Writing Advice: How to Write Dialogue

So, I’m in the process of releasing my first book, and one of the main compliments I’ve received is that my characters and dialogue feel natural and well-written. I wanted to take a moment to share some of the techniques I use when writing dialogue.

Imperfect Writing Makes Good Dialogue

If you listen to how people talk in real life, it’s messy. We rarely speak in perfect grammar (or is that just me?). We stumble over our words, change direction mid-sentence, or trail off altogether. Embracing those imperfections can make your dialogue feel more alive.

I often use things like:

• "..." to indicate a pause,

• "-" to show someone being cut off.

These are small but ways to mimic natural speech.

You can also play with font size or text styling to convey emotion. For example:

• “What were you thinking!?” might suggest anger.

• But: “WHAT WERE YOU THINKING!?” Now they’re furious.

• On the flip side, shrinking the text—“...what were you thinking?”—could suggest a whisper or fear...just make sure your text isn’t too small where your readers can’t read it. Most font sizes in books are around 12, I wouldn’t go lower than 8

Writing in ALL CAPS works too (as shown above), if you don’t want to mess with font sizes. Just don’t overdo it or it loses impact.

For stuttering, I usually repeat the first few letters of a word:

• “W...Wh...What were you thinking!?”

And you know how sometimes we might emphasise certain words to get our point across? I would show this off by making those words become either bold or italics.

• “What were you thinking!?”

Pauses, stutters, forgetting things, these are all little quirks we have in real conversations, and including them will make your characters feel more natural.

What Does Your Character Care About?

Your characters might be fictional to us, but in their world, they’re real. So ask:
What do they like? What do they hate? What were they doing before the story began?

I like giving my characters a hobby, an interest, and something they can’t stand. These details don’t need to be forced into the plot, but when the opportunity arises, letting them talk about these things can show a new side of them.

Let’s make a character up right now:

Name: John
Role: Rough mercenary, ex-soldier, classic gruff type
Interest: Loves cartoons

Why? Because cartoons make him laugh. It’s how he unwinds. Now, instead of being just another brooding tough guy, John’s got a layer of vulnerability.

Even if this doesn’t make it into the story, you’ll understand your characters better, and that will always help your dialogue.

Moving on, when it comes to creating your character and figuring out what they like and don’t like, asking questions like:

• Why does your no-nonsense assassin collect vintage toys?

• Why is your jokester side character obsessed with horror films?

Can help you not only understand your characters more, but understand how they might talk as well. While this might start to fall under “How to create a character” kind of territory. Please understand that each character is unique and how they speak is unique. If you don’t understand your characters then there’s a chance your dialogue will sound generic.

Accents and Voice

Accents can be tricky. Personally, I struggle with writing them. Whenever I try to write with accents, they either sound off, or very stereotypical.

Instead of relying on phonetic spelling, I lean into cultural voice, how a person talks because of their upbringing or environment, not necessarily their accent.

Let’s take a Southern character as an example:

Stereotypical version:

“Y’know, city folk don’t get it. They’re all rushin’ around, starin’ at tiny screens...”

That doesn’t sit right with me. It feels like something I’ve heard in movies.

My version, with culture in mind:

“Y’know...city folk just don’t get it, do they? They’re rushing around, staring at their tiny little screens like if they look away for one second they’ll explode or something…”

The main difference was that I use slower pacing as indicated with the “…” filler words because from my experience country people tend to use filler words to help them process what they’re saying, and longer sentences.

Do keep in mind that the way someone is brought up will result in them speaking differently. Take for instance the phase “What are you doing?” can be said in many different ways. 

“What you doing?”

“What chu doing?”

“What chu doin’?”

"Wha you doing?”

So I’m not saying to get rid of phonetic speaking, but instead to understand that phonetics are apart of culture as well. Instead of trying to force a character to speak in a certain way, learn their culture. Get their pauses, their filler words, change their dictionary, there’s a lot you can do besides just trying to copy someone else’s accent.

Plus, readers will usually fill in the blanks. If you say someone’s from the South or from a posh background, readers will likely imagine how they sound. Let your dialogue suggest it through rhythm, word choice, and tone. Don’t just rely on spelling alone.

Look, there’s a lot to say about writing dialogue, and I could keep going, but I want to keep these articles digestible. If you have any specific questions about writing dialogue, feel free to ask me! I’ll do my best to share what I’ve learned.

Writing Advice: Flat Characters

When creating a character, the general advice is to make them three-dimensional. And that's an easy concept to understand.

A character should be

• Complex

• Relatable

• Have depth and layers

• Be Unique

• Be Realistic

• Have a good credit score

• Be cleaned shaved

• Have a reliable emergency contact

You get the picture, but knowing this list doesn't mean it'll translate to your characters. Now, there are entire professor-level courses on the breakdowns of how to create a character, and that's not what this article will be about. This article will introduce the basics of why your character might be flat. If you have any further questions, please don't hesitate to let me know.

First, we need to examine what a flat character is and whether flat characters are inherently bad.

A flat character is someone who doesn't change throughout the story. When the reader is introduced to them, that's who they are throughout the rest of the story. For a lot of reasons, this is seen as bad, especially for your main character. Readers tend to like characters who struggle, go up and down with their emotions, do a little back and forth, that kind of thing.

Here are some examples of bad flat characters:

• Bella (Twilight)

• Rey (Star Wars)

• Thanos (MCU)

• Christian Grey (50 Shades of Grey)

Now, whether or not you agree with this list isn't the important part. It's that these characters have been criticised for being flat by the general public, and because of that, people don't like them. Now, take a look at these flat characters that people seemed to enjoy.

• James Bond (007)

• Doomguy (DOOM)

• Ron Swanson (Parks and Rec)

• Daphne Blake (Scooby-Doo)

These characters are also viewed as flat, but they are generally loved, and this is what I want to explore in this article. The idea of flat characters, and when you should add them to your story, compared to when you shouldn't.

Bad Flat Characters

Suppose you want to look up bad flat characters. In that case, chances are you'll have a much easier time finding examples of female characters instead of males. That comes down for a couple of reasons, the main one being, sexism...in fact, almost any other reason I can think of can come back to sexism...In the past, female characters were often included in stories primarily to boost the male protagonist's ego. In newer stories, they're so cool and badass that they don't have a unique personality. (Which isn't seen as a bad thing for male characters).

Have you ever heard the phrase "it's difficult to write woman characters"? Well... It's not, but that phrase has been circulating the writing circle for so long that chances are you'll hear it. (Same thing goes for people of colour and disabled characters, but that's for another topic.)

Many writers, when creating woman characters (or other non-masculine ones), tend to rely on stereotypes. Stereotypes are meant to be one-dimensional. Stereotypes don't have depth beyond a simple premise. If you create a traditional wife character, her entire personality will be that of a conventional wife. If you make a "I'm super cool and badass character", that will become her whole personality.

To explain why others view certain characters as flat let's examine a few examples, starting with Bella from Twilight.

Bella

Bella was designed to be flat; that was the intention behind her creation. She was supposed to be a self-insert for you, the reader and the viewer. The problem comes from the fact that you, the reader, have more emotions than Bella so it's hard to imagine yourself as Bella when Bella doesn't show any emotions about what's going on.

Let's compare her to Link, from The Legend of Zelda.

Link is also designed to be a self-insert. He's been created in a way that doesn't reveal any gender preference, so it's easier for both men and women to connect with him. He's a silent protagonist (kind of), so why do so many people enjoy Link over Bella?

It's because he still has emotions (most of the time). You see him act surprised, scared, shocked, happy, and sad by what's going on around him. He's still a flat character, but it's because of the limited instances where he does react that people tend to enjoy him.

Link is also surrounded by a lot of colourful characters, compared to Bella. The majority of the characters from Twilight are just as flat. No one bounces off each other. What's the difference between Bella, Edward, and Jacob? Even if you create a flat character, their voice should be distinct enough that you know what they'll say in any situation and they'll say it differently from others.

Thanos (MCU)

Thanos (from the MCU) had one goal, and that was it. He was nothing more than a plot device for the heroes. He shows up, grabs the Infinity Stones, wipes out half of the population in the entire universe, dies, and that's it.

When you're just looking at him, he's completely forgettable, which is funny since he was like the main villain for a good portion of the story. And yet people still enjoy him, and that's because of the other characters like Iron Man. Iron Man is invested in Thanos, so we are as well. Iron Man is upset, so are we. It's because of Iron Man that some people tend to forget just how flat and forgettable Thanos was. And that's one of the secrets of flat characters, their supporting cast.

Friendship

Both Thanos and Bella are examples of poorly written flat characters. Still, one is viewed as being better than the other, and this perception is primarily influenced by how different characters perceive and interact with them.

Like I said before, everyone in Twilight acted the same. They all showed tiny emotions, and none of them had unique personalities. It's hard to get invested in a story if the characters themselves don't seem invested in the narrative. However, when Tony Stark saw Peter Parker die. We saw him cry, we saw him get upset, we care about what Thanos did because Iron Man cared about what he did. Despite being a flat character, Thanos is often overlooked due to the significant impact he has on the other characters and the overall story itself.

Villains often have an easier time being flat because they merely need to exist as a foil or obstacle for the hero. However, that doesn't mean every flat villain gets a pass because of the hero.

Kylo Ren from Star Wars is often viewed as Vader, but worse. Yeah, Rey hates him and bounces off him. He also impacts the story, but viewers found it difficult to latch onto him because he wasn't unique enough. In the world of Star Wars, to stand out from the rest, you need to be exceptional. You need to either do something or represent something that no one else has done before. Ren felt like Vader, and we already had a Vader. The same goes for Rey; she felt like Luke, and we already had a Luke.

Good Flat Characters

Not many people discuss the benefits of well-developed flat characters and why they're effective. Good flat characters are compelling for several reasons, primarily because they complement the story and the characters.

He's just a cool dude.

James Bond is a stereotypical hero. He's cool, gets the girl, never fails; he's perfect. A lot of people enjoy him because of the characters who bounce off of him. They remember the villains, his support crew, and how people respond when interacting with him. The same can be said for the Doomguy, or Master Chief, or nearly any "macho" kind of hero.

The flat "macho" archetype only works if the rest of the cast and crew support it. What makes Doomguy fun is knowing he only cares about one thing...killing demons. So the story needs to reflect that. People react to him about his obsession with killing demons, and the demons are scared of him. It's to the point where the story itself is making fun of him.

Also, be aware of what your reader and viewer are in for. Will your story evoke strong emotions, or will it be more lighthearted? Both James Bond and the Doomguy are just male fantasy stories at the end of the day. So, we're not expecting character depth from either of them, which is why they can be flat, but that's not a bad thing.

Comic relife

Not every character is going to be three-dimensional; case in point, many comic relief characters are typically written to be flat. They have one job: to be funny, and that's it. The hard part of making these characters good is, well, making them funny. A lot of flat comic relief characters can get called out for being poorly written because they only have one or two jokes, or they're more annoying than amusing.

Can flat characters still show emotions?

Yes, and I would like to point out Hamilton from the musical. He doesn't change throughout the entire story. He keeps climbing that ladder with every song. He's a know-it-all, has an ego, and frequently calls out others. Many people enjoy Hamilton because they either relate to him or find the story to be emotionally moving.

His story of never quitting and always doing what must be done to get what he wants can encourage others to try the same. He's not a reactive protagonist; he's very much an active one, so despite being flat. The audience cares about him and what he's going through.

Flat characters doesn't equal bad.

A flat character means they don't change; however, as long as the story and the characters that surround them can reflect this. You can create fun flat characters. But what if you don't want a flat character? Why do your characters keep coming across as flat, and what can you do to fix it?

This might be a complex challenge to overcome, especially if you are autistic, as a lot of autistic people (myself included) have a hard time expressing or showing our emotions.

Going back to my list of what makes a 3-dimensional character, I said they need to be "relatable", but what does that mean? If your main character is a man, will those who identifies as another gender relate? If you're creating a soldier, will people who has never been a soldier, can they relate?

A 3-dimensional character needs to be complex and unique, but again, what does that mean? You could create a noir cop who cares about nothing but bringing justice to an unjust world, but that's not complex or unique. So you give him a soft side, an ex who broke up with him because he's in love with his job... that's also not unique, though. I've been told that nothing is original anymore, and if that's true, how can you create a distinctive character?

Here's how I create some of my characters: I start by making them as flat as possible, serving as a baseline.

Let's go with a wealthy playboy.  He's my base. I couldn't be more generic than this.

Now that I know what my character is, I'll need to find something that offsets this. Something you might not expect to see in a character like this. This guy is really into LARPing. Not many people, when they see a wealthy playboy, would also think of LARPing, so that makes him stand out.

So, I got my baseline, and I got something that makes him stand out, knowing these two things can help me build off his character because I get to ask myself, "Why does he larp?" "Do others know about this?" "What skills, and what kind of personality would he have by juggling his rich playboy life and a LARPing one?"

Flat characters are often described as one-note, so having two things that are very different from each other could start making your characters feel a bit more rounded. When it comes to Bella, Rey, Ren, and Thanos, what is there to them besides plot? Real people have things they like and enjoy. Going back to our playboy character, he might hate clubbing. Why go to a nightclub and dance when you can dress up as a knight and fight people?

It's not just the nightclub he dislikes, but also the culture that surrounds it. The number of people in a cramped place, or maybe it's the drugs he can smell, or perhaps he doesn't like alcohol. You can always go into more detail if you wish.

A flat voice versus a round one

Let's say you got your character, you got their baseline, you got something they like, and you know what they dislike. Yet for some reason, they're still coming across as flat. What are you doing wrong?

This comes down to emotions and how we express ourselves. Suppose the playboy character exhibits the same emotions and manners when interacting with billionaires as he does with larpers. In that case, he's not changing that much. He's staying the same. Real people change when they meet different people, so your characters should do the same.

Also, is your character plot-driven, or do you allow them to take a break? Do you allow them to make mistakes, and if so, how do they react? There needs to be bumps and dips in your character, as well as highs and lows. Starting and ending the story as a confidant means they haven't changed much.

There's one more thing about creating non-flat characters.

What has changed?

Look at them at the start of their story and look at them in the end. How much of them have changed? I like to make notes of who they were before the start of the book and who they are at the end.

Keeping with the playboy character, he's rich, loves the laddies, confidant, athletic, and has an ego.

Not everything about him needs to change, but enough does so that it's noticeable he's no longer the same. Let's say, at the end of the story, he's no longer rich, and perhaps he has found his one true love, but it was only after he shed his ego. He'll still be athletic, and maybe still a bit confidant, but there's a new thing: he's a lot more humble now.

Characters are expected to grow and develop throughout the story. So, what has your character learned that they didn't know about at the start?

That’s about it for trying to avoid flat characters. I hope you learned something and if you have any other questions about creating characters please feel free to let me know.

Writing Advice: Write in a Different Genre

Have you ever written in a genre other than your usual one?

Many authors (myself included) tend to stick to one, or at most two, genres. For example, I enjoy fantasy, so most of the stories I create will be in the fantasy section; however, that doesn’t mean I’ll never write a small horror or romance story every once in a while, and I’ll explain why.

Each genre has its perks that you could learn from. If you want to improve your visual storytelling and create an interesting atmosphere, take a quick peek at the horror section.

What if you aren’t good at writing romance? Have you read any romance stories lately? What do they have that your story is lacking?

Now, when I say I write other genres, I don’t mean that I’ll create an entire novel, more so I’ll think of a small scene or chapter in my current story and be like, “this is a horror chapter now”, and see if I can learn anything.

I find writing in a different genre than what I’m used to can be refreshing and fun. It’s a bit of a challenge for me in a couple of ways.

Do I know my characters well enough that if they were transported into a different genre, would I be able to figure out how they would react?

How is my ability to tell a story in a different genre?

I also found that if I’m in a bit of a writing slump, simply changing direction and writing in a different genre can spark some creativity to help me get out of my slump.

There’s so much you can learn if you take a little peek in the other lanes instead of staying in your own. You don’t have to be a master of every genre, but if you’ve been getting consistent feedback saying your visuals or descriptions are a bit lacking, perhaps take a look at stories where visuals and descriptions are the main selling point and do a bit of comparison between their stories and yours. And then, if you think you might have an understanding, write in the other genre for a bit and see how it feels.

Writing Advice: So you've broken up with your story?

It happens. More often than people like to admit. I can’t tell you how many stories I’ve given up on, and honestly? It just is what it is.

(Ugh, I hate that phrase. But sometimes it’s the only one that fits.)

Falling out of love with a story isn’t the same as falling out of love with writing. It just means that this particular story, this idea, this draft, this “relationship”, isn’t working anymore. So, what do you do?

Sometimes, the cleanest choice is to let go and start fresh. A blank page. A new story. A new idea that isn’t tangled up in frustration or burnout. Treat it like an actual breakup, don’t look back, don’t re-read old scenes, just move forward and create something new.

But what if you still love the story? What if the idea still matters to you, but it just doesn’t feel right?

In that case, I go full Frankenstein. I dig through the wreckage and salvage the parts I still love, characters, moments, world building elements, and transplant them into something else. Something that might work better. Something that gives those good ideas a second chance.

When I used to write fanfics, I had one character who kept showing up in almost every story I started. The plots never worked out, but that character stuck with me. I never found the right story for them at the time, but I wasn’t ready to let them go either. Sometimes, it takes a while for good ideas to find their home.

There’ve been times when I couldn’t let a story go, no matter how much it frustrated me. So, instead of rewriting it line-by-line, I’d restart it entirely, from a fresh angle, with a slightly different tone or theme. Maybe it’s the same world and lore, but it’s got a new coat of paint. A new perspective. And often, that’s enough to spark something new.

Of course, if you’ve been working on something for years, hearing “just start a new story” doesn’t help. You’ve invested time, effort, and emotion, and walking away from that can feel like a failure. I get it. I’ve been there. It sucks.

When I’m feeling that way, I step back. Not forever. Just for a week. A little space. Then, if I still care about the story but can’t see how to fix it, I give it to a friend. A fresh pair of eyes can see things you might've missed after staring at the same sentence for the hundredth time.

I once dreaded editing a section of a manuscript I was certain was weak. But when a friend read it, they told me it was one of the strongest parts. That little bit of outside perspective snapped me out of my spiral and reminded me that maybe the story wasn’t broken, perhaps I was just too deep in it.

People say writing is a solo act, but to me, it’s a dance. You and your story need to move in sync. You need rhythm. You need trust. You need to know when to lead and when to let the story take the next step. And when that rhythm’s off, it doesn’t mean you’re a bad writer. It just means that maybe, for now, this story isn’t the one.

But that doesn’t mean it’s over forever. Some stories come back to you years later. Some characters don’t shut up until you finally find the right place for them. Others quietly fade, and that’s okay, too.

If you’ve broken up with a story, you’re not alone. You’re not a failure. You’re just evolving.

Keep writing. The next dance partner might be the one that fits just right.