ABSTRACT
This chapter discusses on the use of dialogue in a screenplay. Good dialogue reveals pertinent information in a way to elicit an emotional response. The chapter suggests that a character may have different ways of speaking around different people. Each character in the screenplay should have a unique rhythm of talking and unique vocabulary. Expository dialogue weighs down the film. If a writer needs to reveal exposition through dialogue, it must be "buried". The chapter also suggests to use dialogue naturally, and to make sure that it affects the scene and pushes the characters to react to one another. On-the-nose dialogue means that a character is stating the obvious or boldly making all his intentions clear. On-the-nose dialogue is the opposite of subtext. Subtext refers to dialogue that "says one thing but means another". Well-written dialogue can present strong arguments, new ideas, varied points of view.
