A Quote by Judy Blume

Nothing teaches you as much about writing dialogue as listening to it. — © Judy Blume
Nothing teaches you as much about writing dialogue as listening to it.
I still haven't quite caught on to the idea of writing without dialogue. I like writing dialogue, and there's nothing wrong with dialogue in movies.
At its best, writing is a dialogue. It's one of the things I love about children's: the fact that this dialogue is really there from the get-go, from the start of writing.
We have to be in a listening mode: it is about dialogue, about listening to what the others have to say, about cooperating in the best way possible. These are the values and principles that we put forward.
I like writing dialogue - I can hear my characters so clearly that writing dialogue often feels as much like transcribing something as it does like creating it.
Art in relation to life is nothing more than a glove turned inside out. It seems to have the same shapes and contours, but it can never be used for the same purpose. Art teaches nothing about life, just as life teaches us nothing about art.
There's a point I can get to where I start writing character and then through the dialogue, after all of this preparation, the thing starts to feel like it's a character developing through the dialogue. A lot of character traits do come from writing dialogue, but I have to be ready to do it.
Sports teaches you character, it teaches you to play by the rules, it teaches you to know what it feels like to win and lose-it teaches you about life.
I have learned as much about writing about my people by listening to blues and jazz and spirituals as I have by reading novels.
Nothing teaches us about the preciousness of the Creator as much as when we learn the emptiness of everything else.
If I'm not writing, I can download a newer album everybody's making a fuss about. But when I'm writing, I keep myself in my own zone - I worry about listening to new music that'll inform me too much. I'm the kind of person who goes to another country and starts speaking in an accent after three days.
I love dialogue, but I'm also terrified of it. In all my movies, I've done my best to cut out as much dialogue as possible. I love the spaces in those silences. Even in 'Pete's Dragon,' I was so happy that the first twenty minutes have about five or six lines of dialogue.
I come by writing dialogue fairly naturally, I've got a chatty family; I'm a bit of a voyeur, and if I'm ever in a public place, I automatically find myself listening.
I'm writing as I'm reading. I'm constantly already engaged in dialogue with the critics. None of these are my ideas solely. They are my form of entering into a dialogue with ideas that are already out there, and calibrating how much sense these make to me or not. I want to be responsible to the work that has already been done.
The way you write dialogue is the same whether you're writing for movies or TV or games. We use movie scriptwriting software to write the screenplays for our games, but naturally we have things in the script that you would never have in a movie script -- different branches and optional dialogue, for example. But still, when it comes to storytelling and dialogue, they are very much the same.
Improv relies just as much on listening as it does you delivering dialogue. That's the hard for some people. Some people just concentrate on what they're going to say, and they're not listening. You have to listen in order to see where the other person is going to.
The best, most natural dialogue is usually written as if the writer is listening to dictation. You might get stuck on any particular point and have to question yourself; but normally, dialogue writes itself.
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