dialogue writing in direct speech

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Last updated on Sep 21, 2023

How to Write Fabulous Dialogue [9 Tips + Examples]

This post is written by author, editor, and bestselling ghostwriter Tom Bromley. He is the  instructor of Reedsy's 101-day 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 character 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 .

As an editor and publisher, Tom has worked on several hundred titles, again including many prize-winners and international bestsellers. 

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Writing dialogue: Complete guide to storied speech

Writing dialogue is an important skill to develop so that characters’ speech is imbued with voice and advances the story. Learn more in this complete guide to dialogue writing and formatting, with examples.

• Post author By Jordan
• 37 Comments on Writing dialogue: Complete guide to storied speech

This guide to writing dialogue is all about using speech and conversation in storytelling to make your characters’ voices drive plot, tension and drama. Use the links to jump to the dialogue-writing topic you want to learn more about right now.

What is dialogue? Key terms

Dialogue in writing is conversation between two or more people/animated voices (animated voices because it could be speech between a person and an inanimate object they personify, for example, an imaginary or supernatural voice, and so forth).

Dialogue can be compared to:

• A tennis or fencing match: Speakers may spar, score points, volley arguments or statements (and rebuttals to them) back and forth
• A dance: One speaker says one line, the other replies, and sometimes one person may lead, at other times, the other leads
• Pieces in a puzzle coming together: What different characters say may build up a gradual picture, for example an idea of the persona of a character who has not yet appeared in a story scene but has been spoken about by others
• Music: sometimes there is harmony (working together), other times discord (strife, heated conversation or disagreement)

Key terms in writing dialogue

There are several terms in dialogue worth knowing as they crop up often in discussing this element of writing craft:

Active listening: Dialogue is (usually) responsive

When somebody is engaged in ‘active listening’, they aren’t just waiting for their turn to speak. In a true conversation, people hear one another, respond.

There may be instances where your dialogue’s subtext or context (more on these below) calls for characters not to actively listen to one another, of course. There may be cause for them to interrupt, speak over, speak at cross purposes.

In these cases, it should be contextually or otherwise clear why characters aren’t properly responding to each other’s speech (the dialogue should not read or sound like random non sequiturs, each person’s utterances totally disconnected for no clear reason).

Context for dialogue

Effective dialogue involves its context. For example, in a frenzied car chase, the squeal of tires may drown out the exchange here or there. Speech and action in this context may reflect rapid decision-making, keeping pace.

In the middle of a bank heist, people may be curt, decisive (of course, inept thieves could wax lyrical and by talking too much make rookie mistakes).

Either way, context will inform how readers make sense of your dialogue, and helps to fill dialogue with tone and mood . Nobody whispers to each other standing next to Niagara falls (if they want to be heard).

Subtext and dialogue

Subtext in dialogue is the underlying meaning, motivation or feeling behind the words characters speak.

For example, a boss starts a casual conversation with a new employee but the subtext is that they’re having regrets at hiring the person and trying to come to a decision on whether to terminate in the trial period. The subtext will inform what language they will use (and this language would be different to someone ecstatic with their employee’s performance).

Subtext adds depth and complexity to dialogue, strata of the said and unsaid.

Purpose in dialogue

Why is the information you are writing in a scene given as dialogue? Knowing the purpose of dialogue (and writing dialogue that feels purpose-driven) is useful to ensure that every spoken line counts. In a stage play, dialogue and action are the two drivers of story.

In narrative fiction, you also get to use narration to convey meaning. A story where all character information is conveyed through narration may read oddly voiceless, impersonal. Dialogue makes your characters pause, take a breath, like real flesh and blood.

Recommended reading

Learn more about writing conversations that feel real and draw on cause and effect, call and response:

• Context and subtext in dialogue: Creating layered speech
• How to make dialogue in writing carry your story
• 7 dialogue rules for writing fantastic conversations

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I write plays because writing dialogue is the only respectable way of contradicting yourself. I put a position, rebut it, refute the rebuttal, and rebut the refutation. Tom Stoppard

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Why dialogue matters

Why do most stories benefit from liberal use of dialogue?

1. Dialogue brings characters and their differences to life

In dialogue, you could show a character’s personality in a handful of words. Here, for example, Dostoyevsky creates the sense of a decisive doctor, used to dealing with uncertain, anxious patients in The Double :

‘Krestyan Ivanovich … I …’ ‘Hm,’ interrupted the doctor, ‘what I’m telling you is that you need to radically change your whole lifestyle and in a sense you must completely transform your character.’ (Krestyan Ivanovich particularly emphasized the word ‘transform’ and paused for a moment with an extremely significant look.) Fyodor Dostoyevsky, The Double , trans. Ronald Wilks (1846, 2009), p. 11

There is an immediate sense of power dynamic (and differential) – the hesitating patient and his decisive doctor.

2. Dialogue splits up exposition into varied parts

If all the revelation of your characters and world is in long, wall-of-text narration, it becomes slightly draining to read.

Dialogue lifts us out of a ‘this happened, then that’ sense of explanation and throws us into the immediate – sound striking the eardrum. Tweet This

3. Dialogue advances a story

Characters may tell each other things that reveal – or shift – goals, motivations, conflicts. ‘But first, I must tell you Mr Bond…’ A villain may say too much, a lover, too little (or vice versa).

4. Conversation builds relationships

Some of the most beautiful relationships (or the most ugly) emerge through what people say to one another.

Ed’s note: As an undergraduate in English Literature, I attended a lecture on Pride and Prejudice where the lecturer illustrated how Lizzie and Darcy’s love is established through the grammar of their language and how it shifts. At one point, Darcy says, ‘You are loved by me’ – a different structure to the standard ‘I love you’ that places the subject first, in a way that reads as full of care.

We detect attraction and resentment in the language people use with one another. A conversation about the weather may imply feelings – it comes down to tone, address, mood, agreement and disagreement.

5. Dialogue brings humor, levity and persona to stories

Dialogue is often a vehicle for comedy. It’s a crucial part of how to write a funny story .

You can narrate that a character has grown wealthy and fallen out of touch with their humble origins. But in Dickens’ Great Expectations, when a character named ‘Trabb’s boy’, the tailor’s son, follows the main character Pip down the street mimicking him and saying, ‘Don’t know ya!’ after Pip is left wealth, it’s a brilliant and funny illustration of how people change (and perceive and react to changes in others).

Pip seems ‘too good for’ others now that he has wealth, and three words convey Trabb’s boy’s contempt with sly humor. Three words (paired with action, the following and mimicking) convey complex social dynamics and feelings.

Why else do you think dialogue matters? Tell us in the comments.

Learn more about writing dialogue that drives stories:

10 dialogue tips to hook readers

Hook readers into your story with dialogue that catches their attention.

• Writing movement and action in dialogue: 6 tips

How can movement and action make your dialogue more immersive? Find out.

Dialogue is the place that books are most alive and forge the most direct connection with readers. It is also where we as writers discover our characters and allow them to become real. Laini Taylor

How to format dialogue

Speech marks or quotation marks, and where do the line breaks go? Read on for how to format dialogue, common differences between UK and US formatting styles, and more:

Why do we format dialogue? Clarity, ease and flow

Try to write an exchange in dialogue all as block paragraph text and it becomes a nightmare trying to keep track of who says what:

“You’re late,” she said. “But I didn’t say what time I was coming.” “I don’t care, I’ve been waiting half an hour.” There was an awkward silence for a few seconds. “Well don’t say anything, whatever.”

It’s not clear from the above dialogue without line breaks and with no attribution for the last spoken sentence who says what at all times.

This is much easier to read because line breaks signal when the speaker changes:

It’s much easier to follow the back and forth (and because only two characters are present, the dialogue does not need excess attribution of who says what thanks to the line breaks clarifying this).

How to format dialogue in stories: 8 tips

To make sure it’s clear who’s speaking, when it changes, and when speech begins and ends (and narration or description interrupts):

1. Use quotation or speech marks to show when speech starts and stops

If a character is still speaking, don’t close speech marks prematurely.

2. Start a new line each time the speaker changes

Although it is common practice to use an indent for each change of speaker, make sure to use paragraph formatting in your word processor rather than the tab button as this can make indentation too large or wonky (using paragraph-wide settings is most precise).

3. Decide how you’ll format dialogue (and stick with it)

Speech marks with double quotations like the example from Colleen Hoover above (“) are more commonly used in the US, single quotation marks (‘) in books published in the UK.

Some contemporary novels don’t use speech marks at all, using an em dash at the start of a line or presenting dialogue another way. Whichever approach you use, consistency is key.

Example: Using single quotation marks to indicate speech

4. Always use a comma if there is an attributing tag

If dialogue is attributed using a tag such as ‘she said’ (read more on dialogue tags below), use a comma and not a period/full stop. For example:

“Writing dialogue is harder than I thought.” She said. ❌ “Writing dialogue is harder than I thought,” she said. ✔️

Remember: the tag continues the sentence.

5. Split long monologue over multiple paragraphs

What if the same character is speaking for a long time in dialogue?

To format this, the convention is to open speech marks for each new paragraph without closing speech marks for the previous one, until the speaker is finished talking.

Example: Dialogue where one speaker continues over paragraphs

“First I want to thank you all for being here on our special day. It does take a village (but you can put down the pitchforks, take off the creepy masks, and relax a little, guys, it’s not that kind of village) … Er eheh… OK I’m firing my joke writers.

“But in all seriousness, I couldn’t have chosen a better bride…zilla.”

6. Use the appropriate dialogue punctuation

If a speaker pauses, put it in with a comma or something longer such as a semicolon. This is where it helps to read dialogue out loud as you will hear where there is a natural pause that needs punctuating. Colons have an announcing effect. Example: “OK, here’s the kicker: The guard changes every forty-five minutes.”

If there is a question or exclamation, use the appropriate speech mark (that includes the occasional special effect, such as an interrobang (!?).

7. Write interruption or other changes in dialogue’s flow clearly

Ellipses are effective in showing a character trailing off or pausing to think for longer, mid-dialogue.

“Oh yes, I remember, it was … whatshername.”

There are several ways to show interruption. You could:

• Use an em-dash just after cut-off speech. Example: “If you’d just let me fini—”
• Use parentheses to show self-interruption. Example: “If you’d just let me finish what I was (actually, it’s fine, carry on).”

8. Format narration interrupting dialogue clearly

If you want to describe a character’s manner, movement, expression mid-dialogue, remember to use a comma before and resume dialogue without capitalization (unless the word is a proper noun):

“I can’t believe you said that,” John said, shaking his head, “and with absolutely zero remorse, too.”

Read more on how to ensure your dialogue reads clearly, including how to write ensemble dialogue with multiple characters present:

• Writing dialogue between multiple characters

Nothing teaches you as much about dialogue as listening to it. Judy Blume

Effective vs weak dialogue

Why does some dialogue scintillate, stir interest, while other dialogue reads like talking heads saying nothing of great impact in an inky void? There are several hallmarks of effective and less effective dialogue:

What makes dialogue effective:

• An authentic sense of voice. Do characters sound like cipher’s for an author’s pretension (this may be true to a specific stylistic choice, though) or like real people talking?
• Purpose-driven dialogue. Each line of dialogue should have identifiable purpose, whether it’s establishing character, advancing the story, building tone and mood, or dialogue serves another purpose.
• Aptness for type (or explicable ‘against type’ voice). Avoid confusing your reader by having a five-year old speak like a fifty-year-old (unless there’s a plot-given or other explicable reason for this anomaly).
• Varied structure. If every sentence is clipped or brusque, or every sentence is long and meandering, the eye (and ear) may tire. Switch it up if possible.
• Natural language. Contractions (e.g. ‘it’s’ for ‘it is’) and other ways people naturally speak (colloquial language or slang) lend further authenticity to voice.
• Conflict and tension . ‘As you know, Bob’ info dumps and happy people in happy land don’t make dialogue exciting (but tension, disagreement, doubt – sparks of contradiction – do).
• Movement and gesture. A gesture may change the entire meaning of a spoken phrase (a shrug, turn, sitting down, standing up, waving arms, and so on).
• Subtext and inference. What a character is truly thinking or feeling might not match up perfectly with what they’re saying. People lie, omit, embellish, and so forth.

What can weaken dialogue in fiction?

Dialogue in stories may feel bland or confusing (or too over the top and melodramatic) when:

• It’s all one note. If every utterance is an exclamation (with an exclamation mark), that gets old fast. Use special effects like salt – just enough to enhance the conversation.
• Connection is absent. Your reader may be confused if what characters reply to each other seems as though they’re having two different conversations (unless there is contextual explanation, e.g. both are hard of hearing).
• The scenery stays outside. If your characters are having an argument in the kitchen, does someone bang a pot, slam a drawer? Bring in surrounds.
• There is no differentiation. If everyone has the exact same vocabulary, mannerisms, and pattern of speech, characters start to become clone-like, like so many Agent Smiths.
• Excessive or bizarre tags. Characters shouldn’t honk or trumpet speech too often. Favor tags that you can say or express (no, “What!” she flabbergasted’). Leave out tags entirely if context tells your reader who speaks (and content of speech gives tone/mood).
• Excessive dialect or accent. At best excessive dialect or accent may read distracting, at worst, like hurtful stereotype or caricature.
• Adverbs clutter speech. Instead of overusing ‘she says softly’, leave space for the silence to come through.
• Dialogue dumps information. ‘As you know, Bob’ is a phrase used for dialogue where characters tell each other things both already know solely for the reader’s benefit. Find ways to make the retelling new/fresh, find what Bob doesn’t yet know and needs to be told.

Keep reading about ways to make dialogue characterful and engaging:

• Dialogue words: Other words for ‘said’ (and what to avoid)
• How to write accents and dialects: 6 tips
• Realistic dialogue: Creating characters’ speech patterns

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Dialogue devices for characterful speech

There are several dialogue devices that help to advance stories and create a sense of movement, tension and change:

Dialogue tags and action tags

What are dialogue tags and action tags?

Dialogue tag: The words added after dialogue that attribute who has spoken (and often the mood, emotion, or volume of speech).

“You might want that tattoo, but I know all your secrets and your twenty-first is coming up and don’t think for a second I’m above making an awkward speech,” mom warned.

“Shh!” he hissed in a half-whisper. “This freaking place is haunted.”

Action tag: Indicates the speaker’s movements or gestures in dialogue. This can be used to attribute speech and make dialogue livelier.

“You might want that tattoo, but …” Mom leaned over theatrically as though to confide something important. “I know all your secrets and […]’

Movement and gesture

Movement and gesture may punctuate dialogue, immersing the reader in a scene further.

‘Then go,’ said Mrs Williams, handing him the buckets and the coil of rope. ‘Swim,’ she said maliciously. She knew he was afraid of the sea. He carried his fear coiled and tangled in him like other boys carry twine and string in their crumb-filled pockets. Peter Carey, Oscar and Lucinda (1988), p. 16

Interruption

Interruption is a useful device in dialogue for argument, dramatic scenes with high stakes where characters are speaking over one another, and so forth.

“I could have killed you.” “Or I could have killed you,” Percy said. Jason shrugged. “If there’d been an ocean in Kansas, maybe.” “I don’t need an ocean—” “Boys,” Annabeth interrupted, “I’m sure you both would’ve been wonderful at killing each other. But right now, you need some rest.” Rick Riordan, The Mark of Athena (2012).

Conflict and suspense

Conflict and suspense in dialogue keep the reader intrigued. Characters may argue, refuse to speak, tell a fib the reader may know to be untrue, or otherwise stir tension.

“What’s this for?” Tessie asked suspiciously. “What do you mean, what is it for?” “It’s not my birthday. It’s not our anniversary. So why are you giving me a present?” “Do I have to have a reason to give you a present? Go on, open it.” Tessie crumpled up one corner of her mouth, unconvinced. Jeffrey Eugenides, Middlesex (2002), p. 10.

Read more on devices in dialogue, including dialogue tags vs action tags and how to create tension:

• 421 ways to say said? Simplify dialogue instead
• Dialogue 101: Using dialogue tags vs action tags
• Writing tense dialogue: 5 ways to add arresting tension

I never say ‘She says softly.’ If it’s not already soft, you know, I have to leave a lot of space around it so a reader can hear that it’s soft. Toni Morrison

Dialogue examples that work

Read examples of dialogue that works from a cross-selection of genres including fantasy, romance, science fiction, thriller, historical, contemporary and more:

1. Fantasy dialogue example ( A Game of Thrones )

Note how George R. R. Martin weaves in setting to create mood between utterances in this exchange from the prologue to A Game of Thrones :

“We should start back,” Gared urged as the woods began to grow dark around them. “The wildlings are dead.” “Do the dead frighten you?” Ser Waymar Royce asked with just the hint of a smile. Gared did not rise to the bait. He was an old man, past fifty, and he had seen the lordlings come and go. “Dead is dead,” he said. “We have no business with the dead.” George R. R. Martin, A Game of Thrones (1996).

2. Historical romance dialogue example ( The Duke and I )

Julia Quinn begins the first chapter in the first of her popular Regency-set romance novels with a typical Regency setting – a drawing room (and drama in letters):

“Oooooooooohhhhhhhhhh!” Violet Bridgerton crumped the single-page newspaper into a ball and hurled it across the elegant drawing room. Her daughter Daphne wisely made no comment and pretended to be engrossed in her embroidery. “Did you read what she said?” Violet demanded. “Did you?” Julia Quinn, The Duke and I (2000).

3. Mystery dialogue example ( The Murder of Roger Ackroyd )

Dame Agatha Christie’s The Murder of Roger Ackroyd is often voted one of her best detective novels. In the first chapter already, conversation turns to death and the topic of who knows what about whom (and how):

My sister’s nose, which is long and thin, quivered a little at the tip, as it always does when she is interested or excited over anything. “Well?” she demanded. “A bad business. Nothing to be done. Must have died in her sleep.” “I know, said my sister again. This time I was annoyed. “You can’t know,” I snapped. “I didn’t know myself until I got there and I haven’t mentioned it to a soul yet. If that girl Annie knows, she must be a clairvoyant.” Agatha Christie, The Murder of Roger Ackroyd (1926)

4. Science fiction dialogue example ( Hyperion )

Dan Simmons’ Hyperion which won a Hugo Award was hailed as ‘The book that reinvented Space Opera’. Note the weaving in of dialogue between human and machine in the prologue:

‘We need your help,’ said Meina Gladstone. ‘It is essential that the secrets of the Time Tombs and Shrike be uncovered. This pilgrimage may be our last chance. If the Ousters conquer Hyperion, their agent must be eliminated and the Time Tombs sealed at all cost. The fate of the Hegemony may depend upon it.’ The transmission ended except for the pulse of rendezvous coordinates. ‘Response?’ asked the ship’s computer. Dan Simmons, Hyperion (1989).

5. Psychological thriller dialogue example ( Sharp Objects )

Notice how in Gillian Flynn’s debut Sharp Objects how even a simple conversation between reporter Camille Preaker and her editor at the St. Louis Chronicle who sends her back to her hometown on assignment is laced with a sense of tension and avoidance:

“Tell me about Wind Gap.” Curry held the tip of a ballpoint pen at his grizzled chin. I could picture the tiny prick of blue it would leave among the stubble. “It’s at the very bottom of Missouri, in the boot heel. Spitting distance from Tennessee and Arkansas,” I said, hustling for my facts. Curry loved to drill reporters on any topics he deemed pertinent – the number of murders in Chicago last year, the demographics for Cook County, or, for some reason, the story of my hometown, a topic I preferred to avoid. Gillian Flynn, Sharp Objects (2006).

6. Humor dialogue example ( Lessons in Chemistry )

See here how Bonnie Garmus weaves together humorous dialogue and character description to create the portrait of a man who does not have much luck in love:

“I can’t believe you’re having trouble,” his Cambridge teammates would tell him. “Girls love rowers.” Which wasn’t true. “And even though you’re an American, you’re not bad looking.” Which was also not true. Part of the problem was Calvin’s posture. He was six feet four inches tall, lanky and long, but he slouched to the right – probably a by-product of always rowing stroke side. Bonnie Garmus, Lessons in Chemistry (2022).

7. Historical/fantasy dialogue example ( The Invisible Life of Addie LaRue )

V.E. Schwab creates a sense of early, 17th Century times in this conversation about prayer and witches’ fates in her historical fantasy novel that involves immortality and contemporary romance:

“How do you talk to them?” she asks. “The old gods. Do you call them by name?” Estele straightens, joints cracking like dry sticks. If she’s surprised by the question, it doesn’t show. “They have no names.” “Is there a spell?” Estele gives her a pointed look. “Spells are for witches, and witches are too often burned.” V.E. Schwab, The Invisible Life of Addie LaRue (2020).

8. Literary fiction dialogue example ( Home )

Toni Morrison is a master of capturing the authentic ring of a real human voice. See the difference between the Reverend and his wife who dismisses his jaundiced view of the world as ‘foolishness’ in this dialogue example:

“You from down the street? At that hospital?” Frank nodded while stamping his feet and trying to rub life back into his fingers. Reverend Locke grunted. “Have a seat,” he said, then, shaking his head, added, “You lucky, Mr. Money. They sell a lot of bodies out of there.” “Bodies?” Frank sank down on the sofa, only vaguely caring or wondering what the man was talking about. “Uh-huh. To the medical school.” “They sell dead bodies? What for?” “Well, you know, doctors need to work on the dead poor so they can help the live rich.” “John, stop.” Jean Locke came down the stairs, tightening the belt of her robe. “That’s just foolishness.” Toni Morrison, Home (2012).

What is a favorite section of dialogue from a book in your favorite genre? Share in the comments below.

Join The Process for weekly feedback on dialogue and other writing, webinars on dialogue writing and other writing craft topic, and structured writing tools to brainstorm and develop your story.

Now Novel has been invaluable in helping me learn about the craft of novel writing. The feedback has been encouraging, insightful and useful. I’m sure I wouldn’t have got as far as I have without the support of Jordan and the writers in the groups. Highly recommend to anyone seeking help, support or encouragement with their first or next novel. – Oliver

Recommended Reading

Read further examples of effective dialogue:

• Dialogue writing examples from top books vs AI (2023)
• Writing conversations using setting (examples)
• 5 types of dialogue your novel needs

Related Posts:

• Realistic dialogue: Creating characters' speech patterns
• Writing process: From discovery to done (complete guide)
• Tags dialogue examples , dialogue tags , how to write 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.

37 replies on “Writing dialogue: Complete guide to storied speech”

Thank you for this! I notice these are all first person narratives; could you do something also with stories told in third person?

It’s a pleasure! Happily. While not on dialogue specifically, you might find this post on starting a story in third person helpful: https://www.nownovel.com/blog/how-to-start-a-novel-in-third-person/

“Very illuminating,” I said.

Thanks, Rob!

thanks this really helped

I’m thrilled to hear that, Randolyn. Thank you for the feedback.

As Rob said, very illuminating!

Do you have any recommendations on books with similar dialogue? Or should I give Tartt’s whole bibliography a go?

Thanks for the insight! Dialogue is one of my worker points in writing and I aim to correct that.

Hi Marco! It’s a pleasure. Tartt’s writing is very punchy, but there are many authors who write fantastic dialogue. Another great one is Toni Morrison – she’s a great master of every element of story, from exposition to dialogue to description and more.

Good luck, with focus I’m sure it’ll improve to the level you want it to be quickly.

This was immensely helpful. I’ve always handed dialogue fairly well, I think, but these tips will help me clean it up and use it to move the story forward, rather than just using it as page filler.

That’s great to hear, Brianna. I hope your current WIP is coming along well 🙂

yes helpfull

Hi Umer, thank you for the feedback. Good luck with your story!

Hello this is a nice example…….

Thanks, Joel!

This is truly helpful. Thanks!

I’m glad to hear that, April. It’s a pleasure! I hope you’re writing great dialogue.

I am doing a class project on figurative language and i need examples but short ones do you have any i could use

This was surprisingly helpful. I’m so glad I came across this website. Writing dialogue has always been something I’ve had difficulty doing, but these tips have significantly improved my dialogue writing. Thank you so much.

We’re glad to hear that, Prakhar! Keep writing 🙂

it is really usefull to me madam thank u so much

I’m glad to hear that, Manjunatha. Have a great weekend!

Thanks, Nathan, I’m glad to hear that.

kinda helpful to me 😀

I got my 18,5 mark from this Amazing ?

Fantastic, Chihab – do give yourself some of the credit! Well done.

Very useful to me… Thanks !!☺☺

It’s a pleasure, thank you for reading our articles and taking the time to share your feedback ?

[…] some dialogue writing tips at the following blog and evaluate them with some fellow […]

I want to know about the rule of using open quotation mark at the end of the dialogue 1 ‘We are not allowed to-‘

Hi Jagadishkk, thank you for sharing your question. From the example you’ve written, do you mean using interruption at the end of a line of dialogue? The way you’ve written that example is correct, you would usually use a dash with the interrupting person’s dialogue appearing immediately below on a new line (with indentation if indenting changes of speaker as is a common formatting style choice).

Hi I want you to help me with dialogue first draft

Hi Peggy, you can get constructive feedback from our community in our writing groups, they’re free to join. You can sign up here .

What is a favorite section of dialogue from a book in your favorite genre? Here is one of mine from “Bring up the bodies” by H. Mantel.

“Majesty, the Muscovites has taken three hundred miles of Polish territory. They say fifty thousand men are dead.” “Oh,” Henry says. “I hope they spare the libraries. The scholars. There are very fine scholars in Poland.” “Mm? Hope so too.”

Tells us something about Henry VIII — he “doesn’t give a hoot” about libraries and scholars in Poland or dead men.

Hi Nara, thanks so much for sharing that dialogue example. I like that Henry VIII seems preoccupied or disinterested in his responses, the simplicity of monosyllabic words and even how Mantel has him drop the subject ‘I’ to make it read more cursory, saying the bare minimum. He was probably too busy marrying and remarrying (and beheading) 🙂

Hey Jordan,

fantastic article, thank you very much – it helped me a lot, especially because i am translating my German Novel into English right now! However there is still an open question to me:



Here is an example/ little excerpt of my novel, which I already translated but kept the original German Formatting. I am asking myself if the colon can stay like this ( Then she said: ) or do I have to replace it with a comma ( Then she said, ) and begin with the dialogue in the next line. 
Here is the example ->>

After my mother echoed Michael’s exact words, she looked at me with a fixed gaze for several seconds. Then she said: “Do you understand now, Jordan, why I opened my eyes so wide just now?” “Yes… I feel as if he is here right now, Mother. I know him, but I don‘t know where…” “But now I really want to ask you, were you aware of his words, Jordan?”

I really hope you can help me with this little question. Thank you in advance 🙂



Greetings from Germany
 Yannic

Hi Yannic, thank you for your kind feedback, I’m glad you found this guide to dialogue helpful. One can use a colon or a comma to precede quoted speech. Technically, it is usual to only use a colon if the introductory words form an independent clause or the quotation is a complete sentence. Because the mother’s words fit this rule, a colon is totally acceptable in this case.

Good luck with your translation, that is quite the undertaking.

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Grammar resource: Formatting dialogue - Direct vs indirect

• Comma splices
• Overlong sentences
• Non-parallel structure
• Paragraph structure
• Full stops and commas
• Colons and semi-colons
• Apostrophes
• Brackets, dashes & hyphens
• Misused words
• English vs. American spellings
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• Formatting dialogue - Basic rules
• Formatting dialogue - Direct vs indirect
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Direct Speech is from the speaker's standpoint, whereas indirect speech is from the listener's standpoint.

Direct dialogue

Direct dialogue is written between quotation marks, which indicate someone is speaking.

Example: “Hello, my name is John.”

Indirect dialogue

Indirect dialogue is used when a narrator paraphrases what a speaker said, rather than directly quoting them. Quotation marks are therefore not needed. It is not essential to start a new paragraph for indirect dialogue though you may sometimes find it appropriate.

Example: He said hello and that his name was John.

Direct internal dialogue

Internal dialogue is used by authors to indicate what a character is thinking . Direct internal dialogue refers to a character thinking the exact thoughts, as written. You can use quotation marks or italics for this. However, it’s important to be consistent. You will often find it appropriate to start a new paragraph for direct internal dialogue, for clarity.

Correct Examples:

    ‘I didn’t mean it,’ Ruby thought. ‘But how on Earth can I explain that?’

    I didn’t mean it , Ruby thought. But how on Earth can I explain that ?

Incorrect Example:

    I didn’t mean it , Ruby thought. But how on Earth can I explain that?

If using quotation marks for direct internal dialogue, you can distinguish this from direct (external) dialogue by using the alternative set of quotation marks.

    “You did that on purpose!” Marta exclaimed.

    ‘I didn’t mean it,’ Ruby thought. ‘But how can I tell her that?’

Indirect internal dialogue

Indirect internal dialogue refers to a character’s thoughts expressed in third person. It is not set off with either italics or quotation marks. It is not essential to start a new paragraph for indirect internal dialogue though you may sometimes find this appropriate, for clarity.

    Ruby didn’t mean it, but didn’t know how she could explain that to Marta. 

Free indirect discourse

Italics or quotation marks are not needed to indicate dips into Free Indirect Discourse (third person narration containing the essence of first-person voice). It is not necessary to start a new paragraph for Free Indirect Discourse though you may sometimes find this appropriate.

    She didn’t mean it, but how on Earth was she meant to explain that to Marta?

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How to Write Dialogue: Rules, Examples, and 8 Tips for Engaging Dialogue

by Fija Callaghan

You’ll often hear fiction writers talking about “character-driven stories”—stories where the strengths, weaknesses, and aspirations of the central cast of characters stay with us long after the book is closed. But what drives character, and how do we create characters that leave long-lasting impressions?

The answer lies in dialogue : the device used by our characters to communicate with each other. Powerful dialogue can elevate a story and subtly reveal important information, but poorly written dialogue can send your work straight to the slush bin. Let’s look at what dialogue is in writing, how to properly format dialogue, and how to make your characters’ dialogue the best it can be.

What is dialogue in a story?

Dialogue is the verbal exchange between two or more characters. In most fiction, the exchange is in the form of a spoken conversation. However, conversations in a story can also be things like letters, text messages, telepathy, or even sign language. Any moment where two characters speak or connect with each other through their choice of words, they’re engaging in dialogue.

Why does dialogue matter in a story?

We use dialogue in a story to reveal new information about the plot, characters, and story world. Great dialogue is essential to character development and helps move the plot forward in a story.

Writing good dialogue is a great way to sneak exposition into your story without stating it overtly to the reader; you can also use tools like dialect and diction in your dialogue to communicate more detail about your characters.

Through a character’s dialogue, we can learn about their motivations, relationships, and understanding of the world around them.

A character won’t always say what they mean (more on dialogue subtext below), but everything they say will serve some larger purpose in the story. If your dialogue is well-written, the reader will absorb this information without even realizing it. If your dialogue is clunky, however, it will stand out and pull your reader away from your story.

Rules for writing dialogue

Before we get into how to make your dialogue realistic and engaging, let’s make sure you’ve got the basics down: how to properly format dialogue in a story. We’ll look at how to punctuate dialogue, how to write dialogue correctly when using a question mark or exclamation point, and some helpful dialogue writing examples.

Here are the need-to-know rules for formatting dialogue in writing.

Enclose lines of dialogue in double quotation marks

This is the most essential rule in basic dialogue punctuation. When you write dialogue in North American English, a spoken line will have a set of double quotation marks around it. Here’s a simple dialogue example:

“Were you at the party last night?”

Any punctuation such as periods, question marks, and exclamation marks will also go inside the quotation marks. The quotation marks give a visual clue to the reader that this line is spoken out loud.

In European or British English, however, you’ll often see single quotation marks being used instead of double quotation marks. All the other rules stay the same.

Enclose nested dialogue in single quotation marks

Nested dialogue is when one line of dialogue happens inside another line of dialogue—when someone is verbally quoting someone else. In North American English, you’d use single quotation marks to identify where the new dialogue line starts and stops, like this:

“And then, do you know what he said to me? Right to my face, he said, ‘I stayed home all night.’ As if I didn’t even see him.”

The double and single quotation marks give the reader clues as to who’s speaking. In European or British English, the quotation marks would be reversed; you’d use single quotation marks on the outside, and double quotation marks on the inside.

Every speaker gets a new paragraph

Every time you switch to a new speaker, you end the line where it is and start a new line. Here are some dialogue examples to show you how it looks:

“Were you at the party last night?” “No, I stayed home all night.”

The same is true if the new “speaker” is only in focus because of their action. You can think of the paragraphs like camera angles, each one focusing on a different person:

“Were you at the party last night?” “No, I stayed home all night.” She raised a single, threatening eyebrow. “Yeah, I wasn’t feeling that well, so I just stayed in and watched Netflix instead.”

If you kept the action on the same line as the dialogue, it would get confusing and make it look like she was the one saying it. Giving each character a new paragraph keeps the speakers clear and distinct.

Use em-dashes when dialogue gets cut short

If your character begins to speak but is interrupted, you’ll break off their line of dialogue with an em-dash, like this:

“Yeah, I wasn’t feeling that well, so I just stayed in and—” “Is that really what happened?”

Be careful with this one, because many word processors will treat your em-dash like the beginning of a new sentence and attach your closing quotation marks backwards:

“Yeah, I wasn’t feeling that well, so I just stayed in and—“

You may need to keep an eye out and adjust as you go along.

In this dialogue example, the new speaker doesn’t lead with an em-dash; they just start speaking like normal. The only time you’ll ever open a line of dialogue with an em-dash is if the speaker who’s been cut off continues with what they were saying:

“Yeah, I wasn’t feeling that well, so I just stayed in and—” “Is that really what happened?” “—watched Netflix instead. Yes, that’s what happened.”

This shows the reader that there’s actually only one line of dialogue, but it’s been cut in the middle by another speaker.

Each line of dialogue is indented

Every time you give your speaker a new paragraph, it’s indented from the left-hand side. Many word processors will do this automatically. The only exception is if your dialogue is opening your story or a new section of your story, such as a chapter; these will always start at the far left margin of the page, whether they’re dialogue or narration.

Long speeches don’t use use closing quotation marks until the end

Most writers favor shorter lines of dialogue in their writing, but sometimes you might need to give your character a longer one—for instance, if the character speaking is giving a speech or telling a story. In these cases, you might choose to break up their speech into shorter paragraphs the way you would if you were writing regular narrative.

However, here the punctuation gets a bit weird. You’ll begin the character’s dialogue with a double quotation mark, like normal. But you won’t use a double quotation mark at the end of the paragraph, because they haven’t finished speaking yet. But! You’ll use another opening quotation mark at the beginning of the subsequent paragraph. This means that you may use several opening double quotation marks for your character’s speech, but only ever one closing quotation mark.

If your character is telling a story that involves people talking, remember to use single quotation marks for your dialogue-within-dialogue as we looked at above.

Sometimes these dialogue formatting rules are easier to catch later on, during the editing process. When you’re writing, worry less about using the exact dialogue punctuation and more about writing great dialogue that supports your character development and moves the story forward.

How to use dialogue tags

Dialogue tags help identify the speaker. They’re especially important if you have a group of people all talking together, and it can get pretty confusing for the reader trying to keep everybody straight. If you’re using a speech tag after your line of dialogue—he said, she said, and so forth—you’ll end your sentence with a comma, like this:

“No, I stayed home all night,” he said.

But if you’re using an action to identify the person speaking instead, you’ll punctuate the sentence like normal and start a new sentence to describe the action taking place:

“No, I stayed home all night.” He looked down at his feet.

The dialogue tags and action tags always follow in the same paragraph. When you move your story lens to a new person, you’ll switch to a new paragraph. Each line where a new person speaks propels the story forward.

When to use capitals in dialogue tags

You may have noticed in the two examples above that one dialogue tag begins with a lowercase letter, and one—which is technically called an action tag—begins with a capital letter. Confusing? The rules are simple once you get a little practice.

When you use a dialogue tag like “he said,” “she said,” “he whispered,” or “she shouted,” you’re using these as modifiers to your sentence—dressing it up with a little clarity. They’re an extension of the sentence the person was speaking. That’s why you separate them with a comma and keep going.

With an action tag , you’re ending one sentence and beginning a whole new one. Each sentence represents two distinct moments in the story. That’s why you end the first sentence with a period, and then open the next one with a capital letter.

If you’re not sure, try reading them out loud:

“No, I stayed home all night,” he said. “No, I stayed home all night.” He looked down at his feet.

Since you can’t hear quotation marks out loud, the way you say them will show you if they’re one sentence or two. In the first example, you can hear how the sentence keeps going after the dialogue ends. In the second example, you can hear how one sentence comes to a full stop and another one begins.

But what if your dialogue tag comes before the dialogue, instead of after? In this case, the dialogue is always capitalized because the speaker is beginning a new sentence:

He said, “No, I stayed home all night.” He looked down at his feet. “No, I stayed home all night.”

You’ll still use a comma after the dialogue tag and a period after the action tag, just like if you’d separate them if you were putting your tag at the end.

If you’re not sure, ask yourself if your leading tag sounds like a full sentence or a partial sentence. If it sounds like a partial sentence, it gets a comma. If it reads like a full sentence that stands on its own, it gets a period.

External vs. internal dialogue

All of the dialogue we’ve looked at so far is external dialogue, which is directed from one character to another. The other type of dialogue is internal dialogue, or inner dialogue, where a character is talking to themselves. You’ll use this when you want to show what a character is thinking, but other characters can’t hear.

Usually, internal dialogue will be written in italics to distinguish it from the rest of the text. That shows the reader that the line is happening inside the character’s head. For example:

It’s not a big deal, she thought. It’s just a new school. It’ll be fine. I’ll be fine.

Here you can see that the dialogue tag is used in the same way, just as if it was a line of external dialogue. However, “she thought” is written in regular text because it’s not a part of what the character is thinking. This helps keep everything clear for the reader.

In your story, you can play with using contrasting internal and external dialogue to show that what your characters say isn’t always what they mean. You may also choose to use this internal dialogue formatting if you’re writing dialogue between two or more characters that isn’t spoken out loud—for instance, telepathically or by sign language.

8 tips for creating engaging dialogue in a story

Now that you’ve mastered the mechanics of how to write dialogue, let’s look at how to create convincing, compelling dialogue that will elevate your story.

1. Listen to people talk

To write convincingly about people, you’ll first need to know something about them. The work of great writers is often characterized by their insight into humanity; you read them and think, “Yes, this is exactly what people are like.” You can begin accumulating your own insight by listening to what real people say to each other.

You can go to any public place where people are likely to gather and converse: cafés, art galleries, political events, dimly lit pubs, bookshops. Record snippets of conversation, pay attention to how people’s voices change as they move from speaking to one person to another, try to imagine what it is they’re not saying, the words simmering just under the surface.

By listening to stories unfold in real time, you’ll have a better idea of how to recreate them in your writing—and inspiration for some new stories, too.

2. Give each spoken line a purpose

Here is something that actors have drilled into their heads from their first day at drama school, and writers would do well to remember it too: every single line of dialogue has a hidden motivation. Every time your character speaks, they’re trying to achieve something, either overtly or covertly.

Small talk is rare in fiction, because it doesn’t advance the plot or reveal something about your characters. The exception is when your characters are using their small talk for a specific purpose, such as to put off talking about the real issue, to disarm someone, or to pretend they belong somewhere they don’t.

When writing your own dialogue, ask yourself what the line accomplishes in the story. If you come up blank, it probably doesn’t need to be there. Words need to earn their place on the page.

3. Embrace subtext

In real life, we rarely say exactly what we really mean. The reality of polite society is that we’ve evolved to speak in circles around our true intentions, afraid of the consequences of speaking our mind. Your characters will be no different. If your protagonist is trying to tell their best friend they’re in love with them, for instance, they’ll come up with about fifty different ways to say it before speaking the deceptively simple words themselves.

To write better dialogue, try exploring different ways of moving your characters around what’s really being said, layering text and subtext side by side. The reader will love picking apart the conversation between your characters and deducing what’s really happening underneath (incidentally, this is also the place where fan fiction is born).

4. Keep names to a minimum

You may notice that on television, in moments of great upheaval, the characters will communicate exactly how important the moment is by saying each other’s names in dramatic bursts of anger/passion/fear/heartbreak/shock. In real life, we say each other’s names very rarely; saying someone’s name out loud can actually be a surprisingly intimate experience.

Names may be a necessary evil right at the beginning of your story so your reader knows who’s who, but after you’ve established your cast, try to include names in dialogue only when it makes sense to do so. If you’re not sure, try reading the dialogue out loud to see if it sounds like something someone would actually say (we’ll talk more about reading out loud below).

5. Prune unnecessary words

This is one area where reality and story differ. In life, dialogue is full of filler words: “Um, uh, well, so yeah, then I was like, erm, huh?” You may have noticed this when you practiced listening to dialogue, above. We won’t say there’s never a place for these words in fiction, but like all words in storytelling, they need to earn their place. You might find filler words an effective tool for showing something about one particular character, or about one particular moment, but you’ll generally find that you use them a lot less than people really do in everyday speech.

When you’re reviewing your characters’ dialogue, remember the hint above: each line needs a purpose. It’s the same for each word. Keep only the ones that contribute something to the story.

6. Vary word choices and rhythms

The greatest dialogue examples in writing use distinctive character voices; each character sounds a little bit different, because they have their own personality.

This can be tricky to master, but an easy way to get started is to look at the word choice and rhythm for each character. You might have one character use longer words and run-on sentences, while another uses smaller words and simple, single-clause sentences. You might have one lean on colloquial regional dialect, where another sounds more cosmopolitan. Play around with different ways to develop characters and give each one their own voice.

7. Be consistent for each character

When you do find a solid, believable voice for your character, make sure that it stays consistent throughout your entire story. It’s easy to set a story aside for a while, then return to it and forget some of the work you did in distinguishing your characters’ dialogue. You might find it helpful to write down some notes about the way each character speaks so you can refer back to it later.

The exception, of course, is if your character’s speech pattern goes through a transformation over the course of the story, like Audrey Hepburn in My Fair Lady . In this case, you can use your character’s distinctive voice to communicate a major change. But as with all things in writing, make sure that it comes from intention and not from forgetfulness.

8. Read your dialogue out loud

After you’ve written a scene between two or more characters, you can take the dialogue for a trial run by speaking it out loud. Ask yourself, does the dialogue sound realistic? Are there any moments where it drags or feels forced? Does the voice feel natural for each character? You’ll often find there are snags you miss in your writing that only become apparent when read out loud. Bonus: this is great practice for when you become rich and famous and do live readings at bookshops.

3 mistakes to avoid when writing dialogue

Easy, right? But there are also a few pitfalls that new writers often encounter when writing dialogue that can drag down an otherwise compelling story. Here are the things to watch out for when crafting your story dialogue.

1. Too much exposition

Exposition is one of the more demanding literary devices , and one of the ones most likely to trip up new writers. Dialogue is a good place to sneak in some information about your story—but subtlety is essential. This is one place where the adage “show, don’t tell” really shines.

Consider these dialogue examples:

“How is she, Doctor?” “Well Mr. Stuffington, I don’t have to remind you that your daughter, the sole heiress to your estate and currently engaged to the Baron of Flippingshire, has suffered a grievous injury when she fell from her horse last Sunday. We don’t need to discuss right now whether or not you think her jealous maid was responsible; what matters is your daughter’s well being. As to your question, I’m afraid it’s very unlikely that she’ll ever walk again.” Can’t you just feel your arm aching to throw the poor book across the room? There’s a lot of important information here, but you can find subtler ways to work it into your story. Let’s try again: “How is she, Doctor?” “Well Mr. Stuffington, your daughter took quite a blow from that horse—worse than we initially thought. I’m afraid it’s very unlikely that she’ll ever walk again.” “And what am I supposed to say to Flippingshire?” “The Baron? I suppose you’ll have to tell him that his future wife has lost the use of her legs.”

And so forth. To create good dialogue exposition, look for little ways to work in the details of your story, instead of piling it up in one great clump.

2. Too much small talk

We looked at how each line of dialogue needs a specific purpose above. Very often small talk in a story happens because the writer doesn’t know what the scene is about. Small talk doesn’t move the scene along unless it’s there for a reason. If you’re not sure, ask yourself what each character wants in this moment.

For example, imagine you’re in an office, and two characters are talking by the water cooler. How was your weekend, what did you think of the game, how’s your wife doing, are those new shoes, etc etc. Can’t you just feel the reader’s will to live slipping away?

But what about this: your characters are talking by the water cooler—Character A and Character B. Character A knows that his friend is inside Character B’s office looking for evidence of corporate espionage, so A is doing everything he can to stop B from going in. How was your weekend, what did you think of the game, how’s your wife doing, are those new shoes, literally anything just to keep him talking. Suddenly these benign little phrases have a purpose.

If you find your characters slipping into small talk, double check that it’s there for a purpose, and not just a crutch to keep you from moving forward in your scene. When writing dialogue, Make each line of dialogue earn its place.

3. Too much repetition

Variation is the spice of a good story. To keep your readers engaged, avoid using the same sentence structure and the same dialogue tags over and over again. Using “he said” and “she said” is effective and clear cut, but only for about three beats. After that, try switching to an action tag instead or letting the line of dialogue stand on its own.

You can also experiment with varying the length of your sentences or groupings of sentences. By changing up the rhythm of your story regularly, you’ll keep it feeling fresh and present for the reader.

Effective dialogue examples from literature

With all of these tips and tricks in mind, let’s look at how other writers have used good dialogue to elevate their stories.

Eleanor Oliphant is Completely Fine , by Gail Honeyman

“I’m going to pick up a carryout and head round to my mate Andy’s. A few of us usually hang out there on Saturday nights, fire up the playstation, have a smoke and a few beers.” “Sounds utterly delightful,” I said. “What about you?” he asked. I was going home, of course, to watch a television program or read a book. What else would I be doing? “I shall return to my flat,” I said. “I think there might be a documentary about komodo dragons on BBC4 later this evening.”

In this dialogue example, the author gives her characters two very distinctive voices. From just a few words we can begin to see these people very clearly in our minds—and with this distinction comes the tension that drives the story. Dialogue is an excellent place to show your character dynamics using speech patterns and word choices.

Pride and Prejudice , by Jane Austen

“My dear Mr. Bennet,” said his lady to him one day, “have you heard that Netherfield Park is let at last?” Mr. Bennet replied that he had not. “But it is,” returned she; “for Mrs. Long has just been here, and she told me all about it.” Mr. Bennet made no answer. “Do you not want to know who has taken it?” cried his wife impatiently. “You want to tell me, and I have no objection to hearing it.” This was invitation enough. “Why, my dear, you must know, Mrs. Long says that Netherfield is taken by a young man of large fortune from the north of England; that he came down on Monday in a chaise and four to see the place, and was so much delighted with it, that he agreed with Mr. Morris immediately; that he is to take possession before Michaelmas, and some of his servants are to be in the house by the end of next week.”

In this famous dialogue example, the author illustrates the relationship between these two characters clearly and succinctly. Their dialogue shows Mr. B’s stalwart, tolerant love for his wife and Mrs. B’s excitement and propensity for gossip. The author shows us everything we need to know about these people in just a few lines.

Dinner in Donnybrook , by Maeve Binchy

“Look, I thought you ought to know, we’ve had a very odd letter from Carmel.” “A what… from Carmel?” “A letter. Yes, I know it’s sort of out of character, I thought maybe something might be wrong and you’d need to know…” “Yes, well, what did she say, what’s the matter with her?” “Nothing, that’s the problem, she’s inviting us to dinner.” “To dinner?” “Yes, it’s sort of funny, isn’t it? As if she wasn’t well or something. I thought you should know in case she got in touch with you.” “Did you really drag me all the way down here, third years are at the top of the house you know, I thought the house had burned down! God, wait till I come home to you. I’ll murder you.” “The dinner’s in a month’s time, and she says she’s invited Ruth O’Donnell.” “Oh, Jesus Christ.”

This dialogue example is a telephone conversation between two people. The lack of dialogue tags or action tags allows the words to come to the forefront and immerses us in their back-and-forth conversation. Even though there are no tags to indicate the speakers, the language is simple and straightforward enough that the reader always knows who’s talking. Through this conversation the author slowly builds the tension from the benign to the catastrophic within a domestic setting.

Compelling dialogue is the key to a good story

A writer has a lot riding on their characters’ dialogue, and learning how to write dialogue is a critical skill for any writer. When done well, it can leaves a lasting impact on the reader. But when dialogue is clumsy and awkward, it can drag your story down and make your reader feel like they’re wasting their time.

But if you keep these tips in mind, listen to dialogue in your everyday life, and practice , you’ll be sure to create realistic dialogue that brings your story to life.

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Writing Dialogue [20 Best Examples + Formatting Guide]

Have you ever found yourself cringing at clunky dialogue while reading a book or watching a movie? I know I have.

It’s like nails on a chalkboard, completely ruining the experience. But on the flip side, well-written dialogue can transform a story. It’s the magic that makes characters leap off the page, immersing us in their world.

As a writer, I’m fascinated by the mechanics of great dialogue.

So here are 20 of the best examples of writing dialogue that brings your story to life.

Example 1: Dialogue that Reveals Character

Table of Contents

One of the most powerful functions of dialogue is to shed light on your characters’ personalities.

The way they speak – their word choice, tone, even their hesitations – can tell us so much about who they are. Check out this example:

“Look, I ain’t gonna sugarcoat this,” the detective growled, his knuckles whitening as he gripped the chair. “You were spotted leaving the scene, and the murder weapon’s got your prints all over it.”

Without any lengthy description, we get a sense of this detective as a no-nonsense, direct type of guy.

Example 2: Dialogue that Builds Tension

Dialogue can become this amazing tool to ratchet up the tension in a scene.

Short, clipped exchanges and carefully placed silences can leave the reader on the edge of their seat.

Here’s how it might play out:

“Do you hear that?” Sarah whispered. “Hear what?” A scratching noise echoed from the attic. Sarah’s eyes widened. “It’s coming back.”

The suspense is killing me just writing that!

Example 3: Dialogue that Drives the Plot

Conversations aren’t just about characters sitting around and chatting.

Great dialogue should actively push the story forward. It can set up a conflict, reveal key information, or change the course of events.

Take a look at this:

“I’ve made my decision,” the king declared, the crown heavy on his brow. “We go to war.”

A single line, and the whole trajectory of the story shifts.

Formatting Tips: The Basics

Now, before we get carried away, let’s cover some essential dialogue formatting rules.

Think of these as the grammar of a good conversation.

• Quotation Marks:  Yep, those little squiggles are your best friend. They signal to the reader: “Hey! Someone’s talking!”
• New Speaker, New Paragraph:  Whenever a different character starts talking, give them a new paragraph. It’s all about keeping things easy to follow.
• Dialogue Tags:  These are the little phrases like “he said” or “she replied.” Use them, but try not to overuse them. A well-placed action beat can often do a better job of showing who’s speaking.

Example 4: Dialogue that Creates Humor

Dialogue can be ridiculously funny when done well.

The key? Snappy exchanges, playful misunderstandings, and just a dash of absurdity. Consider this:

“I saw the weirdest thing at the grocery store today,” Tom said, “A woman arguing with a head of lettuce.” “Was she winning?” Lily asked, a grin playing on her lips.

You can almost hear the deadpan delivery, can’t you?

Example 5: Dialogue that Shows Relationships

The way characters speak to each other says a ton about the dynamics between them.

Is there warmth, hostility, an underlying power struggle? Dialogue can paint a crystal-clear picture. Imagine this exchange:

“You didn’t do the dishes again?” Sarah sighed, hands planted on her hips. “Aw, c’mon babe. I was busy,” Mike whined, avoiding her gaze.

We instantly sense the long-suffering tone from Sarah and the playful guilt from Mike.

Example 6: Dialogue with Subtext

The most interesting dialogue often has layers. What the characters say might not be exactly what they mean.

This is where subtext comes in – the unspoken thoughts and feelings bubbling beneath the surface.

Take this snippet:

“It’s a nice ring,” Emily said, her voice flat. “You don’t like it?” Mark’s brow furrowed. Emily shrugged. “It’s fine.”

Is Emily truly indifferent? Or is she masking disappointment, perhaps a sense of something not being quite right? Subtext makes us read between the lines.

Formatting Tips: Getting Fancy

Now, let’s spice things up with a few more advanced formatting tricks:

• Ellipses (…):  These little dots are perfect for showing a character trailing off, hesitating, or searching for words. Example: “I…I don’t know what to say.”
• Em Dashes (—):  These guys can interrupt a thought or indicate a sudden change in direction. Example: “I was going to apologize, but then — well, you’re still being a jerk.”
• Internal Dialogue:  Instead of quotation marks, sometimes you’ll want to italicize a character’s inner thoughts. Example:  Why did I say that? I’m such an idiot.

Cautionary Note

It’s important to remember: dialogue shouldn’t feel like an interrogation. Avoid rigid “question-answer, question-answer” patterns. Real conversations flow and meander naturally.

Example 7: Dialogue with Dialects and Accents

Regional dialects and accents can bring so much flavor to your characters, but it’s a delicate balance.

You want to add authenticity without it becoming a caricature or making it hard to understand.

Here’s a subtle example:

“Well, I’ll be darned,” drawled the farmer, squinting at the sky. “Looks like a storm’s brewin’.”

Notice how just a few word choices and a slight change in pronunciation hint at the speaker’s background.

Example 8: Dialogue in Groups

Writing conversations with more than two people can get chaotic fast. The key is clarity.

Here are a few tips:

• Strong Dialogue Tags:  Sometimes, you need to be more specific than just “he said” or “she said”. Example: “Don’t be ridiculous,” scoffed Sarah.
• Action Beats:  Break up chunks of dialogue with actions that show who’s speaking. Example: Tom slammed his fist on the table. “I won’t stand for this!”

Example 9: Dialogue Over the Phone (or Other Technology)

Conversations where characters aren’t physically together pose unique challenges.

You can’t rely on body language cues. Instead, focus on conveying tone and potential misunderstandings.

For instance:

“Hello?” Sarah’s voice crackled through the phone. A long pause. “Sarah, is that you?” “Mom? Why are you whispering?”

Instantly there’s a sense of distance and something not being quite right.

Example 10: Inner Monologue with a Twist

We often think of internal dialogue as a single character reflecting, but sometimes our inner voices can argue.

This can be a powerful way to showcase internal conflict.

Here’s how it might look:

You should just tell him how you feel, one voice chimed. Are you crazy? the other shrieked back. He’ll never feel the same way .

This creates a vivid picture of a character torn between opposing desires.

Example 11: Dialogue With a Manipulative Character

Manipulative characters often use language as a weapon.

They might use guilt trips, flattery, or veiled threats to get what they want.

Consider this:

“After everything I’ve done for you…” The old woman sighed, a flicker of disappointment in her eyes. “Well, I guess I shouldn’t expect gratitude.”

Notice how she doesn’t directly ask for anything, instead hinting at a debt, leaving the listener feeling uneasy and obligated.

Example 12: Dialogue Across Time Periods

If you’re writing historical fiction or anything with time travel elements, you’ll need to capture the distinct speech patterns of different eras.

Imagine this exchange:

“Gadzooks! What manner of contraption is this?” The Victorian gentleman exclaimed, staring in bewilderment at the smartphone. “It’s a phone,” the teenager replied, barely suppressing a laugh. “Let me show you.”

This little snippet highlights the potential for both humor and linguistic challenges when worlds collide.

Formatting Tip: Dialogue Without Tags

Sometimes, for a rapid-fire or dreamlike effect, you might want to ditch the “he said” or “she asked” altogether.

It’s a bold move, but it can be effective if done sparingly.

Check this out:

“Where are you going?” “Away.” “When will you be back?” “I don’t know.” “Please don’t leave me.”

This creates a sense of urgency, the raw exchange forcing us to focus solely on the words themselves.

Example 13: Dialogue that Shows Transformation

A great way to showcase how a character develops is through shifts in how they speak.

Maybe they become bolder, quieter, or their vocabulary changes.

Let’s see an example:

Scene 1: “I-I don’t know,” Emily whimpered, cowering in the corner. Scene 2 (Later in the story): “That’s it. I’m not taking this anymore!” Emily declared, her chin held high.

The dialogue itself reflects her transformation from victim to someone ready to stand up for herself.

Example 14: Dialogue that’s Just Plain Weird

It’s okay to get strange sometimes.

Absurdist humor or unsettling conversations can add a unique flavor to your story. Just be sure it fits the overall tone.

“Do you believe in cucumbers?” the man asked, his eyes wide and unblinking. “Excuse me?” “Cucumbers, my dear. Agents of the underground vegetable kingdom.”

This immediately creates a sense of oddness and perhaps a touch of unease. Is this guy crazy, or is there something more going on?

Example 15: Dialogue with a Purpose

Remember, good dialogue isn’t just about being entertaining.

It should move your story along. Here are some functions dialogue can serve:

• Providing Exposition:  Sometimes, you need to inform the reader of backstory or world-building details. Trickle information through natural conversation rather than an information dump.
• Foreshadowing:  Subtle hints within a conversation can foreshadow future events or create a sense of unease for the reader.
• Revealing a Twist:  A single line of dialogue can completely flip the script and reframe everything that came before.

Example 16: Dialogue with Non-Verbal Elements

So much of communication happens beyond just words.

Sighs, laughs, and gestures can add richness to dialogue on the page.

“I’m fine,” she said, crossing her arms and looking away.

Notice how the body language contradicts her words, hinting at inner turmoil.

Example 17: Silence as Dialogue

Sometimes, what isn’t said is the most powerful thing of all.

A pregnant pause or a character refusing to speak can convey volumes.

Imagine this:

“So, will you help me or not?” Tom pleaded. Sarah stared at him, her lips a thin line. Finally, she turned and walked away.

The lack of a verbal response speaks louder than any words could.

Example 18: Dialogue With Humorous Effect

A well-timed O.S. voice can deliver a funny remark or punchline, undercutting the seriousness of a scene or taking a moment in an unexpected comedic direction.

INT. CLASSROOM – DAY The teacher drones on about the causes of the American Revolution, his voice as dull as the worn textbook in front of him. KEVIN tries to stifle his yawns, failing miserably. STUDENT (O.S.) Is he ever going to stop talking? My brain just turned to mush. Snickers ripple through the class. The teacher pauses, a look of annoyance flickering across his face. Kevin shoots a desperate look towards the source of the O.S. voice.

• Timing is everything. The best comedic O.S. lines act as a witty reaction to something else happening in a scene. The student’s comment comes right as Kevin’s boredom peaks.
• Subverting expectations is funny. The audience expects the scene to continue with a stern reprimand for speaking out of turn, but the script doesn’t give us that. This leaves room for further humor.
• Consider the tone of the voice – sarcastic, matter-of-fact, or outright whiny? This adds to the comedic effect.

Example 19: Dialogue With Unexpected Reveals

Think of this as a surprise twist using O.S. dialogue.

The audience (and maybe even some characters) are led to believe one thing, only for an O.S. voice to reveal something completely unexpected, shifting the scene’s dynamic.

INT. POLICE INTERROGATION ROOM – NIGHTDETECTIVE HARRIS paces in front of a nervous SUSPECT. Photos of the crime scene are scattered on the table. HARRIS Don’t lie to me! We’ve got witnesses who saw you at the scene. SUSPECT I – I swear, I had nothing to do with it! I was… I was with my girlfriend. Harris leans in, a triumphant glint in her eyes. She claps her hands sharply, startling the suspect. WOMAN (O.S.) That’s a lie! He was nowhere near me last night! The suspect whips around. His face pales as we hear the sound of the interrogation room door swinging open…

• The power lies in the build-up. The initial dialogue and the characters’ reactions should lead the audience to believe one outcome, making the O.S. interruption all the more impactful.
• Consider who speaks the O.S. line. Is it someone the audience recognizes, or a totally new character whose identity becomes a new mystery?
• Play with the proximity of the voice. Is it right outside the room, adding to the dramatic reveal as the door opens, or is it more distant – perhaps a voice over an intercom – for an even more unsettling effect?

Example 20: Dialogue With a “Haunted” Feeling

Explanation: O.S. can be used to create an eerie or unsettling atmosphere, particularly in horror or psychological thrillers. This could be unexplained voices, creepy whispers, or sounds that hint at a supernatural (or simply unnerving) presence.

INT. OLD MANSION – NIGHTSARAH explores the abandoned mansion, flashlight cutting through the thick dust. Cobwebs cling to every surface. A faint WHISPER drifts through the air, seeming to come from everywhere at once. Sarah freezes. VOICE (O.S.) Get out… leave this place… Sarah’s breath catches in her throat. She hesitantly follows the direction of the voice, her flashlight beam trembling.

• Less is more. The vaguer and more inexplicable the O.S. voice, the more chilling it becomes.
• Layer sounds for a full creepy effect. Combine whispers with unexpected bangs, creaks, or the faint sound of footsteps following behind Sarah.
• Play with audience expectations. If the script initially leads the audience to think the house is merely abandoned, the O.S. voices become that much more terrifying.

Here is a good video about writing dialogue:

Additional Dialogue Tips & Tricks

• Read Your Dialogue Aloud:  This is the best way to catch awkward phrasing or unnatural rhythms. Our ears often pick up on what our eyes might miss.
• Less is More:  Don’t feel the need to have every single interaction be profound. Sometimes a simple “Hey” or “Thanks” can do the job just fine.
• Eavesdrop:  Paying attention to real-life conversations is fantastic research. Note the pauses, the filler words, the way people interrupt each other.

Final Thoughts: Writing Dialogue

Phew! We did it!

Does that feel like a solid collection of dialogue examples? We haven’t covered absolutely every scenario, but I hope these illustrate the vast potential within dialogue to bring your stories to life.

Read This Next:

• How To Use Action Tags in Dialogue: Ultimate Guide
• How Do Writers Fill a Natural Pause in Dialogue? [7 Crazy Effective Ways]
• Can You Start a Novel with Dialogue?
• How To Write A Southern Accent (17 Tips + Examples)
• How to Write a French Accent (13 Best Tips with Examples)

Direct and Indirect Speech: Useful Rules and Examples

Are you having trouble understanding the difference between direct and indirect speech? Direct speech is when you quote someone’s exact words, while indirect speech is when you report what someone said without using their exact words. This can be a tricky concept to grasp, but with a little practice, you’ll be able to use both forms of speech with ease.

Direct and Indirect Speech

When someone speaks, we can report what they said in two ways: direct speech and indirect speech. Direct speech is when we quote the exact words that were spoken, while indirect speech is when we report what was said without using the speaker’s exact words. Here’s an example:

Direct speech: “I love pizza,” said John. Indirect speech: John said that he loved pizza.

Using direct speech can make your writing more engaging and can help to convey the speaker’s tone and emotion. However, indirect speech can be useful when you want to summarize what someone said or when you don’t have the exact words that were spoken.

To change direct speech to indirect speech, you need to follow some rules. Firstly, you need to change the tense of the verb in the reported speech to match the tense of the reporting verb. Secondly, you need to change the pronouns and adverbs in the reported speech to match the new speaker. Here’s an example:

Direct speech: “I will go to the park,” said Sarah. Indirect speech: Sarah said that she would go to the park.

It’s important to note that when you use indirect speech, you need to use reporting verbs such as “said,” “told,” or “asked” to indicate who is speaking. Here’s an example:

Direct speech: “What time is it?” asked Tom. Indirect speech: Tom asked what time it was.

In summary, understanding direct and indirect speech is crucial for effective communication and writing. Direct speech can be used to convey the speaker’s tone and emotion, while indirect speech can be useful when summarizing what someone said. By following the rules for changing direct speech to indirect speech, you can accurately report what was said while maintaining clarity and readability in your writing.

Differences between Direct and Indirect Speech

When it comes to reporting speech, there are two ways to go about it: direct and indirect speech. Direct speech is when you report someone’s exact words, while indirect speech is when you report what someone said without using their exact words. Here are some of the key differences between direct and indirect speech:

Change of Pronouns

In direct speech, the pronouns used are those of the original speaker. However, in indirect speech, the pronouns have to be changed to reflect the perspective of the reporter. For example:

• Direct speech: “I am going to the store,” said John.
• Indirect speech: John said he was going to the store.

In the above example, the pronoun “I” changes to “he” in indirect speech.

Change of Tenses

Another major difference between direct and indirect speech is the change of tenses. In direct speech, the verb tense used is the same as that used by the original speaker. However, in indirect speech, the verb tense may change depending on the context. For example:

• Direct speech: “I am studying for my exams,” said Sarah.
• Indirect speech: Sarah said she was studying for her exams.

In the above example, the present continuous tense “am studying” changes to the past continuous tense “was studying” in indirect speech.

Change of Time and Place References

When reporting indirect speech, the time and place references may also change. For example:

• Direct speech: “I will meet you at the park tomorrow,” said Tom.
• Indirect speech: Tom said he would meet you at the park the next day.

In the above example, “tomorrow” changes to “the next day” in indirect speech.

Overall, it is important to understand the differences between direct and indirect speech to report speech accurately and effectively. By following the rules of direct and indirect speech, you can convey the intended message of the original speaker.

Converting Direct Speech Into Indirect Speech

When you need to report what someone said in your own words, you can use indirect speech. To convert direct speech into indirect speech, you need to follow a few rules.

Step 1: Remove the Quotation Marks

The first step is to remove the quotation marks that enclose the relayed text. This is because indirect speech does not use the exact words of the speaker.

Step 2: Use a Reporting Verb and a Linker

To indicate that you are reporting what someone said, you need to use a reporting verb such as “said,” “asked,” “told,” or “exclaimed.” You also need to use a linker such as “that” or “whether” to connect the reporting verb to the reported speech.

For example:

• Direct speech: “I love ice cream,” said Mary.
• Indirect speech: Mary said that she loved ice cream.

Step 3: Change the Tense of the Verb

When you use indirect speech, you need to change the tense of the verb in the reported speech to match the tense of the reporting verb.

• Indirect speech: John said that he was going to the store.

Step 4: Change the Pronouns

You also need to change the pronouns in the reported speech to match the subject of the reporting verb.

• Direct speech: “Are you busy now?” Tina asked me.
• Indirect speech: Tina asked whether I was busy then.

By following these rules, you can convert direct speech into indirect speech and report what someone said in your own words.

Converting Indirect Speech Into Direct Speech

Converting indirect speech into direct speech involves changing the reported speech to its original form as spoken by the speaker. Here are the steps to follow when converting indirect speech into direct speech:

• Identify the reporting verb: The first step is to identify the reporting verb used in the indirect speech. This will help you determine the tense of the direct speech.
• Change the pronouns: The next step is to change the pronouns in the indirect speech to match the person speaking in the direct speech. For example, if the indirect speech is “She said that she was going to the store,” the direct speech would be “I am going to the store,” if you are the person speaking.
• Change the tense: Change the tense of the verbs in the indirect speech to match the tense of the direct speech. For example, if the indirect speech is “He said that he would visit tomorrow,” the direct speech would be “He says he will visit tomorrow.”
• Remove the reporting verb and conjunction: In direct speech, there is no need for a reporting verb or conjunction. Simply remove them from the indirect speech to get the direct speech.

Here is an example to illustrate the process:

Indirect Speech: John said that he was tired and wanted to go home.

Direct Speech: “I am tired and want to go home,” John said.

By following these steps, you can easily convert indirect speech into direct speech.

Examples of Direct and Indirect Speech

Direct and indirect speech are two ways to report what someone has said. Direct speech reports the exact words spoken by a person, while indirect speech reports the meaning of what was said. Here are some examples of both types of speech:

Direct Speech Examples

Direct speech is used when you want to report the exact words spoken by someone. It is usually enclosed in quotation marks and is often used in dialogue.

• “I am going to the store,” said Sarah.
• “It’s a beautiful day,” exclaimed John.
• “Please turn off the lights,” Mom told me.
• “I will meet you at the library,” said Tom.
• “We are going to the beach tomorrow,” announced Mary.

Indirect Speech Examples

Indirect speech, also known as reported speech, is used to report what someone said without using their exact words. It is often used in news reports, academic writing, and in situations where you want to paraphrase what someone said.

Here are some examples of indirect speech:

• Sarah said that she was going to the store.
• John exclaimed that it was a beautiful day.
• Mom told me to turn off the lights.
• Tom said that he would meet me at the library.
• Mary announced that they were going to the beach tomorrow.

In indirect speech, the verb tense may change to reflect the time of the reported speech. For example, “I am going to the store” becomes “Sarah said that she was going to the store.” Additionally, the pronouns and possessive adjectives may also change to reflect the speaker and the person being spoken about.

Overall, both direct and indirect speech are important tools for reporting what someone has said. By using these techniques, you can accurately convey the meaning of what was said while also adding your own interpretation and analysis.

Frequently Asked Questions

What is direct and indirect speech?

Direct and indirect speech refer to the ways in which we communicate what someone has said. Direct speech involves repeating the exact words spoken, using quotation marks to indicate that you are quoting someone. Indirect speech, on the other hand, involves reporting what someone has said without using their exact words.

How do you convert direct speech to indirect speech?

To convert direct speech to indirect speech, you need to change the tense of the verbs, pronouns, and time expressions. You also need to introduce a reporting verb, such as “said,” “told,” or “asked.” For example, “I love ice cream,” said Mary (direct speech) can be converted to “Mary said that she loved ice cream” (indirect speech).

What is the difference between direct speech and indirect speech?

The main difference between direct speech and indirect speech is that direct speech uses the exact words spoken, while indirect speech reports what someone has said without using their exact words. Direct speech is usually enclosed in quotation marks, while indirect speech is not.

What are some examples of direct and indirect speech?

Some examples of direct speech include “I am going to the store,” said John and “I love pizza,” exclaimed Sarah. Some examples of indirect speech include John said that he was going to the store and Sarah exclaimed that she loved pizza .

What are the rules for converting direct speech to indirect speech?

The rules for converting direct speech to indirect speech include changing the tense of the verbs, pronouns, and time expressions. You also need to introduce a reporting verb and use appropriate reporting verbs such as “said,” “told,” or “asked.”

What is a summary of direct and indirect speech?

Direct and indirect speech are two ways of reporting what someone has said. Direct speech involves repeating the exact words spoken, while indirect speech reports what someone has said without using their exact words. To convert direct speech to indirect speech, you need to change the tense of the verbs, pronouns, and time expressions and introduce a reporting verb.

You might also like:

• List of Adjectives
• Predicate Adjective
• Superlative Adjectives

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Dialogue Definition

What is dialogue? Here’s a quick and simple definition:

Dialogue is the exchange of spoken words between two or more characters in a book, play, or other written work. In prose writing, lines of dialogue are typically identified by the use of quotation marks and a dialogue tag, such as "she said." In plays, lines of dialogue are preceded by the name of the person speaking. Here's a bit of dialogue from Alice's Adventures in Wonderland : "Oh, you can't help that,' said the Cat: 'we're all mad here. I'm mad. You're mad." "How do you know I'm mad?" said Alice. "You must be,' said the Cat, 'or you wouldn't have come here."

Some additional key details about dialogue:

• Dialogue is defined in contrast to monologue , when only one person is speaking.
• Dialogue is often critical for moving the plot of a story forward, and can be a great way of conveying key information about characters and the plot.
• Dialogue is also a specific and ancient genre of writing, which often takes the form of a philosophical investigation carried out by two people in conversation, as in the works of Plato. This entry, however, deals with dialogue as a narrative element, not as a genre.

How to Pronounce Dialogue

Here's how to pronounce dialogue: dye -uh-log

Dialogue in Depth

Dialogue is used in all forms of writing, from novels to news articles to plays—and even in some poetry. It's a useful tool for exposition (i.e., conveying the key details and background information of a story) as well as characterization (i.e., fleshing out characters to make them seem lifelike and unique).

Dialogue as an Expository Tool

Dialogue is often a crucial expository tool for writers—which is just another way of saying that dialogue can help convey important information to the reader about the characters or the plot without requiring the narrator to state the information directly. For instance:

• In a book with a first person narrator, the narrator might identify themselves outright (as in Kazuo Ishiguro's Never Let Me Go , which begins "My name is Kathy H. I am thirty-one years old, and I've been a carer now for over eleven years.").
• Tom Buchanan, who had been hovering restlessly about the room, stopped and rested his hand on my shoulder. "What you doing, Nick?”

The above example is just one scenario in which important information might be conveyed indirectly through dialogue, allowing writers to show rather than tell their readers the most important details of the plot.

Expository Dialogue in Plays and Films

Dialogue is an especially important tool for playwrights and screenwriters, because most plays and films rely primarily on a combination of visual storytelling and dialogue to introduce the world of the story and its characters. In plays especially, the most basic information (like time of day) often needs to be conveyed through dialogue, as in the following exchange from Romeo and Juliet :

BENVOLIO Good-morrow, cousin. ROMEO Is the day so young? BENVOLIO But new struck nine. ROMEO Ay me! sad hours seem long.

Here you can see that what in prose writing might have been conveyed with a simple introductory clause like "Early the next morning..." instead has to be conveyed through dialogue.

Dialogue as a Tool for Characterization

In all forms of writing, dialogue can help writers flesh out their characters to make them more lifelike, and give readers a stronger sense of who each character is and where they come from. This can be achieved using a combination of:

• Colloquialisms and slang: Colloquialism is the use of informal words or phrases in writing or speech. This can be used in dialogue to establish that a character is from a particular time, place, or class background. Similarly, slang can be used to associate a character with a particular social group or age group.
• The form the dialogue takes: for instance, multiple books have now been written in the form of text messages between characters—a form which immediately gives readers some hint as to the demographic of the characters in the "dialogue."
• The subject matter: This is the obvious one. What characters talk about can tell readers more about them than how the characters speak. What characters talk about reveals their fears and desires, their virtues and vices, their strengths and their flaws.

For example, in Pride and Prejudice, Jane Austen's narrator uses dialogue to introduce Mrs. and Mr. Bennet, their relationship, and their differing attitudes towards arranging marriages for their daughters:

"A single man of large fortune; four or five thousand a year. What a fine thing for our girls!” “How so? How can it affect them?” “My dear Mr. Bennet,” replied his wife, “how can you be so tiresome! You must know that I am thinking of his marrying one of them.” “Is that his design in settling here?” “Design! Nonsense, how can you talk so! But it is very likely that he may fall in love with one of them, and therefore you must visit him as soon as he comes.”

This conversation is an example of the use of dialogue as a tool of characterization , showing readers—without explaining it directly—that Mrs. Bennet is preoccupied with arranging marriages for her daughters, and that Mr. Bennet has a deadpan sense of humor and enjoys teasing his wife.

Recognizing Dialogue in Different Types of Writing

It's important to note that how a writer uses dialogue changes depending on the form in which they're writing, so it's useful to have a basic understanding of the form dialogue takes in prose writing (i.e., fiction and nonfiction) versus the form it takes in plays and screenplays—as well as the different functions it can serve in each. We'll cover that in greater depth in the sections that follow.

Dialogue in Prose

In prose writing, which includes fiction and nonfiction, there are certain grammatical and stylistic conventions governing the use of dialogue within a text. We won't cover all of them in detail here (we'll skip over the placement of commas and such), but here are some of the basic rules for organizing dialogue in prose:

• Punctuation : Generally speaking, lines of dialogue are encased in double quotation marks "such as this," but they may also be encased in single quotation marks, 'such as this.' However, single quotation marks are generally reserved for quotations within a quotation, e.g., "Even when I dared him he said 'No way,' so I dropped the subject."
• "Where did you go?" she asked .
• I said , "Leave me alone."
• "Answer my question," said Monica , "or I'm leaving."
• Line breaks : Lines of dialogue spoken by different speakers are generally separated by line breaks. This is helpful for determining who is speaking when dialogue tags have been omitted.

Of course, some writers ignore these conventions entirely, choosing instead to italicize lines of dialogue, for example, or not to use quotation marks, leaving lines of dialogue undifferentiated from other text except for the occasional use of a dialogue tag. Writers that use nonstandard ways of conveying dialogue, however, usually do so in a consistent way, so it's not hard to figure out when someone is speaking, even if it doesn't look like normal dialogue.

Indirect vs. Direct Dialogue

In prose, there are two main ways for writers to convey the content of a conversation between two characters: directly, and indirectly. Here's an overview of the difference between direct and indirect dialogue:

• This type of dialogue can often help lend credibility or verisimilitude to dialogue in a story narrated in the first-person, since it's unlikely that a real person would remember every line of dialogue that they had overheard or spoken.
• Direct Dialogue: This is what most people are referring to when they talk about dialogue. In contrast to indirect dialogue, direct dialogue is when two people are speaking and their words are in quotations.

Of these two types of dialogue, direct dialogue is the only one that counts as dialogue strictly speaking. Indirect dialogue, by contrast, is technically considered to be part of a story's narration.

A Note on Dialogue Tags and "Said Bookisms"

It is pretty common for writers to use verbs other than "said" and "asked"  to attribute a line of dialogue to a speaker in a text. For instance, it's perfectly acceptable for someone to write:

• Robert was beginning to get worried. "Hurry!" he shouted.
• "I am hurrying," Nick replied.

However, depending on how it's done, substituting different verbs for "said" can be quite distracting, since it shifts the reader's attention away from the dialogue and onto the dialogue tag itself. Here's an example where the use of  non-standard dialogue tags begins to feel a bit clumsy:

• Helen was thrilled. "Nice to meet you," she beamed .
• "Nice to meet you, too," Wendy chimed .

Dialogue tags that use verbs other than the standard set (which is generally thought to include "said," "asked," "replied," and "shouted") are known as "said bookisms," and are generally ill-advised. But these "bookisms" can be easily avoided by using adverbs or simple descriptions in conjunction with one of the more standard dialogue tags, as in:

• Helen was thrilled. "Nice to meet you," she said, beaming.
• "Nice to meet you, too," Wendy replied brightly.

In the earlier version, the irregular verbs (or "said bookisms") draw attention to themselves, distracting the reader from the dialogue. By comparison, this second version reads much more smoothly.

Dialogue in Plays

Dialogue in plays (and screenplays) is easy to identify because, aside from the stage directions, dialogue is the only thing a play is made of. Here's a quick rundown of the basic rules governing dialogue in plays:

• Names: Every line of dialogue is preceded by the name of the person speaking.
• Mama (outraged)  : What kind of way is that to talk about your brother?
• Line breaks: Each time someone new begins speaking, just as in prose, the new line of dialogue is separated from the previous one by a line break.

Rolling all that together, here's an example of what dialogue looks like in plays, from Edward Albee's Zoo Story:

JERRY: And what is that cross street there; that one, to the right? PETER: That? Oh, that's Seventy-fourth Street. JERRY: And the zoo is around Sixty-5th Street; so, I've been walking north. PETER: [anxious to get back to his reading] Yes; it would seem so. JERRY: Good old north. PETER: [lightly, by reflex] Ha, ha.

Dialogue Examples

The following examples are taken from all types of literature, from ancient philosophical texts to contemporary novels, showing that dialogue has always been an integral feature of many different types of writing.

Dialogue in Shakespeare's Othello

In this scene from Othello , the dialogue serves an expository purpose, as the messenger enters to deliver news about the unfolding military campaign by the Ottomites against the city of Rhodes.

First Officer Here is more news. Enter a Messenger Messenger The Ottomites, reverend and gracious, Steering with due course towards the isle of Rhodes, Have there injointed them with an after fleet. First Senator Ay, so I thought. How many, as you guess? Messenger Of thirty sail: and now they do restem Their backward course, bearing with frank appearance Their purposes toward Cyprus. Signior Montano, Your trusty and most valiant servitor, With his free duty recommends you thus, And prays you to believe him.

Dialogue in Madeleine L'Engel's A Wrinkle in Time

From the classic children's book  A Wrinkle in Time , here's a good example of dialogue that uses a description of a character's tone of voice instead of using unconventional verbiage to tag the line of dialogue. In other words, L'Engel doesn't follow Calvin's line of dialogue with a distracting tag like "Calvin barked." Rather, she simply states that his voice was unnaturally loud.

"I'm different, and I like being different." Calvin's voice was unnaturally loud. "Maybe I don't like being different," Meg said, "but I don't want to be like everybody else, either."

It's also worth noting that this dialogue helps characterize Calvin as a misfit who embraces his difference from others, and Meg as someone who is concerned with fitting in.

Dialogue in A Visit From the Good Squad

This passage from Jennifer Egan's A Visit From the Good Squad doesn't use dialogue tags at all. In this exchange between Alex and the unnamed woman, it's always clear who's speaking even though most of the lines of dialogue are not explicitly attributed to a speaker using tags like "he said."

Alex turns to the woman. “Where did this happen?” “In the ladies’ room. I think.” “Who else was there?” “No one.” “It was empty?” “There might have been someone, but I didn’t see her.” Alex swung around to Sasha. “You were just in the bathroom,” he said. “Did you see anyone?”

Elsewhere in the book, Egan peppers her dialogue with colloquialisms and slang to help with characterization . Here, the washed-up, alcoholic rock star Bosco says:

"I want interviews, features, you name it," Bosco went on. "Fill up my life with that shit. Let's document every fucking humiliation. This is reality, right? You don't look good anymore twenty years later, especially when you've had half your guts removed. Time's a goon, right? Isn't that the expression?"

In this passage, Bosco's speech is littered with colloquialisms, including profanity and his use of the word "guts" to describe his liver, establishing him as a character with a unique way of speaking.

Dialogue in Plato's Meno

The following passage is excerpted from a dialogue by Plato titled Meno.  This text is one of the more well-known Socratic dialogues. The two characters speaking are Socrates (abbreviated, "Soc.") and Meno (abbreviated, "Men."). They're exploring the subject of virtue together.

Soc. Now, if there be any sort-of good which is distinct from knowledge, virtue may be that good; but if knowledge embraces all good, then we shall be right in think in that virtue is knowledge? Men. True. Soc. And virtue makes us good? Men. Yes. Soc. And if we are good, then we are profitable; for all good things are profitable? Men. Yes. Soc. Then virtue is profitable? Men. That is the only inference.

Indirect Dialogue in Tim O'Brien's The Things They Carried

This passage from O'Brien's The Things They Carried exemplifies the use of indirect dialogue to summarize a conversation. Here, the third-person narrator tells how Kiowa recounts the death of a soldier named Ted Lavender. Notice how the summary of the dialogue is interwoven with the rest of the narrative.

They marched until dusk, then dug their holes, and that night Kiowa kept explaining how you had to be there, how fast it was, how the poor guy just dropped like so much concrete. Boom-down, he said. Like cement.

O'Brien takes liberties in his use of quotation marks and dialogue tags, making it difficult at times to distinguish between the voices of different speakers and the voice of the narrator. In the following passage, for instance, it's unclear who is the speaker of the final sentence:

The cheekbone was gone. Oh shit, Rat Kiley said, the guy's dead. The guy's dead, he kept saying, which seemed profound—the guy's dead. I mean really.

Why Do Writers Use Dialogue in Literature?

Most writers use dialogue simply because there is more than one character in their story, and dialogue is a major part of how the plot progresses and characters interact. But in addition to the fact that dialogue is virtually a necessary component of fiction, theater, and film, writers use dialogue in their work because:

• It aids in characterization , helping to flesh out the various characters and make them feel lifelike and individual.
• It is a useful tool of exposition , since it can help convey key information abut the world of the story and its characters.
• It moves the plot along. Whether it takes the form of an argument, an admission of love, or the delivery of an important piece of news, the information conveyed through dialogue is often essential not only to readers' understanding of what's going on, but to generating the action that furthers the story's plot line.

Other Helpful Dialogue Resources

• The Wikipedia Page on Dialogue: A bare-bones explanation of dialogue in writing, with one or two examples.
• The Dictionary Definition of Dialogue: A basic definition, with a bit on the etymology of the word (it comes from the Greek meaning "through discourse."
• Cinefix's video with their take on the 14 best dialogues of all time : A smart overview of what dialogue can accomplish in film.

• PDFs for all 136 Lit Terms we cover
• Downloads of 1916 LitCharts Lit Guides
• Teacher Editions for every Lit Guide
• Explanations and citation info for 40,380 quotes across 1916 books
• Downloadable (PDF) line-by-line translations of every Shakespeare play
• Characterization
• Colloquialism
• Pathetic Fallacy
• Falling Action
• Stream of Consciousness
• Flat Character
• Climax (Figure of Speech)
• Foreshadowing
• Polysyndeton
• Red Herring
• Deus Ex Machina

Learn How To Write Reported Speech Dialogue Correctly

How do you write reported speech dialogue?

When you start to learn to write dialogue, it seems simple. All you need to do is add a reporting verb or dialogue tag.

You probably learned this at high school. When a character speaks lines of dialogue, you put a double quotation mark at the beginning and end.

But if you use reported speech, you need to include a tense shift.

In This Article

What’s the difference between dialogue writing and reported speech?

Most dialogue uses active speech. It is what a character says.

But reported speech dialogue is when a character says what another character said.

Let’s look at the difference.

Direct dialogue

When you write dialogue , you are using direct speech.

You are using the exact words that the character says, and then adding a dialogue tag to say who spoke the words.

“I’m going into town this morning. I should be back before dinner,” she said.

The reporting verb is almost always in the simple past verb tense, which is the general rule for fiction writing.

It doesn’t matter which tense the dialogue is using.

It can be present continuous, present perfect , or present simple.

“I’m having friends over for dinner tomorrow night,” he said.

“I’ve had friends over for dinner quite often,” he said.

“I have friends over for dinner all the time,” he said.

You can also use the present simple tense for reporting verbs in some circumstances.

It is when you want to say that someone says something often or all the time.

“When I get older, I think I’ll travel the world,” she says.

“I’m going to buy a Ferrari one day,” he always says.

But you wouldn’t use the present dialogue form in most fiction writing.

Reported speech dialogue

In reported speech or indirect speech , we may not necessarily use the exact words of the speaker.

It is often used to convey small talk or gossip about what other people said.

It is also used to paraphrase long speeches or extended discourse.

We can use both past and present tense in reported speech. But again, the past is much more common.

She said she was going into town that morning and that she should be back before dinner. Past form

He always says that he is going to buy a Ferrari one day. Present form

You need to format dialogue with punctuation and quotation marks. But you write reported speech as a standard sentence.

You include the attribution and reporting verb without punctuation.

When you use the past form, you need to pay special attention to the tense shift.

No matter what tense the original utterance used, reported speech always uses the past.

It is because it is something someone said in the past. It is an action that occurred in the past, so we refer to it as a past event.

Tense shift examples

Compare the difference between these direct and indirect sentences.

I want to go to Norway. He said he wanted to go to Norway.

She will pass her exam for sure. He told me that she would pass her exam for sure.

They wanted to buy a new house but didn’t get the loan. Tom told me that they had wanted to buy a new house but didn’t get the loan.

The general rule is that active speech in present or future tenses shifts back to the past simple.

When active speech is in the present perfect, it shifts back to the past perfect.

But for past simple active speech, it can shift back to past perfect, or stay in the past simple.

In all forms, the relative pronoun, that , is optional.

Using reported speech dialogue in writing

When you incorporate reported speech within a character’s dialogue, you need to keep the tense shift.

Here are some reporting dialogue examples.

“Have you seen Jillian lately?” Mary asked.

“Oh, yes. I saw her yesterday, and she told me that she was going to France next month ,” Anne replied.

“I didn’t feel well this morning, so I called my boss to let him know. There is an important meeting this afternoon. But my boss said that it was okay and that he would get someone else to take the minutes . I still feel guilty, though,” Jane said. 

“I saw Michelle this morning, and she told me that she had been waiting for days for the results of her blood test . I’m not sure what’s wrong, but she looked worried,” Susan said.

As you can see in the reported speech dialogue examples above, the parts that are indirect reported speech retain the correct past form.

The rest of the direct written dialogue can be in any tense or form the speaker uses.

Punctuating your dialogue

There are five basic aspects of good dialogue punctuation.

1. All punctuation is inside the quotation marks.

These include full stops (periods), commas, question marks, and exclamation marks.

Jim said, “I’m not aware of it”. Wrong Jim said, “I’m not aware of it.” Correct

“I don’t know what to think”, she said. Wrong “I don’t know what to think,” she said. Correct

“Where did he go”? she asked. Wrong “Where did he go?” she asked. Correct

“Get out of here”! he shouted. Wrong “Get out of here!” he shouted. Correct

2. Using an em dash or ellipsis.

We use em dashes to indicate a speaker was interrupted. You add an ellipsis when a speaker’s words trail off, or when an utterance is incomplete.

“I was planning on buying–” she started. “No way! I told you we need to save money,” he said.

“It’s funny when you think about things, and well …” Anne said. “You think too much, Anne,” Mary said.

3. Start a new paragraph for a new speaker.

It is confusing for a reader if the dialogue runs on in the same paragraph.

When there is a new speaker in dialogue, always start in a new paragraph.

4. Quotation marks for long dialogues

Dialogues are usually short and sharp.

But you might have a piece of dialogue that is more of an oration, and you need to divide it into paragraphs.

You can use an opening and closing quotation mark for the whole dialogue.

Another option is to add one opening quotation mark at the beginning of each new paragraph and then close the final paragraph.

5. Don’t mix quotation mark styles.

It is up to you whether you use curly, straight, double, or single quotations.

In his book, Cloudsteet, Tim Winton uses no quotation marks at all for the dialogue. But it is still great dialogue.

Generally, readers won’t mind what your choice is.

But they will be distracted or confused if you mix different types of quotation marks.

It isn’t an easy check as you are proofreading. But there is an easy way to make sure you are consistent.

Try using an online writing app to help you.

If you use Prowritingaid, you can check your whole manuscript by ticking Dialogue Tags Check in your combo settings.

For Grammarly users, you can find any errors in your Correctness tab.

It will show you any quotation mark inconsistencies.

Once you know how to write active dialogue and reported speech, it is easy to combine the two into reported dialogue.

Just remember that dialogue is active speech.

But reported speech is indirect, so it always needs to use backward tense shift into the past.

The most critical part of good dialogue writing is your use of correct and consistent punctuation .

When you get it right, a reader doesn’t notice it. They become blind to it.

But if you have inconsistencies, it stands out and can become annoying.

Related Reading: Are Question Tags Effective In Your Dialogue Writing?

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How to Write Dialogue in a Narrative Paragraph

Hayley Milliman

What is Dialogue?

How to write dialogue, how to punctuate your dialogue, periods and commas, question marks and exclamation points, final thoughts.

Dialogue is the written conversational exchange between two or more characters.

Conventional English grammar rules tell us that you should always start a new paragraph when someone speaks in your writing.

“Let’s get the heck out of here right now,” Mary said, turning away from the mayhem.

John looked around the pub. “Maybe you’re right,” he said and followed her towards the door.

Sometimes, though, in the middle of a narrative paragraph, your main character needs to speak.

Mary ducked away from flying fists. The fight at the pub was getting out of control. One man was grabbing bar stools and throwing them at others, and while she watched, another one who you could tell worked out regularly grabbed men by their shirt collars and tossed them out of the way. Almost hit by one flying person, she turned to John and said, “Let’s get the heck out of here right now.”

In my research, I couldn’t find any hard and fast rules that govern how to use dialogue in the middle of a narrative paragraph. It all depends on what style manual your publisher or editorial staff follow.

For example, in the Chicago Manual of Style , putting dialogue in the middle of paragraphs depends on the context. As in the above example, if the dialogue is a natural continuation of the sentences that come before, it can be included in your paragraph. The major caveat is if someone new speaks after that, you start a new paragraph and indent it.

On the other hand, if the dialogue you’re writing departs from the sentences that come before it, you should start a new paragraph and indent the dialogue.

The fight at the pub was getting out of control. One man was grabbing bar stools and throwing them at others, and another one who you could tell worked out regularly grabbed men by their shirt collars and tossed them out of the way.

Punctuation for dialogue stays consistent whether it’s included in your paragraph or set apart as a separate paragraph. We have a great article on how to punctuate your dialogue here: Where Does Punctuation Go in Dialogue?

It’s often a stylistic choice whether to include your dialogue as part of the paragraph. If you want your dialogue to be part of the scene described in preceding sentences, you can include it.

But if you want your dialogue to stand out from the action, start it in the next paragraph.

Dialogue is a fantastic way to bring your readers into the midst of the action. They can picture the main character talking to someone in their mind’s eye, and it gives them a glimpse into how your character interacts with others.

That said, dialogue is hard to punctuate, especially since there are different rules for different punctuation marks—because nothing in English grammar is ever easy, right?

We’re going to try to make this as easy as possible. So we’ll start with the hardest punctuation marks to understand.

For American English, periods and commas always go inside your quotation marks, and commas are used to separate your dialogue tag from the actual dialogue when it comes at the beginning of a sentence or in the middle. Here are a few examples:

Nancy said, “Let’s go to the park today since the weather is so beautiful.”

“Let’s go to the park today since the weather is so beautiful,” she said.

“Let’s go to the park today,” she said, “since the weather is so beautiful.”

British English puts the periods and commas inside the quotation marks if they’re actually part of the quoted words or sentence. Consider the following example:

• She sang “Somewhere Over the Rainbow”, the theme song from The Wizard of Oz.

In the above example, the comma after “Rainbow” is not part of the quoted material and thus belongs outside the quotation marks.

But for most cases when you’re punctuating dialogue, the commas and periods belong inside the quotation marks.

Where these punctuation marks go depends on the meaning of your sentence. If your main character is asking someone a question or exclaiming about something, the punctuation marks belongs inside the quotation marks.

Nancy asked, “Does anyone want to go to the park today?”

Marija said, “That’s fantastic news!”

“Please say you’re still my friend!” Anna said.

“Can we just leave now?” asked Henry.

But if the question mark or exclamation point is for the sentence as a whole instead of just the words inside the quotation marks, they belong outside of the quotes.

Does your physical therapist always say to his patients, “You just need to try harder”?

Do you agree with the saying, “All’s fair in love and war”?

Single Quotation Marks

Only use single quotation marks for quotes within quotes, such as when a character is repeating something someone else has said. Single quotes are never used for any other purpose.

Avery said, “I saw a sign that read ‘Welcome to America’s Greatest City in the Midwest’ when I entered town this morning.”

“I heard Mona say to her mom, ‘You know nothing whatsoever about me,’ ” said Jennifer.

Some experts put a space after the single quote and before the main quotation mark like in the above example to make it easier for the reader to understand.

Here’s a trickier example of single quotation marks, question marks, and ending punctuation, just to mix things up a little.

• Mark said, “I heard her ask her lawyer, ‘Am I free to go?’ after the verdict was read this morning.”

Perfectly clear, right? Let us know some of your trickiest dialogue punctuation situations in the comments below.

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Hayley is the Head of Education and Community at ProWritingAid. Prior to joining this team, Hayley spent several years as an elementary school teacher and curriculum developer in Memphis, TN. When Hayley isn't hunched over her keyboard, you can find her figure skating at the ice rink or hiking with her dog.

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Advice based on Australian Style Manual (ASM)

Dialogue punctuation is an area of fiction writing that often baffles new and experienced authors alike.

Here you will find simple explanations on how to punctuate and lay out your dialogue, plus the difference between direct dialogue, indirect dialogue and internal dialogue.

‘Single’ or “double” quote marks?

Single and double quotes (quotation marks) vary from country to country and publishers usually have the final decision to fit their in-house styles. Up until now, Australian and UK publishers have preferred single quotes, whereas US publishers prefer double; however, Australian publishers are becoming more aware that single quote marks can provide difficulties for people who use screen readers, and there is a movement towards double quotes. Whichever you decide to use, the main thing is to be consistent in your choice. It’s easy enough to complete a Find/Replace in Word if you eventually decide to switch. I have used double quote marks in these examples, as this is now my in-house style.

What goes inside dialogue quote marks?

Only two things should be placed within dialogue quote marks:

A. What a character says out loud (direct speech)

“Don’t sit there. The paint’s still wet,” he said.

B. Dialogue punctuation  (e.g. comma, full stop, question mark, exclamation mark, ellipses)

• “I’m not sure if I like this,” Ruth said. “It’s scary.”
• “Haven’t you done this before?” John asked, looking amused.
• “No. Wait!” Ruth took a step back. “It’s … a lot higher than I thought.”

What goes outside dialogue quote marks?

Dialogue tags  (said, asked, called, murmured, yelled etc.) Dialogue tags are used to flag which character is speaking and often help the reader understand the tone of the character’s dialogue.

• “Will you be joining us for dinner?” he asked.
• The waiter called out, “Sir, you left your jacket.”
• She leaned in and whispered, “Don’t forget to lock your door.”
• “Well, if you’d told me,” David mumbled, “we could have worked it out.”
• “Don’t be so hasty to decide,” Verity said. “You still have plenty of time.”
• Dialogue tags are always punctuated with a comma, unless the speech is interrupted and a new sentence begins with a capital letter (see example 5).
• Dialogue always starts with a capital letter, unless a sentence is interrupted by a tag or action and the same sentence then continues. In this case, use lower case to continue the dialogue. (See example 4).
• Dialogue tags are also known as attributions.

Action tags  (an action the character does)

Action tags are used to flag which character is speaking, and sometimes to aid characterisation. They can also provide an alternative to repetitive dialogue tags.

She shook her head. “It’s not the same.” “It’s over here.” Tom pointed to the shelf.

but when using both an action and a dialogue tag:

She shook her head and said, “It’s not the same.”

• Action tags are always punctuated with a full stop.
•  Action tags are sometimes called action beats.

Dialogue without tags

If it’s clear which character is speaking, it’s not necessary to use a tag at all.

David and his brother stood looking at the broken window while their father glowered. “Which one of you kids did this?”

Direct Speech – Indirect Speech – Internal Dialogue

Direct speech is dialogue spoken aloud and is enclosed in quote marks:

“Good job, David,” she said.

Indirect speech is reported speech and does not require quote marks.

Jason said he would be there, but Susan had her doubts.

Internal Dialogue  is the equivalent of thought and requires no quote marks.

Mark wondered if this was such a good idea. What if it all went wrong?

Interrupted Dialogue

When dialogue is interrupted by either an action or thought, use em dashes to set off the interruption, but do not use commas.

Interruption by action

“When I applied for this job”—she pursed her lips to calm herself—”you said you would support me.”

The same technique applies to action interrupted by dialogue:

Ben picked up the water container—”It’s empty”—and shook it as evidence.

Interruption by indirect thought

“Take three drops of rose oil”—he wondered if he had the amounts right—”and blend it with the other ingredients.”

Interruption by direct thought

I should have eaten when Mum offered—now that my stomach is grumbling—but I hadn’t been hungry then.

Interruption by another character’s dialogue

Gerry grabbed his satchel and turned to Kathy, who was balancing the cash register. “So when you’ve finished doing that, you’ll—” “Yes, yes. Bank the takings, and lock up the shop,” she said. “Get going or you’ll miss your train.”

Trailing off dialogue

When a character trails off their speech, use an ellipses with one space prior.

Mary’s brow furrowed. “I don’t know what I was thinking. Maybe if I …” She bent to pick up the broken plate, then sat on the kitchen stool weeping.

Quotes within dialogue, which form (a syntatical) part of the sentence

Jeff dropped his backpack and turned to Sally. “There’s rain due in an hour. The ranger said it would be ‘a bucket load’. We should find shelter.”

Wendy pushed Jim aside. “Not like that. Mum said ‘cover it with both hands’.”

Quotes that form part of the narrative, rather than dialogue.

Saraya sat in a huff, telling Eddie she was as “exhausted as a snail going up hill” and wouldn’t take another step.

Every time Gran yelled “get out of the lolly jar”, I honestly thought she had supernatural hearing.

Flouting conventions

Of course, there are several well-known authors who like to do things their own way and use alternative dialogue punctuation. For example, none of these authors use dialogue quote marks:

Tim Winton Ali Smith Cormac McCarthy Maaza Mengiste Sally Rooney Virginia Woolf Jacqueline Woodson

You’ll notice these are mainly literary authors, with enough skill to present their dialogue without quote marks and not confuse readers. However, some tend to use dialogue tags (instead of quote marks) on EVERY. SINGLE. LINE. which becomes laborious. Some use italics instead, or a dash, or just a new line.

Love dialogue punctuation or hate it – the majority of writers use it because it’s standard practice and what their readers expect see. So much so that quote marks, like other punctuation marks, are skimmed over by the eye. If you leave them out, you risk tripping up the reader.

Ultimately, most editors and writers will agree you need to learn the rules before you break them.

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English lessons and resources

Direct speech writing rules in English

7th January 2019 by Andrew 14 Comments

In the above picture, Mark is talking to Jane. The words inside the blue box are the exact words that he speaks.

Here is how we express this:

This is direct speech. Direct speech is when we report the exact words that somebody says.

In this English lesson, you will learn:

• The rules for writing direct speech.
• The correct punctuation.
• Vocabulary to report direct speech.

Reporting clause before the direct speech

The reporting clause of direct speech is the short clause that indicates who is talking. It is the clause that is outside of the inverted commas. It is therefore not the words being spoken.

We can write the reporting clause either before or after the direct speech. If the reporting clause is before the direct speech, we write it as follows:

Grammar rules – If the reporting clause is before the direct speech:

We write a comma (,) before the direct speech. We write the exact words inside the inverted commas. The first letter is a capital letter. We write a full stop (.) before the closing inverted commas.

Reporting clause before a question or exclamation

If the reporting clause is before a question or exclamation:

We write a comma (,) before the direct speech. We write the exact words inside the inverted commas. The first letter is a capital letter. We write a question mark (?) before the closing inverted commas. or We write an exclamation mark (!) before the closing inverted commas.

Reporting clause after the direct speech

If the reporting clause is after the direct speech:

We write the exact words inside the inverted commas. The first letter is a capital letter. We write a comma (,) before the closing inverted commas. We write a full stop (.) at the end of the reporting clause.

Reporting clause after a question or exclamation

If the reporting clause is after a question or exclamation:

We write the exact words inside the inverted commas. The first letter is a capital letter. We write a question mark (?) before the closing inverted commas. or We write an exclamation mark (!) before the closing inverted commas. We write a full stop (.) at the end of the reporting clause.

Advanced rules for direct speech

Sometimes we break up the direct speech into 2 parts:

The second part of the direct speech starts with a small letter if it is the same sentence as the first part of the direct speech.

The second part of the direct speech starts with a capital letter if it is a new sentence.

Vocabulary of direct speech

We have several names for the above punctuation marks:

Inverted commas Speech marks Quotation marks Quotes

Other reporting verbs

Here are some other useful reporting verbs:

reply (replied) ask (asked) shout (shouted) agree (agreed) comment (commented) admit (admitted)

They are often used for writing direct speech in books, newspapers and reports. It is more common to use them in reporting clauses after the direct speech.

“I really don’t like her dress,” she commented . “I don’t love you anymore,” he admitted .

Other English lessons

Private online English lessons How to pass the IELTS with a band 8 Adverbs of frequency Indefinite article “a” and “an” The prepositions FOR and SINCE All of our lessons

Direct speech video lesson

Reader Interactions

Matěj Formánek says

3rd November 2019 at 5:54 pm

How about this sentence: I know the satnav is wrong!” exclaimed Zena. – Why the subject and predicate are swapped? It’s sentence from textbook so I’m confused.

17th June 2020 at 4:07 pm

Can we write multiple sentences in direct speech that comes before reporting clause? In case if this is allowed, what punctuation mark should be used after the last sentence?

Example: “I entered the class room. As I did not find anybody there, I left the class room and went to buy a coffee.” explained the student to the teacher for his delay to come to the class.

Should the punctuation mark after the word coffee be comma instead of full stop?

Joaquim Barretto says

14th September 2020 at 1:25 pm

No full stop, but comma after the word coffee.

19th January 2021 at 2:34 pm

HI IM DAISY

courtney says

27th January 2021 at 12:07 pm

Clare Hatcher says

12th March 2021 at 9:55 am

Hello I like the layout of this – very clear. Just wondering if it is correct to use a comma in between two separate sentences in direct speech. I think that now in published material you find this instead. ‘I’m tired,’ she said. ‘Let’s stay at home.’ Would appreciate your thoughts Thanks

27th March 2021 at 8:54 am

If I wrote something with a comma at the end to continue speech like this:

“Hello,” he waved to the new student, “what’s you’re name?”

Do I have to use a capital letter even if I’m continuing with a comma or is it lowercase?

Sylvia Edouard says

30th September 2023 at 9:17 am

Yes, you need to use a capital letter as speech from someone has to start with a capital letter. Always.

15th April 2022 at 12:12 pm

which of the following is correct?

1. Should the status go missing when the metadata states, “Sign & return document?”

2. Should the status go missing when the metadata states, “Sign & return document,”? (comma inside)

3. Should the status go missing when the metadata states, “Sign & return document.”? (full stop inside)

Jan Švanda says

7th September 2023 at 1:31 pm

I presume the quotation is there to specify the exact phrase (for the metadata entry). I also encounter this from time to time, when writing technical documentation. I believe in that case you should write the phrase as it is, proper grammar be damned; beautifully looking documentation is useless if it leads to incorrect results.

In this case, I don’t even think this is “direct speech”, the metadata entry isn’t walking around and saying things, the quotation mark is there to indicate precise phrase – similar to marking strings in programming languages. Because of this, I don’t think direct speech rules apply, or at least, they should take back seat. If the expected status includes full stop at the end, the sentence would be:

4. Should the status go missing when the metadata states “Sign & return document.”? (no comma before, since it is not a direct speech; full stop inside, as it is part of the quoted status)

From grammatical perspective the end looks a bit ugly, but again, if this should be technical documentation, that is less important than precision.

A person says

15th August 2022 at 7:16 pm

One extra thing: YOU MUST NOT USE THE WORD SAID IN A REPORTING CLAUSE. EVER. IT’S UNIMAGINATIVE.

no joke, it’s actually discouraged and even close to banned at my school

7th September 2023 at 1:49 pm

This is stupid. You shouldn’t use it in _every_ sentence, there should be variety, but outright banning it doesn’t make sense.

Case in point:

Book: ‘Pride and Prejudice’. Phrase to search: ‘,” said’ (comma, followed by quotation mark, followed by space, followed by word ‘said’). Number of occurrences: 211. Total number of ‘,”‘ (comma, followed by quotation mark) strings is 436, so “said” is used in almost 50% cases of direct speech of this type.

I don’t think it would be right for your school to ban Jane Austin, do you?

blaire says

30th March 2024 at 5:36 pm

How do you use names in direct speech?

Is it: “I really don’t like her dress,” Ashley said. or “I really don’t like her dress,” said Ashley.

I’ve seen both and I’m so confused which one is correct, please help me.

Andrew says

3rd April 2024 at 11:31 am

Hello and thanks for your comment and question.

After the direct speech, both are correct.

Before the direct speech, only the first one is correct:

Ashley said, “I really don’t like her dress.” (correct) Said Ashley, “I really don’t like her dress.” (wrong)

I hope that helps you. Andrew https://www.youtube.com/@CrownAcademyEnglish/

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How to Use Indirect Dialogue

Indirect dialogue is when you report what a character said second-hand.

Here's an example of DIRECT dialogue:

"Hey, where the heck are you going anyway?" she asked him.

Here's an example of INDIRECT dialogue:

She asked him where he was going.

DIRECT dialogue has the advantage of allowing readers to hear the character's voice. It pulls readers into the scene, "showing" the conversation instead of just telling about it.

So you might wonder why anyone would ever choose to use INDIRECT dialogue instead...

But INDIRECT dialogue is also an important tool for fiction writers. Let's look at another example of DIRECT versus INDIRECT dialogue

DIRECT dialogue:

"My new diet's going well," she said. "It's an all-olive diet. Have you heard of it? Olive salad with olive-oil dressing. Roasted olives with tapanade. I've cut out all meat, fish, dairy, eggs, grains. Also all fruit and vegetables, with the one exception of olives. I'll eat green olives, black olives, salt-cured, oil-cured, marinated. Not stuffed olives, because the things they stuff them with aren't included in the diet..."

INDIRECT dialogue:

She talked about her new diet, which consisted entirely of olives.

INDIRECT dialogue, Version 2:

She went on and on about her weird new diet.

Here it easier to see why INDIRECT dialogue might sometimes be a good choice. It's much faster!

Or, another example:

He was so drunk it was hard to follow what he was saying, but eventually I concluded that he was asking for directions to the train station.

You can combine DIRECT and INDIRECT dialogue to give the flavor of a character's speech without showing the entire conversation.

Adding some INDIRECT dialogue to your DIRECT dialogue can also also make the conversation seem longer.

"My new diet's going well," she said. "It's an all-olive diet. Have you heard of it? Olive salad with olive-oil dressing. Roasted olives with tapanade..." She spent the rest of the fifteen-minute drive describing what she did and didn't eat, until Eric was thoroughly sorry he'd agreed to take her with him.

To learn more, join our 8-week online course Mastering Dialogue .

Photo credit: Mimi Thian @ Unsplash

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Reported Speech: Dialogue Writing Practice Questions CBSE Class 10 Grammar

• Post last modified: 25 February 2024
• Post category: Grammar Exercises / School Grammar

Reporting the narration is done two ways – Direct or Indirect. The CBSE Class 10 Gramar syllabus includes this reporting in dialogue forms. After that an exercise with blanks to be filled to transform the whole conversation in indirect form. Here are given practice exercises to help practice Dialogue reporting.

Click here for more such grammar study materials

Dialogue Reporting Practice Questions

Q. read the conversation between a teacher and student and complete the passage that follows. (cbse set 2, 2022) .

Neha: I’m really looking forward to the class picnic tomorrow. Namita: Yes, after a long time we will be meeting our friends and teachers.

Neha told Namita (1) ______________ looking forward to the class picnic _____________. Namita agreed that after a long time (2) ______________ friends and teachers.

(1) that she was really, the next day (2) they would be meeting their

Q. Read the conversation and complete the passage that follows: (OD 2022)

Ritika: Can I borrow your Math book for a couple of days? Mohit: Yes certainly, I have already studied for the test tomorrow. Ritika asked Mohit (1) ……………. for a couple of days. Mohit agreed and said that (2) ……………. .

(1) if she could borrow his Math book (2) he had already studied for the test the next day.

Q. Read the conversation between a teacher and student and complete the passage that follows. (Term 2 SQP 2021-22) 

Biology Teacher: I instructed you to draw the diagram of bacteria. Why did you submit a blank sheet?   Sameer: Sir, I had drawn the diagram of bacteria, but you can’t see it because it is not visible to the naked eye 

The biology teacher had instructed Sameer to draw the diagram of a bacterial cell and asked him (a) ……..… a blank sheet. Sameer respectfully answered that he had drawn the diagram but (b) …….…. to the naked eye. 

(a) why he had submitted (b) he/ the teacher couldn’t see it because it is not visible

Q. Read the following dialogue between a mother and her son. Complete the paragraph that follows by filling in the gaps appropriately. (2012)

Marie: Did you see my new umbrella? Isn’t it fine? Tony: Yes, it is! Did you buy it from the mall? Marie: No, your father has brought it for me.

Marie asked her son Tony (a) …………… and she wanted to know whether it was a fine one. Tony agreed and asked his mother (b) …………… His mother replied in the negative and added that (c) ……………

(a) if he had seen her new umbrella (b) if she had bought it from the mall (c) his father had brought it for her.

Note: A sentence in Simple Past (verb 2nd form or Did + Verb 1st form) need not always be converted to Past Perfect (had + Verb 3rd form) . But it is safe to convert to Past Perfect as others (evaluators) may not be knowing it. Even CBSE marking schemes seem to follow the safe rule i.e. Changing Past Tense to past Perfect tense. An example is given below.

Direct: He said, “I saw the thief myself.”

Indirect: he said that he had seen the thief himself. (The safe rule to follow) OR He said that he saw the thief himself. (It is also correct – but mostly not followed)

Q. Read the following dialogue between Garima and Karan. Complete the paragraph that follows by filling in the gaps appropriately. [AI 2011]

Garima: So, after a decade in the industry, are you truly ‘satisfied’? Karan: I love the film industry. It has its flaws though. Garima: What do you mean by this statement? Karan: We are a bunch of competitive, ambitious, sometimes petty people. But the passion cements us together.

Garima asked Karan if after a decade in the industry (a) _________. Karan told her (b) _________ although it had its flaws. Garima then enquired (c) _________. Karan explained that they were a bunch of competitive, ambitious, sometimes petty people but the passion cemented them together.

(a) he was truly ‘satisfied’ (b) that he loved the film industry (c) what he meant by that statement

Q. Choose the correct options to fill in the blanks to complete Venu’s narration. [SQP 2020]

I saw Supanddi standing in the field. When I -(A)- doing there, he -(B)- he was trying to win a Nobel prize. I was confused and enquired how standing in the rice field would help him do so. He stumped me by saying that he -(C)- won Nobel prizes had all been outstanding in their fields!

(A) (a) exclaimed what he was (b) told him what he was (c) asked him what he was (d) says to him about what (B) (a) ordered that (b) refused that (c) questioned that (d) replied that (C) (a) has heard that people who has (b) was hearing that people who were (c) had heard that people who had (d) did hear that people who had

(A) – (c) (B) – (d) (C) – (c)

Q. Choose the correct options to fill in the blanks to complete the narration of Patty’s conversation with Charlie. [SQP 2020]

Charlie: Dear Santa, here is a list if what I want. Patty: How do you suppose Santa Claus can afford to give away all those toys? Charlie: Promotion! Don’t kid yourself……Everything these days is promotion! I will bet if the truth were brought about, you will find that he’s being financed by some big eastern chain!

While making the list of what Charlie wanted from Santa Claus, he asked Patty how …..(A)….. all those toys. She said that …..(B)….. and that it was possible as Santa …..(C)….. big eastern chain.

(A) (a) Santa Claus could afford to give away    (b) will give away (c) gave away (d) giving away

(B) (a) everything these days were promotion (b) everything these days was promotion (c) everything those days was promotion (d) everything these days was going to be promotion

(C) (a) was financing by some big eastern chain (b) had been financed by some big eastern chain (c) was being financed by some big eastern chain (d) will be financed by some big eastern chain

(A) – (a) (B) – (c) (C) – (c)

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Reported speech: practice exercises in interrogative sentences, parts of speech: practice exercises, letter writing – grammar for cbse/icse and state boards, reporting – direct & indirect speech: classes of cbse/icse and state exam boards, this post has 66 comments.

Thank you for question These were excellent and also improved my spech

It’s speech not spech

clapings it is speech

thank you it will help with my exam preparation

Thanks. New questions are also added from time to time.

Thanks a lot for these questions it helped me to be thorough with the exam pattern.

Are you from India:)

thanks for those questions

Why are there so many mistakes in the given questions?The names of the people in the conversation and the names of the people in the related question are completely different.Pls chk and rectify.It is confusing the kids and the purpose of these practice questions is totally defeated.

Thank you for informing us of the mistakes. We have done the required corrections. I hope all is well now.

page 2 question 3 there is a name error plz rectify it as soon as possible to avoid more confusion

Thank you for informing us of the mistake. The required correction has been done- ‘Mohan’ has been replaced by ‘Vinnet’ in the last line of the question.

Please add more questions

In the second question (page 1) , answer to the first part is wrong as Did changes to had + verb’s 3rd form.

Thank you for referring to the issue. We have updated the post and added a ‘note’ section.

Thanks a lot! These were truly of great help! Excellent questions!

It was very helpful ☺️. Thanks ncert tutorials

Really, it was very helpful.

Sir, i wanted to know where “it” is changed to “that” . I have this confusion as there are many questions where it is changed to that..but in many questions there is “it” only.

Sir, In Question no. 4 , please check the answers of option (c) , (f) , (h) why there is “been”

‘Had been’ is used in place ‘was and were’.

Sir, In question 7 (a), How could ‘may’ change into ‘could’?

Thanks for pointing out the error. We have made the required correction.

It was nice to have such a exercise to practice….

Sir, In question 8(d), It should be ‘ she had been talking’ instead of ‘ she has been talking’

The correction done. Thank You Ayush for sparing time to help us clean the exercises out of mistakes.

Why are you using Wrong English ?

Why are you using Wrong English ? Please use correct English to teach. Thank you.

Please give proper reference. I would do required corrections or elaborate upon your issue.

Thank you for this. Please add more. And I think there are some mistakes please do check and correct them. Thanks again🙌

thank you, Elena, and after reports of some errors corrections also have been done. If future reports received, required corrections will be done.

in the fifth page 4th ques there will be what he had been reading as past progressive changes to past perfect progressive

Thank you Sarthak for informing us of the error. Corrections done and the question has also been modified with one more filling gap (d).

thank u for giving a lot of questions this was useful for my class 10 board term 2 exam

thank you so much

Tomorrow is board

Yess all the bestt

I have my english board exam tomorrow, and this helped me a lot

thank you soo much. this site is the only one that consists of grammar questions based on the format of the board exams

it helped me a lot to prepare for my term 2 board exam of english. LOOKING FORWARD TO SCORE 40/40

Best of Luck Aishwarya 👍👍

best of luck to me to plz saaaayyyyy Subscribe to Jonja hi Jonja

Ok, Best of luck to you also 👍👍

Thank you sir , Your questions on reported speech have helped me a lot to study for my exam.

EXCELLENT QUESTIONS!!!!!!!!!!!!!!!!!!!!!!! KEEP IT UP………………..

Sir in question no. 3(b) the past tense of buy should be bought and not brought.Pls make the changes.

Correction done 😊.

I love the lessons for they are smart enough to learn personally.

I would like to show my gratitude …….this website was really good and helpful 👍 and more comfortable

Very nice examples They helped me a lot in my exam preparation

thanks for sharing this information

Questions were very helpful and amazing also… Thanks for such practice question..

Good questions thank you

sir on page 1 Q 2 it should be “for tomorrow’s test” instead of “the test tomorrow”.

Hi Arnav, it is written as ‘for the test tomorrow’ so no problem.

Thanks too much this is awesome for my test this help me more

Thank you admin blog. Very good

Please add longer questions

there some questions with mistakes arun and rohit question pls rectrfy the mistakes thanks it helped me a lot because it was my todays homework i referred and completed it Thank you

We revisited the question mentioned by you but did not find any error. May be you have any doubt. Feel free to ask us about that.

Pls take a look at the first question Isnt ‘will’ supposed to be changed to ‘would’

Correction done

THANKS, IT WAS AWESOME…

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• REPORTED SPEECH
• General Rules in Speech
• Reported Speech Examples
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• My Vote For Reported Speech
• Good Average

What is Reported Speech

Definition :.

In order to report a dialogue, one should be well-versed in changing sentences from Direct Speech to Indirect Speech . Of course, we need not reproduce the actual words of the speaker exactly. We are more concerned with the sense of the utterance than in the literal repetition of the words. The following guidelines will help you to refresh what you have studied about the transformation of sentences from Direct to Indirect Speech.

Statements : When the utterance of the speaker is a statement we use the reporting verbs - say, tell. The conjunction used is - that . In order to preserve the original tone of the speaker ‘say’ or ‘tell’ can be replaced with:- suggest, agree, mutter, admit, insist, whisper, boast, state, remark, claim, object, protest, etc.

What are the differences between the direct speech and the indirect speech?

There are several differences between a sentence with direct speech and a sentence with indirect speech.

• We no need to use quotation marks with indirect speech.
• We have to change the tense of the verb.
• We have to change the pronouns and determiners.

Some more examples .

We can replace ‘ tell ’ with the following verbs suited to the context: complained, stammered, sneered, snapped, explained, declared, announced, groaned, promised, gasped, conceded, etc.

Some Important Rules to Report the Dialogue:

Changes to be noted:

CHANGES IN:

A. pronouns:, c. expressions of time and place indicating nearness are changed into one of distance:, i. statements:, a. ordinary statements:.

In reported speech people often leave out the conjunction that .

b. When the reporting verb is in the present or future tense there is no change in the tense of the reported clause:

C. when the reporting verb is in the past tense the verb of the reported clause is changed into the corresponding past tense :, d. present progressive used as a future form becomes would be + present participle , not past progressive:, e. simple past / past progressive in adverb clauses of time do not usually change into the corresponding past tense :, f. unreal past tense (subjunctive mood) after wish / it is time remains unchange :, g. would rather / would sooner / had better remains unchanged :, h. verbs used in clauses expressing improbable or impossible condition remain unchanged :, i. when the direct speech expresses universal truth (fundamental truths of science) saying / provers / habitual action, the tense does not change :, j. a noun / pronoun in the vocative case is made the object of a reporting verb or left out:.

Likewise a comment clause (parenthesis) is left out

k. Words of expressions used juct to introduce a sentence are left out:

Well, very well, now, so etc.

l. A statement employing all the techniques:

Sentence with the same concept should be joined with ‘and’ but when there is a contract use ‘but’.  

II. QUESTIONS:

A. the reporting verbs for questions are:, b. auxiliary questions should begin with:, c. do / does / did questions:.

When using; do, does (present tense) - the main verb converts into the past (does / do go -> went) did (past tense) - the main verb converts into past perfect. (did go -> had gone)

d. The question form will change into a statement form:

E. w/h questions:.

These questions begin with a question word ( Who, What, When, Why, Where, How, How long ... ). While changing such a question into reported form we do not use any conjunction. We simply invert the word order (Verb + Subject is changed into Subject + Verb). Do not use if/whether in W/h Questions .

f. Verbal Questions:

These are questions begining with a verb. ( Are you ready? Is it true? ) Here we use the conjunction ‘ if’ or ‘whether ’. The word order is changed as mentioned earlier.

III. COMMANDS / ORDER / IMPERATIVE SENTENCES

To report a command we can use a number of verbs

Reporting Verb:

We use the conjunction ‘ to ’ . When the command is a negative one beginning with “Don’t” we change it to ‘not to’ .

Please - requested + whom + to + v

Exclamations

Exclamations can be reported with adverbs of manner.

a) Reporting Verb: exclaimed with (emotion) b) The exclamation should be changed into a statement. c) Use suitable emotions to the exclamation.  

The Participle

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• What is a Pronoun?
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Learning Competency

Examples of Clipping 1.Bike (motor-bike) 2.Specs (spectacles) 3.Fax (fascimile)