MUCH has been written about how dialogue functions in screenplays and novels.
But its role in storytelling is so central that there is always room for more discussion. Here is Dwight V Swain on the subject taken from his book, Film Scriptwriting – a Practical Manual.
The Functions of Dialogue
Dialogue, he informs us, performs four functions: It provides information, reveals emotion, advances the plot and exposes character.
Information: This seems straight forward enough. Tell the audience what they need to know to follow the story. The catch is that the writer should do so without being obvious or slowing down the forward thrust of the tale.
A good example of providing necessary information while maintaining the tension occurs at the start of Inglorious Basterds where a Nazi officer interviews the French farmer concerning the whereabouts of a missing Jewish family in the area – a family that the farmer is secretly sheltering under the very floorboards where the interview is taking place!
Emotion: Whenever possible, dialogue should also reveal emotion. Failure to do so makes for boring lines. In the above mentioned example, each line uttered by the Nazi officer in the scene serves to heighten the stakes for the farmer and his family since discovering the Jews under the floorboards will surely lead to everyone’s execution.
Plot: Additionally dialogue should advance the plot, but it should do so surreptitiously so that it does not expose its purpose. Initially, it seems that the Nazi officer is merely questioning the French farmer and will leave at the end of the interview. But as the questioning continues it becomes clear that the Nazi already has the answers and is merely prolonging the process to the torment of the farmer and his family.
Character: Lastly, dialogue should characterise the speaker and the person to whom it is directed. The Nazi officer, seems, at first, to be cultured and polite. The interview initially seems more of a conversation between friends than an interrogation. The farmer, although reticent, is encouraged to participate in the exchanges. But the niceties are only superficial – part of the cat-and-mouse game that the german is playing with the farmer. This characterises him as a sadistic tormentor and the farmer and his family as helpless, passive victims.
Working in unison, then, these functions make for effective and engrossing dialogue – a boon to any storytelling toolkit.
Good dialogue performs four functions – it provides information, exposes emotion, advances the plot and reveals character.