the dialogue instead and use simple dialogue tags to identify who’s talking.

2. The Paris Library , by Janet Skeslien Charles

“A fourth of the Library’s subscribers are Parisian,” I countered. “They need French-speaking staff.”

“What will people think?” Maman fretted. “They’ll say Papa isn’t providing for you.”

“Many girls have jobs these days,” Remy said.

“Odile doesn’t need to work,” Papa said.

“But she wants to,” I said softly.

“Let’s not argue.” Maman scooped the mousse au chocolat into small crystal bowls.

Here, a family argues about a young woman’s desire to work at the library. The first two lines use descriptive tags in place of “said.” These enhance our understanding of the particular character, but because this can get cumbersome quickly if overused, the next three lines use “said” to let the spoken words shine through. Finally, the writer drops the dialogue tags in favor of an action tag which turns the scene in a new direction.

3. The League of Gentlewomen Witches , by India Holton

“Several people have been killed,” Mrs. Pettifer reported. “It’s quite shocking.”

Miss Plim pecked irritably at her tea. “Something more shocking happened yesterday.”

“Indeed?” Mrs. Pettifer flicked over another page. “You smiled at someone?”

“No. I was in Twinings and that Darlington woman walked in. She acknowledged me politely with a nod.”

At this, Mrs. Pettifer finally looked up, her velvety eyes growing wide. “Not Miss Darlington, the pirate?”

Here, two women gossip over a newspaper. The first line uses a speech tag, then two lines use action tags to identify the speaker before the next line stands alone; the reader has grown comfortable enough with the back-and-forth dialogue to recognize the speaker of the next line. Then, the following line begins with an action tag that marks a turning point in their conversation.

You’ll notice in all of these dialogue tag examples above that writers favor patterns of three. Three uses of “said” in a row, three action tags, three similar speech tags before shifting into another method of identifying the speaker. Three is a comfortable number for a reader, but if you go on using the same devices for more than that the reader will begin to notice how repetitive they are, which will pull them away from your story. This is a good trick to keep in mind when formatting your dialogue.

5 rules for using dialogue tags

To wrap up, let’s review some dialogue rules and best practices for use of dialogue tags in your story.

1. Limit overuse of dialogue tags

How often should dialogue tags be used? As with many aspects of the writer’s craft, when working with dialogue tags in your story, less is more. See how often you can get away with not using any dialogue tags at all (keep in mind sets of three, as we looked at above). Space out your dialogue tags so that they don’t take up too much real estate on your page. Your reader should be focusing on your story, not your story mechanics.

2. Use a dialogue tag when it’s unclear who’s speaking

Dialogue tags are used first and foremost for clarity. Use them when you need to remind the reader of who’s saying which line. You won’t need to use them as often when your dialogue is only happening between two people; if you have a group of people all talking together, you’ll need to use them a bit more to keep everybody straight.

3. Vary the positioning of dialogue tags

In our examples above, you’ll see that sometimes the dialogue tag comes at the beginning of a line of dialogue, sometimes in the middle, and sometimes at the end. If you always put your dialogue tag in the same place, it can get monotonous for the reader. Experiment with different placements for your speech tags to keep the dialogue fluid and fresh.

4. Vary the type of dialogue tags

Although we love the classic “she said” and “said she” dialogue tags, relying on these all the time can start to weigh down your story. Try alternating between dialogue tags, descriptive action tags, and a few alternate verb dialogue tags here and there to keep your story from feeling too routine. These can illustrate your characters’ body language and help reveal their underlying motivations. It will make your story feel more present and immersive than if you used “said” in every single line.

5. Avoid using adverbs too frequently in dialogue tags

That being said, using adverbs as part of your dialogue tag should be done with a very light hand. Used sparingly, they can give dimension to many characters and their experiences; however, too many can make your story feel overburdened and sluggish. Use adverbs and alternative verbs for your dialogue tags only when they enhance the dialogue. Wherever possible, allow the words of the dialogue to speak for themselves.

One last question—is there a difference between “dialog” vs. “dialogue”?

It’s common to be confused when it comes to the differences between dialog vs. dialogue. The two are homonyms, and they’re interchangeable depending on which country you’re in! In the United States, the word “dialogue” is the preferred word for referencing a conversation or exchange of communication like what you’d find in a story, while the word “dialog,” at least in American English, is used more specifically when referring to computing—like a “dialog box” that appears on your computer to communicate something to you. So remember to use “dialogue tags” rather than “dialog tags”!

Hopefully that clears up any dialog vs. dialogue confusion!

Effective dialogue tags will elevate your story

So small and easily overlooked, yet such an essential part of any story, dialogue tags and speech tags are one of the most basic tools a writer has at their disposal. By mastering the use of dialogue tags and the rules of dialogue in a story, your story will take on new dimension and feel that much more real to your readers.

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How to write a speech that your audience remembers

Whether in a work meeting or at an investor panel, you might give a speech at some point. And no matter how excited you are about the opportunity, the experience can be nerve-wracking . 

But feeling butterflies doesn’t mean you can’t give a great speech. With the proper preparation and a clear outline, apprehensive public speakers and natural wordsmiths alike can write and present a compelling message. Here’s how to write a good speech you’ll be proud to deliver.

What is good speech writing?

Good speech writing is the art of crafting words and ideas into a compelling, coherent, and memorable message that resonates with the audience. Here are some key elements of great speech writing:

• It begins with clearly understanding the speech's purpose and the audience it seeks to engage. 
• A well-written speech clearly conveys its central message, ensuring that the audience understands and retains the key points. 
• It is structured thoughtfully, with a captivating opening, a well-organized body, and a conclusion that reinforces the main message. 
• Good speech writing embraces the power of engaging content, weaving in stories, examples, and relatable anecdotes to connect with the audience on both intellectual and emotional levels. 

Ultimately, it is the combination of these elements, along with the authenticity and delivery of the speaker , that transforms words on a page into a powerful and impactful spoken narrative.

What makes a good speech?

A great speech includes several key qualities, but three fundamental elements make a speech truly effective:

Clarity and purpose

Remembering the audience, cohesive structure.

While other important factors make a speech a home run, these three elements are essential for writing an effective speech.

The main elements of a good speech

The main elements of a speech typically include:

• Introduction: The introduction sets the stage for your speech and grabs the audience's attention. It should include a hook or attention-grabbing opening, introduce the topic, and provide an overview of what will be covered.
• Opening/captivating statement: This is a strong statement that immediately engages the audience and creates curiosity about the speech topics.
• Thesis statement/central idea: The thesis statement or central idea is a concise statement that summarizes the main point or argument of your speech. It serves as a roadmap for the audience to understand what your speech is about.
• Body: The body of the speech is where you elaborate on your main points or arguments. Each point is typically supported by evidence, examples, statistics, or anecdotes. The body should be organized logically and coherently, with smooth transitions between the main points.
• Supporting evidence: This includes facts, data, research findings, expert opinions, or personal stories that support and strengthen your main points. Well-chosen and credible evidence enhances the persuasive power of your speech.
• Transitions: Transitions are phrases or statements that connect different parts of your speech, guiding the audience from one idea to the next. Effective transitions signal the shifts in topics or ideas and help maintain a smooth flow throughout the speech.
• Counterarguments and rebuttals (if applicable): If your speech involves addressing opposing viewpoints or counterarguments, you should acknowledge and address them. Presenting counterarguments makes your speech more persuasive and demonstrates critical thinking.
• Conclusion: The conclusion is the final part of your speech and should bring your message to a satisfying close. Summarize your main points, restate your thesis statement, and leave the audience with a memorable closing thought or call to action.
• Closing statement: This is the final statement that leaves a lasting impression and reinforces the main message of your speech. It can be a call to action, a thought-provoking question, a powerful quote, or a memorable anecdote.
• Delivery and presentation: How you deliver your speech is also an essential element to consider. Pay attention to your tone, body language, eye contact , voice modulation, and timing. Practice and rehearse your speech, and try using the 7-38-55 rule to ensure confident and effective delivery.

While the order and emphasis of these elements may vary depending on the type of speech and audience, these elements provide a framework for organizing and delivering a successful speech.

How to structure a good speech

You know what message you want to transmit, who you’re delivering it to, and even how you want to say it. But you need to know how to start, develop, and close a speech before writing it. 

Think of a speech like an essay. It should have an introduction, conclusion, and body sections in between. This places ideas in a logical order that the audience can better understand and follow them. Learning how to make a speech with an outline gives your storytelling the scaffolding it needs to get its point across.

Here’s a general speech structure to guide your writing process:

• Explanation 1
• Explanation 2
• Explanation 3

How to write a compelling speech opener

Some research shows that engaged audiences pay attention for only 15 to 20 minutes at a time. Other estimates are even lower, citing that people stop listening intently in fewer than 10 minutes . If you make a good first impression at the beginning of your speech, you have a better chance of interesting your audience through the middle when attention spans fade. 

Implementing the INTRO model can help grab and keep your audience’s attention as soon as you start speaking. This acronym stands for interest, need, timing, roadmap, and objectives, and it represents the key points you should hit in an opening. 

Here’s what to include for each of these points: 

• Interest : Introduce yourself or your topic concisely and speak with confidence . Write a compelling opening statement using relevant data or an anecdote that the audience can relate to.
• Needs : The audience is listening to you because they have something to learn. If you’re pitching a new app idea to a panel of investors, those potential partners want to discover more about your product and what they can earn from it. Read the room and gently remind them of the purpose of your speech. 
• Timing : When appropriate, let your audience know how long you’ll speak. This lets listeners set expectations and keep tabs on their own attention span. If a weary audience member knows you’ll talk for 40 minutes, they can better manage their energy as that time goes on. 
• Routemap : Give a brief overview of the three main points you’ll cover in your speech. If an audience member’s attention starts to drop off and they miss a few sentences, they can more easily get their bearings if they know the general outline of the presentation.
• Objectives : Tell the audience what you hope to achieve, encouraging them to listen to the end for the payout. 

Writing the middle of a speech

The body of your speech is the most information-dense section. Facts, visual aids, PowerPoints — all this information meets an audience with a waning attention span. Sticking to the speech structure gives your message focus and keeps you from going off track, making everything you say as useful as possible.

Limit the middle of your speech to three points, and support them with no more than three explanations. Following this model organizes your thoughts and prevents you from offering more information than the audience can retain. 

Using this section of the speech to make your presentation interactive can add interest and engage your audience. Try including a video or demonstration to break the monotony. A quick poll or survey also keeps the audience on their toes. 

Wrapping the speech up

To you, restating your points at the end can feel repetitive and dull. You’ve practiced countless times and heard it all before. But repetition aids memory and learning , helping your audience retain what you’ve told them. Use your speech’s conclusion to summarize the main points with a few short sentences.

Try to end on a memorable note, like posing a motivational quote or a thoughtful question the audience can contemplate once they leave. In proposal or pitch-style speeches, consider landing on a call to action (CTA) that invites your audience to take the next step.

How to write a good speech

If public speaking gives you the jitters, you’re not alone. Roughly 80% of the population feels nervous before giving a speech, and another 10% percent experiences intense anxiety and sometimes even panic. 

The fear of failure can cause procrastination and can cause you to put off your speechwriting process until the last minute. Finding the right words takes time and preparation, and if you’re already feeling nervous, starting from a blank page might seem even harder.

But putting in the effort despite your stress is worth it. Presenting a speech you worked hard on fosters authenticity and connects you to the subject matter, which can help your audience understand your points better. Human connection is all about honesty and vulnerability, and if you want to connect to the people you’re speaking to, they should see that in you.

1. Identify your objectives and target audience

Before diving into the writing process, find healthy coping strategies to help you stop worrying . Then you can define your speech’s purpose, think about your target audience, and start identifying your objectives. Here are some questions to ask yourself and ground your thinking : 

• What purpose do I want my speech to achieve? 
• What would it mean to me if I achieved the speech’s purpose?
• What audience am I writing for? 
• What do I know about my audience? 
• What values do I want to transmit? 
• If the audience remembers one take-home message, what should it be? 
• What do I want my audience to feel, think, or do after I finish speaking? 
• What parts of my message could be confusing and require further explanation?

2. Know your audience

Understanding your audience is crucial for tailoring your speech effectively. Consider the demographics of your audience, their interests, and their expectations. For instance, if you're addressing a group of healthcare professionals, you'll want to use medical terminology and data that resonate with them. Conversely, if your audience is a group of young students, you'd adjust your content to be more relatable to their experiences and interests. 

3. Choose a clear message

Your message should be the central idea that you want your audience to take away from your speech. Let's say you're giving a speech on climate change. Your clear message might be something like, "Individual actions can make a significant impact on mitigating climate change." Throughout your speech, all your points and examples should support this central message, reinforcing it for your audience.

4. Structure your speech

Organizing your speech properly keeps your audience engaged and helps them follow your ideas. The introduction should grab your audience's attention and introduce the topic. For example, if you're discussing space exploration, you could start with a fascinating fact about a recent space mission. In the body, you'd present your main points logically, such as the history of space exploration, its scientific significance, and future prospects. Finally, in the conclusion, you'd summarize your key points and reiterate the importance of space exploration in advancing human knowledge.

5. Use engaging content for clarity

Engaging content includes stories, anecdotes, statistics, and examples that illustrate your main points. For instance, if you're giving a speech about the importance of reading, you might share a personal story about how a particular book changed your perspective. You could also include statistics on the benefits of reading, such as improved cognitive abilities and empathy.

6. Maintain clarity and simplicity

It's essential to communicate your ideas clearly. Avoid using overly technical jargon or complex language that might confuse your audience. For example, if you're discussing a medical breakthrough with a non-medical audience, explain complex terms in simple, understandable language.

7. Practice and rehearse

Practice is key to delivering a great speech. Rehearse multiple times to refine your delivery, timing, and tone. Consider using a mirror or recording yourself to observe your body language and gestures. For instance, if you're giving a motivational speech, practice your gestures and expressions to convey enthusiasm and confidence.

8. Consider nonverbal communication

Your body language, tone of voice, and gestures should align with your message . If you're delivering a speech on leadership, maintain strong eye contact to convey authority and connection with your audience. A steady pace and varied tone can also enhance your speech's impact.

9. Engage your audience

Engaging your audience keeps them interested and attentive. Encourage interaction by asking thought-provoking questions or sharing relatable anecdotes. If you're giving a speech on teamwork, ask the audience to recall a time when teamwork led to a successful outcome, fostering engagement and connection.

10. Prepare for Q&A

Anticipate potential questions or objections your audience might have and prepare concise, well-informed responses. If you're delivering a speech on a controversial topic, such as healthcare reform, be ready to address common concerns, like the impact on healthcare costs or access to services, during the Q&A session.

By following these steps and incorporating examples that align with your specific speech topic and purpose, you can craft and deliver a compelling and impactful speech that resonates with your audience.

Tools for writing a great speech

There are several helpful tools available for speechwriting, both technological and communication-related. Here are a few examples:

• Word processing software: Tools like Microsoft Word, Google Docs, or other word processors provide a user-friendly environment for writing and editing speeches. They offer features like spell-checking, grammar correction, formatting options, and easy revision tracking.
• Presentation software: Software such as Microsoft PowerPoint or Google Slides is useful when creating visual aids to accompany your speech. These tools allow you to create engaging slideshows with text, images, charts, and videos to enhance your presentation.
• Speechwriting Templates: Online platforms or software offer pre-designed templates specifically for speechwriting. These templates provide guidance on structuring your speech and may include prompts for different sections like introductions, main points, and conclusions.
• Rhetorical devices and figures of speech: Rhetorical tools such as metaphors, similes, alliteration, and parallelism can add impact and persuasion to your speech. Resources like books, websites, or academic papers detailing various rhetorical devices can help you incorporate them effectively.
• Speechwriting apps: Mobile apps designed specifically for speechwriting can be helpful in organizing your thoughts, creating outlines, and composing a speech. These apps often provide features like voice recording, note-taking, and virtual prompts to keep you on track.
• Grammar and style checkers: Online tools or plugins like Grammarly or Hemingway Editor help improve the clarity and readability of your speech by checking for grammar, spelling, and style errors. They provide suggestions for sentence structure, word choice, and overall tone.
• Thesaurus and dictionary: Online or offline resources such as thesauruses and dictionaries help expand your vocabulary and find alternative words or phrases to express your ideas more effectively. They can also clarify meanings or provide context for unfamiliar terms.
• Online speechwriting communities: Joining online forums or communities focused on speechwriting can be beneficial for getting feedback, sharing ideas, and learning from experienced speechwriters. It's an opportunity to connect with like-minded individuals and improve your public speaking skills through collaboration.

Remember, while these tools can assist in the speechwriting process, it's essential to use them thoughtfully and adapt them to your specific needs and style. The most important aspect of speechwriting remains the creativity, authenticity, and connection with your audience that you bring to your speech.

5 tips for writing a speech

Behind every great speech is an excellent idea and a speaker who refined it. But a successful speech is about more than the initial words on the page, and there are a few more things you can do to help it land.

Here are five more tips for writing and practicing your speech:

1. Structure first, write second

If you start the writing process before organizing your thoughts, you may have to re-order, cut, and scrap the sentences you worked hard on. Save yourself some time by using a speech structure, like the one above, to order your talking points first. This can also help you identify unclear points or moments that disrupt your flow.

2. Do your homework

Data strengthens your argument with a scientific edge. Research your topic with an eye for attention-grabbing statistics, or look for findings you can use to support each point. If you’re pitching a product or service, pull information from company metrics that demonstrate past or potential successes. 

Audience members will likely have questions, so learn all talking points inside and out. If you tell investors that your product will provide 12% returns, for example, come prepared with projections that support that statement.

3. Sound like yourself

Memorable speakers have distinct voices. Think of Martin Luther King Jr’s urgent, inspiring timbre or Oprah’s empathetic, personal tone . Establish your voice — one that aligns with your personality and values — and stick with it. If you’re a motivational speaker, keep your tone upbeat to inspire your audience . If you’re the CEO of a startup, try sounding assured but approachable. 

4. Practice

As you practice a speech, you become more confident , gain a better handle on the material, and learn the outline so well that unexpected questions are less likely to trip you up. Practice in front of a colleague or friend for honest feedback about what you could change, and speak in front of the mirror to tweak your nonverbal communication and body language .

5. Remember to breathe

When you’re stressed, you breathe more rapidly . It can be challenging to talk normally when you can’t regulate your breath. Before your presentation, try some mindful breathing exercises so that when the day comes, you already have strategies that will calm you down and remain present . This can also help you control your voice and avoid speaking too quickly.

How to ghostwrite a great speech for someone else

Ghostwriting a speech requires a unique set of skills, as you're essentially writing a piece that will be delivered by someone else. Here are some tips on how to effectively ghostwrite a speech:

• Understand the speaker's voice and style : Begin by thoroughly understanding the speaker's personality, speaking style, and preferences. This includes their tone, humor, and any personal anecdotes they may want to include.
• Interview the speaker : Have a detailed conversation with the speaker to gather information about their speech's purpose, target audience, key messages, and any specific points they want to emphasize. Ask for personal stories or examples they may want to include.
• Research thoroughly : Research the topic to ensure you have a strong foundation of knowledge. This helps you craft a well-informed and credible speech.
• Create an outline : Develop a clear outline that includes the introduction, main points, supporting evidence, and a conclusion. Share this outline with the speaker for their input and approval.
• Write in the speaker's voice : While crafting the speech, maintain the speaker's voice and style. Use language and phrasing that feel natural to them. If they have a particular way of expressing ideas, incorporate that into the speech.
• Craft a captivating opening : Begin the speech with a compelling opening that grabs the audience's attention. This could be a relevant quote, an interesting fact, a personal anecdote, or a thought-provoking question.
• Organize content logically : Ensure the speech flows logically, with each point building on the previous one. Use transitions to guide the audience from one idea to the next smoothly.
• Incorporate engaging stories and examples : Include anecdotes, stories, and real-life examples that illustrate key points and make the speech relatable and memorable.
• Edit and revise : Edit the speech carefully for clarity, grammar, and coherence. Ensure the speech is the right length and aligns with the speaker's time constraints.
• Seek feedback : Share drafts of the speech with the speaker for their feedback and revisions. They may have specific changes or additions they'd like to make.
• Practice delivery : If possible, work with the speaker on their delivery. Practice the speech together, allowing the speaker to become familiar with the content and your writing style.
• Maintain confidentiality : As a ghostwriter, it's essential to respect the confidentiality and anonymity of the work. Do not disclose that you wrote the speech unless you have the speaker's permission to do so.
• Be flexible : Be open to making changes and revisions as per the speaker's preferences. Your goal is to make them look good and effectively convey their message.
• Meet deadlines : Stick to agreed-upon deadlines for drafts and revisions. Punctuality and reliability are essential in ghostwriting.
• Provide support : Support the speaker during their preparation and rehearsal process. This can include helping with cue cards, speech notes, or any other materials they need.

Remember that successful ghostwriting is about capturing the essence of the speaker while delivering a well-structured and engaging speech. Collaboration, communication, and adaptability are key to achieving this.

Give your best speech yet

Learn how to make a speech that’ll hold an audience’s attention by structuring your thoughts and practicing frequently. Put the effort into writing and preparing your content, and aim to improve your breathing, eye contact , and body language as you practice. The more you work on your speech, the more confident you’ll become.

The energy you invest in writing an effective speech will help your audience remember and connect to every concept. Remember: some life-changing philosophies have come from good speeches, so give your words a chance to resonate with others. You might even change their thinking.

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Elizabeth Perry, ACC

Elizabeth Perry is a Coach Community Manager at BetterUp. She uses strategic engagement strategies to cultivate a learning community across a global network of Coaches through in-person and virtual experiences, technology-enabled platforms, and strategic coaching industry partnerships. With over 3 years of coaching experience and a certification in transformative leadership and life coaching from Sofia University, Elizabeth leverages transpersonal psychology expertise to help coaches and clients gain awareness of their behavioral and thought patterns, discover their purpose and passions, and elevate their potential. She is a lifelong student of psychology, personal growth, and human potential as well as an ICF-certified ACC transpersonal life and leadership Coach.

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How to tell powerful stories in your speeches.

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Why tell stories in speeches? Because they are interesting, they help people remember what you say, and they are a good way to convey information and emotion memorably.

Mark Turner , a writer and philosopher who has been associated with the Institute for Advanced Study, and the Center for Neural and Cognitive Sciences at the University of Maryland, goes even further. In his landmark book, The Literary Mind , published by Oxford in 1996, he says, “Story is a basic principle of mind.” In other words, he argues that we think in terms of stories. We learn from the high chair that if we push a glass of milk over, white liquid spills on the floor, a parent comes running making noises, mops it up, and kisses us on the top of the head (if we’re lucky). That’s a story, and it’s a basic understanding of cause and effect by which we make sense of our world.

There are actors, actions, objects, and results. It’s all good fun, it’s memorable, and it’s how we continue to think long after we’ve left the high chair.

How does that apply to public speaking? Most people organize their talks in lists of information. (Five reasons to join our exciting investment program.) Unfortunately, the human mind is not constructed to remember lists very well. Once you’ve told me 3 or 4 things, to remember the 4th or 5th I’ll have to forget the first. ‘In one ear and out the other’ pretty describes how we respond to lists. Yet everyone who has heard, seen, or read it once remembers the story of Romeo and Juliet.

So if you give speeches more like Shakespeare and less like the phone book, you’ll be much more memorable. That’s why stories are important.

How do you create a great story for the purposes of public speaking?

My favorite structure for a persuasive speech is the problem-solution structure.

You begin by describing a problem that the audience has, and then you describe a solution. You can either hold to that structure, and tell stories at various points along the way, as examples and supporting evidence and so on, or you can treat the whole speech as a story.

Think of your stories as having three acts.

The first act presents an idea or a situation that will engage the audience (Romeo meets Juliet and falls in love). It’s best if this idea or situation is one that, once it has happened or been told, cannot be undone. (Romeo cannot ‘unmeet’ Juliet.) If you give your audience some information at the beginning of your speech that they don’t know, it has the same effect. (Our customer base has been eroding for the last 16 quarters, and just today I learned that it’s official — we’re now down for 17 quarters. We can’t afford to go on like this…).

Needless to say, it should be information that is of interest to the audience — it should be about a problem they have.

The second act raises the stakes on the earlier idea or situation. (Romeo marries Juliet despite the feud between the two families.) Once again, it should be something that cannot easily be undone. (If we have another down quarter, we’re going to have to close manufacturing plants in Chicago and Ohio.)

The third act precipitates a resolution, either favorable or unfavorable, by posing a question that must be resolved. (Romeo kills Tybalt in a duel, thus resulting in his banishment. Will Romeo and Juliet live happily ever after? Answer: no.) (To turn things around, I’m starting a new product line, code name Lemmings, that will excite customers once again and bring them flocking back to our stores.) Just as no one in the play Romeo and Juliet ever literally asks the resolving question out loud, you don’t have to in your speech. You do have to resolve it, and the best way is to get your audience to undertake some action to enlist them in your persuasive moment. (I’ve put prototype Lemmings underneath your chairs. I’d like you now to please take them out of their boxes and try them out.)

Just as the rest of Romeo and Juliet fills in around these key moments with scenes that explore the consequences of these interesting, fateful actions, your speech should too.

That’s the basic structure of a good story. But there’s more.

Western society contains a few basic stories that everyone knows and resonates to, so if you can invoke one of those stories, you’ll get instant buy-in from your audience.

For example, if you ask your employees to embark with you on a long and arduous journey to develop a new product, they’ll complain about the obstacles along the way, unless you invoke a Quest story. Then, the obstacles are to be expected because that’s what happens on a quest. The heroes (your audience) meet obstacles and suffer reversals — but eventually overcome them all to reach the goal. Don’t make the mistake of casting yourself as the lone hero — always bring the audience along with you.

The Quest story is the most basic one, and audiences get the idea very quickly because the story is so deeply ingrained in our psyches. Quest stories have heroes, journeys, obstacles, mentors, and most importantly a goal at the end. For more information on the subject, read Joseph Campbell’s The Hero with a Thousand Faces the definitive book on the subject.

After the Quest, the other fundamental stories are: Stranger in a Strange Land , Love Story , Rags to Riches , and Revenge .

The way to think about these stories is as thematic ideas that you invoke as you go through your speech. You might do it with a specific reference to a particular, well-known Quest story, like the Holy Grail, the Wizard of Oz, or Raiders of the Lost Ark, or you might use the elements and the language of a Stranger in a Strange Land story in order to bring the audience into that magical space without actually telling them bluntly that ‘you’re on a quest’. It’s better in this case not to be blunt, but rather to evoke the stories with their unconscious power to orient us and bring us into a space where we see the outcome as ordained by the structure of the story.

Once you’ve picked your thematic story and you’re off on a Quest or you’re all Strangers in a Strange Land, then you want to think about using archetypes to get further storytelling mileage out of our common mythology.

Basically, an archetype is a model of a character, or part of a character. The word and concept have been around for a long time, but they were made famous, so to speak, by the great Swiss psychologist Carl Jung.

When Jung talked about archetypes, he meant primarily aspects of a person — the Self, the Shadow (your Dark Side) and the Persona (the face you put toward the world). But he also talked about a host of other kinds of people, and aspects of people and the natural world, that could be archetypes, from the child, hero, mother and wise old man to the fish.

The idea is that your particular mother resonates for you with the archetypal mother in some ways, and not in other ways. You may develop a mother complex as a result. We live at our best and most fully when we’re in harmony with all the archetypes we summon up.

Jung believed that archetypes were real — a kind of bridge between our inner psychological world and the real world out there. More than that, we all have access to universal wisdom and understanding through and with these archetypes.

OK, so what does that mean for speakers?

I think we can invoke the power of the basic archetypes by naming them at appropriate moments in our stories and by using them as ways to connect with the audience. Words like ‘child’, ‘mother’, ‘father’ and so on have enormous resonance for just about everyone in your audience. The trick is to let your audience do the work, creating the associations, by giving them enough detail to get their minds working, but not so much that you stop them from using their imaginations.

Archetypes work best in simple stories that allow audiences to fill in the blanks. You need to craft these stories — really parables — with great care so that they are not hackneyed or silly.

If you do it right, you can create powerful, memorable stories — on a variety of levels — in your speeches that call us all to our best, archetypal selves and move your audiences to action.

For a great example of successful storytelling in a speech, watch Malcolm Gladwell’s TED.com talk on Howard Moskowitz, spaghetti sauce, and the platonic dish. Gladwell’s story artfully weaves together the food industry’s quest for understanding human food-eating behavior with a three-act drama about Howard Moskowitz’s search for the perfect spaghetti sauce. The result of the search will surprise you; in part because Gladwell has constructed the story so well, and in part because you may think you know what you want in a spaghetti sauce, but you really don’t.

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About the author: nick morgan.

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[…] Depois de todas as dicas anteriores, é importante compilar tudo e criar uma ligação. A apresentação tem que ter um fio condutor, do princípio ao fim. Uma excelente maneira é contar uma história, criando personagens, por exemplo. Deves ser criativo e dar asas à tua imaginação. Sobre este ponto podes ler mais aqui. […]

[…] to our thinking: Stranger in a Strange Land, Revenge, Rags to Riches, and Love Story. You can look elsewhere in the archives for explanations of the stories and what they […]

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• examples of narrative speech topics

Examples of narrative speech topics

125 strong ideas for effective personal storytelling speeches

By:  Susan Dugdale  

Narrative speech topics are topics especially designed to trigger telling a story.

And who doesn’t love being told a good story? They’re universally appreciated. It’s the oldest, most effective way of emphasizing a point, illustrating an idea or recounting an event.

For as long as there have been people in the world, there have been people telling them stories: storytellers.

What's on this page:

• 125 examples of narrative speech topics: -  40 'first' experiences , -  40 tell-a-story topics , -  35 personal story ideas  
• How to best use this page

Choosing the right narrative speech topic

• How to get from topic to speech (with a printable speech outline to download)

A definition of the word 'narrative'

A personal story is a powerful story, the difference between an anecdote and a story.

• Additional resources for storytelling speeches

How to make best use of this page

Browse the topics and make a shortlist of any that appeal to you. (These are the ones that will immediately have you thinking of stories you could share.)

Make sure you download the printable narrative speech outline. Then take what  you need from the other information. (If you've never given a narrative or storytelling speech before, read all of it!) It's here to help you put together the best speech you possibly can. ☺

Return to top

The most powerful stories to tell are personal. They’re the game changers, the significant events: meetings, accidents, cultural jolts, and life lessons that have made an impact.

They’re stories about family, our children, love, marriage, politics, education, work, living in society, philosophy, the natural world, ...

In telling these stories we reveal aspects of ourselves: sharing our innermost thoughts and feelings.

To give a good narrative speech, one that fully engages our audience we need to:

• choose a meaningful story with strong characters they can relate to in a situation they’ll recognize and identify with
• use vivid language enabling them to easily picture and feel what’s happening

A spoken or written account of connected events; a story: "a gripping narrative"

Word with similar meanings: account, story, tale, chronicle, history, description, record.

(Definition from Oxford Languages )

Because narrative speeches are often stories about ourselves we need to think carefully about what we share and with whom.

Some subjects are sensitive for many reasons. And what could be completely appropriate in one setting could be quite wrong in another.

As the giver of the speech, you’ll want to be clear about what you’re sharing and why.

Additionally, an emotional narrative speech exposing your own deeply felt and unresolved issues would be difficult for an audience to witness.

They’d want to help, send you to a therapist, leave... People do not want to feel embarrassed or uncomfortable on your behalf.

The right narrative topic idea is one you know your audience will want to hear, fits the speech purpose you’ve been given, and one you feel comfortable sharing.

Should you decide to use someone else's story for your speech be sure to acknowledge whose it is and where you got it from.

Getting from topic to speech

Once you’ve decided on your topic, the next step is developing a story outline. That involves carefully thinking through the sequence of the story, or what you’re going put in it, scene by scene and why, from beginning to end.

To help you do that easily I've put together a printable narrative speech outline. To download it click on the image below. (The pdf will open in a new window.)

The outline will guide you through each of the steps you need to complete. (Instructions are included.)

Rehearsal, rehearsal, rehearsal 

Once your outline is done, your next task is rehearsing, and then rehearsing some more. You’ll want to know before you give the speech that it:

• makes sense and can be followed easily,
• grabs and holds the audience’s attention, is relevant to them,
• and easily fits the time you’ve been given.

Rehearsal lets you find out in a safe way where any glitches might be lurking and gives you an opportunity to fix them.

It also gives you time to really work at refining how you tell the story.

For instance, what happens if this part is said softly and slowly? Or if this bit is delivered more quickly, and that has a long pause after it?

And what about your body language? Are you conscious of what you’re actually doing as you speak? Do you ‘show’ with your body and how you use your voice, as well as ‘tell’ with your words?

The way you tell a story makes an enormous difference to how it is received. A good story can be ruined by poor delivery. If you make the time to practice, that’s largely avoidable.

• For more on how to rehearse – a step by step guide to rehearsing well
• For more on the vocal aspects of speech delivery
• For more on developing effective body language

Many people share an anecdote thinking they’re telling a story. They’re not. Although they have similarities, they are different.

An anecdote is a series of facts, a brief account of something that happened. It is delivered without interpretation or reflection. It’s a snapshot cut from a continuum: a slice of life. We’ve taken notice because it was interesting, strange, sad, amusing, attractive, eccentric...to us. It captured our attention in some way.

For example:

"Last night there was a gorgeous girl in the bar wearing a red dress. She ordered a brandy. After she finished her drink, she left."

In contrast, a story develops. It travels from its starting place, goes somewhere else where something happens, and finally arrives at a destination. A story has a beginning, a middle and an end. It moves. Things change.

Here’s the same anecdote example reworked as a very brief story. The person telling it is reminiscing, talking about the past to girl called Amy.

"Last night there was a girl in the bar wearing a red dress—so young, so gorgeous, so full of life. Seeing her whirled me back to us. You and me and that song. Our song: Lady in Red. “The lady in red is dancing with me, cheek to cheek. There's nobody here, it's just you and me. It's where I want to be.”

The complete and abrupt shift from present to past overwhelmed me. Thoughts, feelings, memories... At twenty-five and twenty-six we knew it all and had it all.

When I looked up, she’d finished her drink and gone. Oh, Amy! What did we do?"

Narrative speech topic ideas: 40 firsts

Often the first time we experience something creates deep lasting memories. These can be both very good and very bad which makes them an excellent foundation for a gripping speech.

We love listening to other people’s dramas, especially when they’ve gone through something significant and come out the other side strengthened – armed with new knowledge.

• The first time I stood up for myself.
• The first time I drove a car.
• The first time I rode a bike.
• The first time I fell in love.
• The first time I felt truly frightened.
• The first time I realised my family was different.
• The first time I understood I was different from other kids.
• My first day at a new school.
• The first time I felt truly proud of myself.
• My first date.
• My first job interview.
• The first time I realised no matter how hard I tried I was never going to please, or be liked, by everybody.
• How I got my first paid job.
• What I did with my first pay.
• My first pet.
• My first real fight- what it was about, and what I learned from it.
• The first time I tried hard to achieve something and failed.
• The first time I realised some people are not to be trusted.
• The first time I was away from home on my own.
• The first time I had to ask a stranger for help.
• The first time I experienced what it’s like to have someone close be either seriously ill or die
• The first time I was ill and was taken to hospital.
• The first time I felt utterly filled with happiness.
• The first time I was sincerely impressed and influenced by another person’s goodness.
• My first pin up hero.
• My childhood home – what I remember – the feelings and events I associate with it.
• The first time I realised the color of my skin, or the shape of my body, or my face, or my gender, or anything else about me, made a difference.
• The first time I tried to communicate with someone who did not speak my language.
• The first time I saw snow, the sea, climbed a mountain, camped out under the stars, walked a wilderness trail, caught a wave...
• The first time I visited another country where the language, customs and beliefs were vastly different to my own.
• The first time I understood and experienced the power of kindness.
• The first time I told a lie.
• The first time I understood how fortunate I was to be me.
• The first time I realised my goals and aspirations were attainable.
• The first time I realised having enough money to do whatever I wanted could not buy happiness.
• The first time I realised that some people were always going to be better at some things that I was.
• The first TV show/film/book I loved and why.
• The first time I really understood I was prejudiced.
• The first time someone stepped up for me – what that felt like, and what it changed.
• How first impressions of people and/or an event are not always right.

40 tell-a-story speech topics

Here's another 40 narrative speech suggestions. Give yourself time as go through them to consider suitability of the stories they trigger. Would what you're thinking of suit your audience? Does it fit your overall speech purpose?

• How I learned to stand up for my own beliefs.
• How my name influenced who I am.
• My favorite teacher – why, what did they do? How did that make you feel?
• When and how I learned being adult does not mean being grown up.
• Why winning is important to me.
• What terrified me as a child.
• How I learned to manage my anger.
• What people regularly assume about me and how that makes me feel.
• How having an animal to love made me a better human being.
• How humor defuses tension.
• What it feels like to rebel against authority, and why I do it.
• My learning break through.
• How I discovered what meant the most to me.
• How I learned my family was poor, rich, odd, ...
• When I fully realized the importance and power of community.
• What I learned through living through my parent’s divorce.
• My experience of being an outsider.
• My favorite way to unwind.
• A decision I made that I now regret and why.
• How goal setting has helped me achieve.
• My safe place.
• What being unfairly punished taught me about myself.
• Rituals that serve me well. For example, always cleaning my teeth a particular way, always sorting my clothes out for the following day before I go to bed, always making Christmas presents for my family, ...
• What money means to me and why.
• How being a parent fundamentally changed me,
• What being the underdog taught me.
• Why I chose my own path, and not the one my parents wanted for me,
• Why family celebrations are important to me.
• Why I adopted a child.
• What religion means to me.
• What marriage, friendship,... means to me.
• What needing to be helped has taught me.
• Why and how I support giving back to the community.
• Tricks I use to get myself to do things I know I should do but don’t really want to.
• What I do to manage fear or anxiety of public speaking.
• How I learned to stop biting my finger nails or stop some other behaviour driven by nervous anxiety.
• How I learned to stop feeling like my job in life was to make my parents or anybody else feel happy.
• What having a job as a young person taught me.
• The complications of being the favorite child in your family.
• The difficulties of having to choose between friends.

35 more narrative or personal story speech topics

• The time I made an assumption about a situation or a person and got it entirely wrong.
• What being totally and suddenly out of my depth in a situation felt like and the consequences.
• A lesson I learned the hard way that helped me become a better person. For example: over spending, driving too fast, drinking too much, being caught out in a lie...
• Important things I learned through keeping old people company.
• What I learned through losing a good friend
• What coming face to face with my own mortality taught me.
• How the language of kindness transcends language and cultural differences.
• What being ashamed of my own behaviour taught me.
• How I unknowingly broke local cultural customs while overseas and what happened
• How taking revenge for a wrong did not right it.
• The silliest unnecessary risk I’ve taken.
• How first impressions are not always right.
• How pretending to be strong (fake it until you make it) can work very well.
• What I really wanted my parents to do for me and they didn’t.
• How our clothing influences how other people perceive us.
• My earliest memories: what they were, how they made me feel.
• Why I became disillusioned about politics.
• Why I decided to go into politics.
• The influence of music on my life.
• A personal phobia and how it impacts on my life: fear of spiders, fear of the dark, fear of thunder...
• The impact of peer pressure on decision making.
• What I’ve learned about gratitude.
• How I lied in order to cover for a friend and what happened.
• My most embarrassing moment and how I survived it.
• The worst day of my life: what it taught me.
• How I know peer pressure can make us behave in ways we don’t really want to.
• How I learned to read people.
• Why saying thank you is important.
• Random acts of kindness and generosity.
• Being lost in a strange city.
• What I learned through genuinely apologizing for something I did.
• How the way a person speaks influences what we think about them.
• How a mentor changed my life.
• The most thrilling exciting thing I’ve done.
• How being a leader and being looked up to felt.

Other resources for narrative speeches

Pages on this site:

• 60 vocal variety and body language speech topics - speech ideas to encourage excellent storytelling
• Storytelling setups: what works & why - How to open or lead into a story
• How to effectively use a small story as part of a speech    
• Tips and exercises for working with and improving body language
• Simple characterization techniques for compelling storytelling
• 9 aspects of vocal delivery - explanations, tips and exercises to improve your voice
• How to rehearse well - step by step guidance 

Offsite storytelling speech resources

• 5 creative storytelling projects recommended by teachers, for everyone | (ted.com)

Toastmasters Project | Connect with storytelling – Level Three 

• Connect with Storytelling – District One (district1toastmasters.org)
• 8300-Connect-with-Storytelling.pdf (toastmasters-lightning.org)

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• Easy Steps to Write an Effective Speech

A Step-by-Step Guide to Writing an Effective Speech: Tips and Examples

A speech is a way to share your thoughts or stand up for a cause. To make an effective speech, it's important to not only speak clearly, but also to carefully plan what you'll say. By preparing your speech well, you can ensure your message is delivered effectively. At Vedantu, students can learn how to create strong speeches with a clear structure and engaging content.

The platform offers resources to help students practise speech writing, improve their presentation skills, and gain confidence in public speaking. This preparation helps students communicate their ideas better and make a strong impact on their audience.

How to Write a Speech?

Writing a speech involves thorough research and careful planning to effectively convey your message. Great speeches often include compelling details and inspiring content that resonates with the audience. Learning to write impactful speeches can be achieved with a bit of guidance. Here’s a step-by-step guide to help you craft a speech:

Self Introduction Start your speech by introducing yourself. If there's a host or master of ceremonies, they might introduce you first. Regardless, you should clearly state who you are and briefly explain what your speech will cover. The introduction can be formal or informal, depending on your audience. For example, a formal introduction might include your professional title, while an informal one might simply mention your name and a fun fact.

Introduction to the Topic Next, introduce the topic of your speech. Provide a brief overview of what you will discuss. Make sure to grab the audience's attention with a hook, like a surprising fact or a question. This helps in engaging the audience right from the start.

Main Points Outline the key points you want to address in your speech. Make sure each point is clear and relevant to the topic. Use examples, anecdotes, or data to support your points. This helps in making your speech more relatable and persuasive.

Conclusion End your speech with a strong conclusion. Summarise your main points and restate the purpose of your speech. Aim to leave a lasting impression by delivering a memorable closing statement or call to action.

Practice and Delivery Finally, practice your speech several times. Focus on your tone , pace, and body language. Practising helps you deliver your speech confidently and effectively, ensuring that your message is communicated clearly to your audience.

Addressing Friends/Classmates/Peers

Hello everyone! My name is ________, and today, I’d like to discuss _________ with you all.

Good morning, friends. I am ________, and I am excited to speak with you about _________.

Addressing Teachers/Higher Authorities

Good morning/afternoon/evening. I would like to begin by thanking _______ for the opportunity to share my thoughts on _________ today.

Good day to everyone. I am ________, and I am honoured to speak about _________ with you.

The Opening Statement

The first seven seconds of a speech are crucial, as they determine whether the audience will stay engaged. Therefore, starting with a compelling opening statement is essential to capture their attention. Crafting a speech involves thorough research and structuring it in an engaging, informative, and coherent way is crucial.

When assigned a topic, begin by brainstorming ideas and jotting down everything that comes to mind. This process helps identify which aspect of the topic to focus on, guiding the drafting of your speech.

An effective opening statement should be relevant to your topic. Use clever wording to make a strong impression and capture the audience's interest . Here are some strategies for framing an engaging opening statement:

Asking an Engaging Question Starting with a question can immediately grab the audience's attention. It sparks curiosity and encourages them to think, thus preparing them to listen more attentively.

Fact or a Surprising Statement Presenting an intriguing fact or statement can captivate the audience. This could include a joke, as long as it's relevant and appropriate. A well-timed laugh can refresh their interest and make them eager to hear more.

Adding a Quote Select a quote that aligns with your topic and resonates with your audience. Whether it’s from a famous person or a story, a relevant quote can add depth and set the tone for your speech. Choose a quote that is memorable or thought-provoking to make a significant impact.

Choice of Words

When delivering or writing a speech, it's crucial to choose your words with care. Selecting the right language is essential, whether you're expressing support for or opposition to a topic. Be sure to provide sufficient evidence to back up your points. Use short, clear sentences to enhance the impact of your speech. Your choice of words and what you emphasize will shape how your audience perceives your message.

When writing a speech, ensure that you:

Avoid long, confusing sentences.

Check for spelling, grammar, and sentence structure errors.

Refrain from using contradictory statements that might confuse the audience.

Authenticity

Authenticity in a speech engages the audience more effectively. Incorporate personal anecdotes, experiences, and genuine thoughts to build rapport. However, stay focused on the topic and avoid getting sidetracked with unrelated details.

Writing in 1st Person

Using the first-person perspective in a speech can be more effective than a third-person approach. However, make sure it does not become too subjective or divert from the main topic.

Tips for Writing a Speech

Before you start writing, know what your speech is about and what you want to achieve. Decide if you want to inspire, entertain, or inform your audience.

Think about who will be listening to your speech. Tailor your content to fit their interests and needs so they stay engaged.

Make sure your speech is clear and to the point. Avoid making it too long or it might become boring. Stick to the important details.

After writing your speech, check it for mistakes and make changes if needed. Practice saying it out loud so you feel confident and don’t stumble.

Finish your speech by summarising the main ideas. Leave your audience with something to think about, so they remember your message.

Format on How to Write a Speech

Here’s a structured format of How to write a speech:

Start with a clear and engaging title that reflects the main topic of your speech.

2. Introduction

Greet the audience and introduce yourself.

State the purpose of your speech.

Give a brief overview of what you will talk about to grab the audience's attention.

Main Points : Organise your speech into several main points. Each point should be clear and supported with examples, evidence, or anecdotes.

Sub-points : Include supporting details under each main point to add depth and clarity.

4. Transitions

Use smooth transitions between different points to help your speech flow naturally.

5. Conclusion

Summarise the key points of your speech.

Restate the purpose or main message.

End with a strong closing statement or call to action to leave a lasting impression.

6. Q&A (if applicable)

Prepare to answer any questions from the audience if your speech includes a question-and-answer session.

7. Practice

Rehearse your speech multiple times to ensure you are familiar with the content and delivery.

How to Write a Speech: Examples

Example 1: Speech on Environmental Conservation

Good morning everyone!

My name is John Smith, and today I’m here to talk about the importance of environmental conservation. Our planet is facing severe challenges due to pollution, deforestation , and climate change. We must take action to protect our environment .

Firstly, we need to reduce our waste by recycling and composting. Secondly, conserving energy by using renewable sources is essential. Lastly, planting more trees will help restore balance in our ecosystems.

Each one of us can make a difference by adopting these simple practices in our daily lives. Together, we can ensure a healthier planet for future generations. Thank you for your attention!

Example 2: Speech on the Importance of Education

Good afternoon everyone!

I’m Sarah Johnson, and I’m excited to discuss the value of education in our lives. Education is not just about gaining knowledge, but also about preparing ourselves for the future. It opens doors to new opportunities and helps us grow personally and professionally.

To begin with, education empowers individuals to make informed decisions. It also enhances critical thinking and problem-solving skills. Finally, it helps us understand and appreciate diverse cultures and perspectives.

Investing in education is investing in a better future for ourselves and our communities. Let’s value and support educational opportunities for everyone. Thank you!

To Test Your Knowledge of How to Write a Speech, try these Tasks:

Task 1 - Write a Short Speech: Pick a topic you are passionate about, such as your favourite hobby or a cause you care about. Write a 3-minute speech on this topic. Make sure to include a clear introduction, main points, and a conclusion. Practise delivering your speech in front of a mirror or a friend.

Task 2 - Analyse a Famous Speech: Watch a famous speech online, like Martin Luther King Jr.’s “I Have a Dream” or a speech from a recent event. Take notes on how the speaker introduces themselves, the key points they make, and how they conclude. Try to identify any special techniques they use to keep the audience engaged and use these techniques in your speech writing.

Now check out if you got them all right from the answers below:

Task 1 - Write a Short Speech:

Good morning everyone,

Today, I want to talk about something that has a huge impact on our lives – reading. Reading is not just a way to pass the time; it is a gateway to knowledge and imagination. Through books, we explore different worlds, understand diverse cultures, and learn new ideas. Reading also helps improve our language skills and concentration. Whether it's a novel, a biography, or a magazine, each piece of reading material offers something valuable. I encourage all of you to make reading a part of your daily routine. It’s a small habit that brings great rewards. Thank you.

Taks 2 -Review and Improve a Sample Letter:

To analyse a famous speech like Martin Luther King Jr.’s “I Have a Dream,” start by noting how he introduces himself and sets the tone. King begins with a reference to the Emancipation Proclamation, connecting his message to historical struggles for freedom. He introduces his main points by addressing the ongoing racial injustice and articulating his dream of equality, creating a vivid picture of a hopeful future. His conclusion uses a powerful repetition of the phrase “I have a dream” to reinforce his vision and leave a lasting impression. The speech employs imagery, metaphors, and emotional appeals to engage the audience. To apply these techniques, focus on a strong introduction, clear key points, and a memorable conclusion in your speech, using repetition and vivid descriptions to make it impactful.

Takeaways from this Page

Writing a speech involves careful planning and practice. Begin with a clear introduction to capture attention and state your main points clearly. Use simple and engaging language to keep your audience interested. Rehearse your speech to ensure smooth delivery and correct any mistakes. Finally, end with a strong conclusion that reinforces your main message and leaves a lasting impression.

FAQs on Easy Steps to Write an Effective Speech

1. How to write a speech format? 

To understand how to write a speech format, start by organising your speech into three main parts: introduction, body, and conclusion. Clearly outline your main points and supporting details. This format helps in delivering a structured and effective speech.

2. How to write a welcome speech? 

When learning how to write a welcome speech, begin with a warm greeting and introduce yourself. Mention the purpose of the event and the key individuals present. Keep it brief and engaging to set a positive tone for the event.

3. How to write a speech on teacher's day? 

To write a speech on Teacher's Day, start by expressing appreciation for teachers. Highlight their contributions and impact on students' lives. Use personal anecdotes or quotes to make the speech heartfelt and memorable.

4. How to write a welcome speech for chief guest? 

When writing a welcome speech for a chief guest, ensure you acknowledge their presence respectfully. Mention their achievements and the significance of their visit. Craft your speech to reflect the honour of having them as a guest.

5. How to write a speech for students? 

For writing a speech for students, choose a topic relevant to their interests and needs. Use simple language and relatable examples. Structure your speech to be engaging and motivational to keep students attentive.

6. What is the best way to structure how to write a speech format? 

The best way to structure how to write a speech format is to divide your speech into three main parts: introduction, body, and conclusion. This format helps in organizing your thoughts and ensures a clear flow of ideas.

7. How to write a welcome speech effectively? 

To write a welcome speech effectively, start with a friendly greeting and introduce yourself. Outline the purpose of the event and acknowledge key guests or participants. Make sure to keep it concise and engaging.

8. How to write a speech on teacher's day to make it impactful? 

To make a speech on Teacher's Day impactful, focus on the role of teachers in shaping students' futures. Share personal stories or experiences that highlight their dedication. Conclude with a heartfelt thank you.

9. How to write a welcome speech for chief guest in a formal setting? 

Writing a welcome speech for a chief guest in a formal setting involves greeting them warmly, mentioning their achievements, and explaining the importance of their presence. Keep the tone respectful and appreciative.

10. How to write a speech for students to ensure it is engaging? 

To ensure a speech for students is engaging, choose a topic that resonates with their interests. Use simple language and interactive elements. Structure your speech to include relatable examples and a motivational conclusion.

11. What are the key points in how to write a speech format? 

Key points in how to write a speech format include having a clear introduction, a well-organized body with main points, and a strong conclusion. This format helps in delivering a coherent and effective speech.

12. How to write a welcome speech for various events? 

How to write a welcome speech for various events involves greeting the audience, introducing the event’s purpose, and acknowledging any special guests. Tailor the speech to fit the nature of the event and keep it engaging.

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Elon musk suggests limiting travel to countries where free speech is ‘constitutionally protected’ after durov arrest.

Billionaire X owner Elon Musk signaled he could avoid traveling to countries without ironclad free speech protections following the controversial arrest of Telegram CEO Pavel Durov in France.

Musk, who called for Durov to be released after the Russian-born billionaire was cuffed last weekend for allegedly facilitating illegal activity on Telegram, has himself clashed with authorities in Brazil and the European Union over content moderation on X.

“Probably wise for me to limit movements to countries where free speech is constitutionally protected,” Musk said Thursday night in an X post .

Durov’s arrest has kicked off a global debate on online free speech, with Musk asserting at one point that his detention in Paris was a sign of “dangerous times.”

Some have raised the question of whether other notable social media executives, such as Musk or Meta boss Mark Zuckerberg, could similarly face personal liability for content published on their apps.

Brazilian Supreme Court Judge Alexandre de Moraes ordered X to be shut down in the country on Friday amid an ongoing war of words with Musk. Moraes also imposed fines on anyone who tried to access the site through VPNs or other means following the bans.

Brazil also has blocked bank accounts used by Musk-led satellite internet firm Starlink.

On Thursday night, X said it expected Brazilian authorities to force a shutdown of the platform “soon” following a war of words between Musk and Supreme Court Judge Alexandre de Moraes.

Brazil has blocked bank accounts used by Musk-led satellite internet firm Starlink.

The dispute escalated earlier this month when X pulled its legal representative from Brazil after the judge had threatened arrest.

Brazilian law requires that social media companies have a representative on the ground to handle government requests to remove content.

X has argued that Moraes is attempting to censor political opponents.

X has argued that Moraes is attempting to censor political opponents and has vowed to “publish all of Judge de Moraes’ illegal demands and all related court filings in the interest of transparency.”

“We are absolutely not insisting that other countries have the same free speech laws as the United States,” the company said in a lengthy statement prior to the judge’s court order. “The fundamental issue at stake here is that Judge de Moraes demands we break Brazil’s own laws. We simply won’t do that.”

Elsewhere, a top official from the European Union – which has an active probe into X’s content moderation practices that could result in massive fines – warned Musk earlier this month not to amplify “potentially harmful content” ahead of his interview with Donald Trump.

The warning sparked an uproar in the US, with some accusing the EU of meddling in the upcoming presidential election.

In France, prosecutors have slapped Durov with an array of charges related to terrorism, narcotics, complicity, fraud, money laundering, receiving stolen goods and child pornography, and claim that he has been uncooperative with investigations into criminal activity conducted on Telegram.

French President Emmanuel Macron has pushed back on critics, declaring that Durov’s arrest was not politically motivated and that France is committed to free speech.

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X Courts Controversy by Labeling a Story on Trump Arlington Cemetery Incident 'Unsafe'

Critics call this measure to shade an unflattering political news report an interesting move for an extreme "free speech" platform. meanwhile, elon musk's conflict with a top brazilian judge means the social platform could be banned there..

An altercation between a Trump campaign staff member and an employee of Arlington National Cemetery has been making political waves, and the entire affair is controversial no matter which way you look at it. But in a bizarre new twist, a post linking to National Public Radio's  story on the incident was labeled as "unsafe" by Elon Musk 's social media platform X, formerly known as Twitter .

When X users shared the story, anyone clicking on the NPR.org link to it was first shown a message warning that the news site link may be "unsafe." An alert said "the link you are trying to access has been identified by X or our partners as being potentially spammy or unsafe," before giving X users the option to ignore the alert and continue on to read the NPR material, political news site The Hill reported . NPR told The Hill it had modified the article's URL when it noticed the issue, and X has reportedly told NPR that the issue was a "false positive" and has now been corrected.

NPR, like dozens of other news outlets, was reporting on an allegedly physical tussle between an employee at Arlington and a larger, male Trump campaign staff member that happened during a photo shoot for the former president at the solemn venue on August 26. The Trump campaign alleges it had permission to bring its photographer on-site, but Arlington has strict rules about political activity on the cemetery grounds--befitting its status as a nationally revered space, where thousands of fallen warriors' remains are buried.

An opinion piece in  The Washington Post yesterday points out the heartlessness of the stunt, which happened at Section 60 at the cemetery, "the resting place of the men and women who most recently gave what Abraham Lincoln called 'the last full measure of devotion' to their country." Monday, August 26, was the "third anniversary of the suicide bombing that killed 13 U.S. troops during the chaotic withdrawal from Afghanistan," the paper points out, adding "there is nothing wrong with a former president visiting those graves to commemorate that terrible day."

But Trump instead brought both a campaign photographer and videographer "to capture images of the visit--which his campaign team knew, and he surely knew, was forbidden." The Army itself has issued a rare public rebuke to the Trump campaign, and made a statement saying it stood by the staff member who was "pushed aside," but now considers the matter closed. 

So why was NPR briefly tangled up in an X "false positive" alert when reporting the news? We can only speculate. But The Hill points out that NPR has been "a frequent target of Republicans and other conservative critics for years," and in fact it "stopped posting on X last year after billionaire mogul Elon Musk purchased the platform." Musk has been pushing X as a bastion of extreme free speech , but has increasingly leaned rightward in his own political opinions and recently expressed support  for Donald Trump's 2024 presidential campaign bid. The platform has been hemorrhaging advertising partners, like IBM , since Musk's 2022 takeover, because of hateful or extremist material being published there.

Musk's all-consuming drive to ensure that apparently anyone can say anything on X (except perhaps NPR) also landed his platform in further legal trouble in Brazil this week after its designated legal representative was removed from the country last month amid a feud with a senior judge. Reuters reports that as of Thursday X "expects Brazil's top court to order it to shut down, as a pitched legal battle plays out over compliance with local laws."

Musk is said to insist "the platform is being punished for resisting censorship," but Supreme Court Judge Alexandre de Moraes was expected to order an X shutdown "soon," after a "court-imposed deadline for the company to identify a legal representative in Brazil passed on Thursday evening."

The Associated Press  reports the move is merely the latest in a "monthslong feud between the two men over free speech, far-right accounts and misinformation," which has seen Brazil demand X block what it deems distasteful content on its platform. The tussle centers around a local law requiring foreign companies to have legal representation in Brazil to operate there: X withdrew its legal rep recently, AP says, because Morales had threatened her with arrest. ​

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How to write a good graduation speech: tips for every graduate

Giving an impressive graduation speech is an opportunity to leave a lasting impression on fellow graduates and the audience as you proceed to the next phase of life. As you stand before your graduating class, you can ignite a spark of motivation, instil a sense of purpose, and propel your peers toward their future endeavours. Discover what to say in a graduation speech for a unique and unforgettable address.

TABLE OF CONTENTS

1. choose your theme, 2. determine your audience, 3. write an outline, 4. keep it brief, 5. use humour wisely, 6. personalize your speech, 7. end on a high note, 8. practice, practice, practice, senior speech ideas, things to avoid when writing a graduation speech, what is the most essential message of a graduation speech.

Writing a graduation speech can be daunting, but it is also an opportunity to celebrate your achievements and inspire your classmates. However, this comes with pressure as you may not know what to say. But you need not worry; the graduation speech ideas below will help you develop enchanting themes.

How to write a graduation speech

Public speaking can be nerve-racking, especially when the audience is mixed with different people , including friends, colleagues, family, and seniors. The key steps below will help you deliver a truly unforgettable graduation speech.

2222 angel number meaning for love, career and money

Narrow your speech around a central theme to inspire the audience. EssayPro states to develop good graduation speech themes, consider the lessons you have learned along the way and your experiences, challenges, and accomplishments. Write down these ideas, narrow them to the relevant points, and deliver them meaningfully and inspiringly to your audience.

Consider who you will speak to and what they might be interested in. In a high school graduation, you may focus more on the challenges and opportunities of going to college . A college speech may concentrate more on values, networking, and building professional relationships. Communication coach Alexander Lyon stated the importance of determining your audience. He said:

One of the best things you can do is to tailor your speech to the interests of your audience. The more you customize your message the more likely your message will hit that target.

919 meaning: Here is what this angel number means for your life

Create a detailed outline with specific points to include in your address. The outline should consist of an introduction, body, and conclusion. This will help you stay focused and ensure your speech flows smoothly.

Infuse your speech with your emotions, personality, and unique perspective, creating an authentic and heartfelt reflection of your journey. A well-organized outline will make your speech flow easily and ensure a clear, logical structure.

Graduation ceremonies are engaging, and the audience has to listen to multiple speeches. Also, most graduation speeches are generally 5 to 10 minutes and sometimes can be shorter. Thus, keep your speech short and focus on delivering a few key points effectively.

Humour makes a speech memorable and helps the speaker connect better with the audience. However, it would be best not to overdo it or use inappropriate jokes . You can also incorporate inspirational quotes, which add depth and meaning to a speech.

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The correct motivational quote will tie into your theme and serve as a message the audience will take from your words. Always observe the tone and theme of the event.

Your speech should reflect your voice and experiences. Graduation speeches are more impactful when personal and relatable; thus, include your stories to make them more engaging and meaningful. You should also acknowledge the impact of other people, such as teachers, parents, and mentors, on shaping the graduates’ lives.

The ideal way to end a graduation speech is with an inspiring call to action or a memorable quote. This approach leaves a lasting impact on your audience.

The best way to ensure your speech flows, makes sense, and holds people’s attention is through constant practice and reading it aloud. Once you have perfected it, ask a friend or family to serve as an audience; this will build confidence and help polish your message.

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Pay attention to your pacing, volume, and body language, and ensure you speak clearly and confidently. This will help you become more familiar with and deliver your message smoothly.

Some of the senior graduation speech ideas include:

• Finding Our Path: Lessons in Choosing Majors
• Learning from Setbacks: Embracing Failure
• Celebrating Diversity on Campus
• Strength in Unity: The Power of Collaboration
• Bouncing Back from Challenges

When composing a graduation speech, be sensitive as people pursue different paths after graduation. Some of the things to avoid include:

• False information
• Sexual innuendos
• Racial or ethnic jokes
• Insults to individuals or groups
• Avoid cliché
• Do not be self-centred
• Avoid jargon or complicated language

Graduation speeches are a golden opportunity to reflect on the journey, celebrate achievements, and inspire the graduating class as they enter the outside world . Therefore, the key is inspiring and motivating graduates as they pursue their dreams and positively impact the world.

How to write a diary entry: A simple guide for beginners

Writing a graduation speech can be challenging but rewarding. By following the above tips, you can develop a meaningful and memorable speech that inspires your classmates and touches your audience.

READ ALSO : How to write a proposal letter: A step-by-step guide and example

Briefly.co.za published an article on how to write a proposal letter. Proposal letters are essential in business, as they give insights into a potential concept or idea without going into too much detail.

A proposal letter can provide a more thought-out process for a project and allow others to look at it with fresh eyes. It also gives all team members the same level of understanding about what is needed to make the project successful. Here is a step-by-step guide and an example.

Source: Briefly News

Bennett Yates (Lifestyle writer) Bennett Yates is a content creator with over five years of working experience in journalism and copywriting. He graduated from the University of Nairobi (2017) with a Bachelor's in Information Technology. In 2023, Bennett finished the AFP course on Digital Investigation Techniques. He started working for Briefly in 2019. You can reach him via email at [email protected].

US conservative Candace Owens is set to tour Australia. Can the government stop her?

Associate Professor, ANU National Security College, Australian National University

Disclosure statement

Danielle Ireland-Piper has previously received research funding from the Deprtment of Defence. She is affiliated with the National Security College, which is a partnership between the Australian Government and the Australian National University.

Australian National University provides funding as a member of The Conversation AU.

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American conservative author and influencer Candace Owens has amassed millions of followers on YouTube and X for her controversial views. These include suggesting the Holocaust was “ethnic cleansing that almost took place”. She also recently said men are being “socially engineered to be gay” and rejected that people can be transgender.

Owens is due to deliver talks in five cities across Australia in November 2024. But Australian Jewish groups and others are calling on Immigration Minister Tony Burke to deny her an entry visa. In the United States, the Anti-Defamation League has also previously outlined its concerns about her antisemitic messaging.

In response, Owens’ promoters have said she’s “never incited violence or been cancelled by social media for breaching community standard, and everything she has said has been in her capacity as a commentator and as an author”.

While it’s unclear if Owens has applied for a visa yet, what can the federal government do in cases like these?

It’s up to the minister

Australia’s federal government has discretion over which non-citizens can enter the country. Other than the specific rights of those seeking protection under international law, the capacity of a non-citizen to enter Australia is a privilege, not a right.

This is not a new issue. Australia has previously banned conspiracy theorists and far-right figures from entering the country. It’s also not exclusive to Australia, with other countries facing similar decisions.

In addition to decisions the department can make about granting visas, the immigration minister has the overarching discretion to decline or approve visas on character grounds .

Decisions of departments to grant or decline a visa can be reviewed by tribunal and courts. However, exercises of ministerial discretion to decline, cancel or grant visas are not reviewable. In short, Owens cannot seek judicial review of a decision of the minister to decline her a visa, should that happen.

On what grounds?

There are several grounds on which a minister can decline a visa. These include someone’s criminal record, concerns in relation to domestic violence, or concerns about terrorist activity. Overall, the minister is to consider the best interests of the Australian community.

In addition, and relevant to the case of Owens, another factor the minister can consider is the risk of vilification of a segment of the community, including conduct likely to be incompatible with the smooth operation of a multicultural society.

There are reports of a marked rise in antisemitic and Islamophobic incidents in Australia since October 2023.

In that context, it is reasonable to be concerned that someone with a history of antisemitism, for example, may contribute to a destabilisation of our social cohesion at a time when we need to be protecting it.

Threats to social cohesion are national security risks for many reasons, not least because this can lead to the normalisation of provocative and inflammatory behaviour. In turn, this has the potential to trigger an increase in acts of politically motivated violence, including terrorism.

In short, how we get along with each other in public matters in minimising the risk of extremists feeling emboldened to attack other members of our community violently. How we speak about each other in a public forum matters for minimising radicalisation. The Australia Security Intelligence Organisation (ASIO) has warned of this.

What about free speech?

As noted above, while Owens can appeal a decision on a visa made by the department, a court or tribunal cannot review an act of ministerial discretion.

However, ministers are not always immune to political pressure and decisions to cancel visas of high profile would-be visitors are not without public controversy.

Often this controversy centres on a difference of opinion on where the outer boundaries of the principles of free speech begin and end. Who gets to decide those boundaries?

A marketplace of free-flowing ideas is an important element of a representative democracy. There are also times when allowing for the airing of problematic ideas allows for them to be refuted in a way that is edifying for the community.

However, the right to free speech is not absolute, because it has to accommodate other rights. In an era of misinformation and disinformation and the rise of extremist ideas propagated online, the principles of free speech must be balanced alongside the imperative to keep our communities safe.

There is also a need to protect the right of all members of our community to be free from racial vilification, for example.

Importantly, there is no absolute right to free speech in the Australian Constitution. However, the Constitution does contain an “implied freedom of political communication” .

That freedom can be burdened for legitimate purposes as long as the measures taken are proportionate to the risk. Regulating hate speech is an example of a legitimate public purpose.

The means by which lawmakers can achieve that purpose that are not unlimited, but as long as regulation remains proportionate, limitations of political communication are permitted by the Australian Constitution.

The big picture

Ministerial discretion is an important tool in visa decision-making, but it is open to abuse.

Ultimately, though, there are checks and balances because ministers are accountable to the parliament (and to the National Anti-Corruption Commission). And parliament is accountable to the electorate.

But more broadly, words have power, particularly in the public domain. With great power comes great responsibility. That includes minimising hate.

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Bemidji State students use positive message event to spread love, acceptance following 'hate speech' incident

Aug. 28—BEMIDJI — Bemidji State students were scattered across the Centennial Plaza on campus Wednesday morning writing meaningful, positive and inclusive messages with chalk to promote inclusion following an upsetting incident that took place the day before.

According to Student Senate Cabinet member Bridget Westrum, a man arrived on campus at around 11 a.m. on Tuesday carrying a sign with religious phrasing on it that many students felt was targeted hate speech.

"Around 11 a.m. there was an individual down here in the Centennial Plaza (yesterday) and he had this big sign with a bunch of hate speech on it," Westrum recounted. "He was shouting at students (with a bullhorn) telling them that they're going to hell for being gay or having sex before marriage and things like that. So it's not just gay people, but it seemed like everybody that wasn't him is going to hell — it was super disheartening."

Westrum noted that some students felt they were targeted specifically based on their appearance and sexual identity.

"He was definitely targeting students with colored hair," Westrum said. "And then there was a 16-year-old (post-secondary education) student who was really getting berated by this guy because she is lesbian. And, she kind of got into it with him a little bit and then things got really elevated in that moment."

She said at that point, others became involved in the incident, around 1 p.m., and the man was asked to stay out in front of the campus on the public sidewalk.

"And still he was on the sidewalk for a while and then people started coming and he started moving his way back closer to campus and the buildings," Westrum explained. "After every class got out, he would shout at everybody walking out of the building."

Westrum said he finally left around 3 p.m. and no students were physically harmed.

On Tuesday night Westrum came up with the idea to create a small "Positive Messages in the Plaza" event to bring the campus together and be a voice for students in response to the day prior.

"I can be a voice for students from time to time and this seemed like a good, colorful way to bring people together," Westrum shared. "I think there's been some solidarity created. Yesterday we had a prayer circle before that individual left. Some religious individuals came and prayed for the individuals feeling hate. I think it was really heartening for a lot of people to be like, 'This person is religious and they are telling me that this (religious) guy is wrong (about me).'"

The plaza continued to fill with loving messages as the day went on.

"Student Senate and our student community here at BSU do not support the actions of the individual who was on our campus yesterday," Student Senate President Darby Bersie said. "It's so awesome to see all of the people that joined together here today to transfer positive messages to the students on our campus. We're already such a tight-knit community and spur-of-the-moment events like these only push us closer together."

Students could be seen mingling together as they drew messages. People were seen laughing and hugging as they greeted each other and grabbed a piece of chalk.

"Nobody on this campus supports the message that was shared yesterday," BSU President John Hoffman shared. "There is nothing about our campus that wants to support that message in any way."

Hoffman added that Bemidji State's most impactful way to combat such negativity is through the students and their voices.

"Our most powerful tool is our students," Hoffman said. "With them, we can lift up our voices and drown out the voice of hate. I am thrilled that this (event) is coming from a student's idea so quickly and decisively. Look at all of the students we've got here. We've got a lot of folks who are communicating this message of love, acceptance and support."

He also encouraged students to rely on each other even when it's not for something as dramatic as this incident, but to be a positive support system for one another year-round.

"When you've had a rough day, come into these spaces where folks are going to reinforce you," he said. "This community helps to sustain all of us when we have bad days. We need you, we want you here. You have value."