Skill Dialogue Craft: Инструмент для написания сценариев и романов

--- name: dialogue-craft wtfbId: wtfb:dialogue-craft description: | This skill provides dialogue writing techniques for screenplays. Covers subtext, character voice differentiation, exposition handling, and the four purposes of dialogue (reveal character, advance plot, create conflict, entertain). Use when: polishing dialogue, developing subtext, differentiating character voices, or handling exposition in screenplay dialogue. --- # Dialogue Craft Skill ## Invocation Triggers Apply this skill when: - Polishing dialogue - Developing subtext - Differentiating character voices - Handling exposition ## Dialogue Principles ### The Purpose of Dialogue Every line should: 1. **Reveal character** - How they speak shows who they are 2. **Advance plot** - Move the story forward 3. **Create conflict** - Tension between characters 4. **Entertain** - Be engaging to read/watch Ideally, each line does 2-3 of these simultaneously. ## Subtext ### What is Subtext? The meaning beneath the words. Characters rarely say exactly what they mean. ### Surface vs. Subtext ```fountain // Surface level only (BAD) JOHN I'm angry at you for lying to me. // With subtext (GOOD) JOHN (quiet) The coffee's cold. ``` ### Creating Subtext **Displacement:** Talk about something else entirely ```fountain SARAH Did you feed the cat? JOHN You know I always forget. // They're talking about how he always lets her down ``` **Deflection:** Avoid the real subject ```fountain SARAH We need to talk about last night. JOHN Have you seen my keys? ``` **Contradiction:** Say the opposite of truth ```fountain SARAH Are you okay? JOHN Never better. He won't meet her eyes. ``` **Indirection:** Circle around the point ```fountain SARAH I saw the ring in your drawer. JOHN It was my mother's. SARAH It's beautiful. JOHN She would have liked you. // Neither mentions the proposal ``` ## Voice Differentiation ### Elements of Voice | Element | Range | |---------|-------| | Vocabulary | Simple ↔ Complex | | Sentence length | Short ↔ Long | | Formality | Casual ↔ Formal | | Directness | Blunt ↔ Indirect | | Humor | Dry ↔ Broad | | Emotion | Reserved ↔ Expressive | ### Voice by Background - **Education:** Vocabulary complexity, grammar - **Region:** Slang, rhythm, expressions - **Profession:** Jargon, verbal habits - **Age:** Generational references, formality - **Personality:** Introvert vs. extrovert patterns ### Example: Three Characters, Same Information ```fountain // Academic PROFESSOR The statistical probability of survival decreases exponentially beyond the 72-hour threshold. // Street MARCUS Three days, man. After that? You ain't coming back. // Military COMMANDER Window's 72 hours. Then we write them off. ``` ## Handling Exposition ### The Problem Audiences need information, but "info dumps" kill scenes. ### Exposition Techniques **Conflict:** Characters argue about the information ```fountain JOHN The company's been laundering money for years. SARAH That's insane. My father built this company. JOHN Then he built it on dirty money. ``` **Discovery:** Character learns with audience ```fountain Sarah finds the document. Her eyes scan it. SARAH (reading) "Project Nightfall. Initiated 1985..." (looks up) This goes back forty years. ``` **Need to Know:** Character explains to someone who needs it ```fountain VETERAN You're new. First rule: Never go below deck 5. ROOKIE Why? What's down there? VETERAN That's rule two. Don't ask. ``` **Conflict of Interest:** Information becomes ammunition ```fountain SARAH I know about the money, John. JOHN (carefully) What money? SARAH The hundred thousand in the offshore account. The one you opened the week before you proposed. ``` ### What to Avoid - Characters telling each other what they both know - "As you know, Bob..." constructions - Long explanatory monologues - Information that doesn't serve a scene purpose ## Dialogue Rhythm ### Varying Line Length ```fountain SARAH I loved you. JOHN I know. SARAH I would have done anything for you. Given up everything. My career, my family, my future. Everything. JOHN I know. ``` ### Beat and Pause ```fountain SARAH I found the letters. (beat) JOHN I can explain. SARAH Can you? Long silence. JOHN No. ``` ### Overlapping Dialogue Indicated by `--` for interruption: ```fountain SARAH I just think we should-- JOHN --Not now. SARAH But if we could just-- JOHN I said not now. ``` ## Common Dialogue Problems ### On the Nose Characters stating emotions directly. ```fountain // BAD SARAH I feel betrayed and hurt by your actions. // BETTER SARAH (sliding off ring) Here. I won't be needing this. ``` ### Greeting Rituals Unnecessary pleasantries. ```fountain // BAD JOHN Hello, Sarah. How are you? SARAH I'm fine, thanks. And you? JOHN Good, good. Thanks for meeting me. // BETTER JOHN (seated, waiting) You're late. SARAH (sitting) You're lucky I came at all. ``` ### Identical Voices All characters sound the same. Test: Cover character names. Can you tell who's speaking? ### Speechifying Characters make speeches instead of conversation. Break long speeches with: - Interruptions - Action beats - Other character reactions - Internal contradiction ## Dialogue Polish Checklist ### Per Line - [ ] Could this be cut? (If yes, cut it) - [ ] Does it reveal character? - [ ] Does it advance plot? - [ ] Is there subtext? - [ ] Is it speakable? ### Per Scene - [ ] Is there conflict in the conversation? - [ ] Do voices sound distinct? - [ ] Is exposition earned? - [ ] Are there moments of silence? - [ ] Does rhythm vary? ### Per Script - [ ] Can characters be identified by voice alone? - [ ] Is subtext consistent per character? - [ ] Are relationships clear through dialogue? - [ ] Does dialogue evolve as characters do?