A Quote by Ursula K. Le Guin

Do remember, though, that unless you're a playwright, the result [dialogue] isn't what you want; it's only an element of what you want. Actors embody and re-create the words of drama. In fiction, a tremendous amount of story and character may be given through the dialogue, but the story-world and its people have to be created by the storyteller. If there's nothing in it but disembodied voices, too much is missing.
In fiction, I have a residual guilt when I focus on story over language or mood or whatever - the more "literary" things. In screenwriting, I don't have that guilt because story is the only thing. Character, dialogue, everything else - they feed into and drive story.
I'm sure that everything you do contributes to the sort of novel that you write. A lot of actors have an understanding of drama and a good ear for dialogue and also the rhythm of speech. Similarly, my 16 years in radio drama has influenced me. You only have 45 minutes, or 7,000 words, to tell a story, so every scene has to have a point.
'Seize the Story' takes readers all the way through the process of writing fiction, from beginning to end. Every element, from dialogue to setting, plotting to character creation, is laid out and illustrated with examples. But the tone of the book is not that of a dry writing manual - it's definitely written for teenagers.
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.
I love involving actors at all levels - and they have to know that I want to hear their contributions, with dialogue, with story suggestions, with script changes, whatever.
What's great about theater and drama is it thrives on dialogue, and dialogue thrives on people with different points of view fighting for what they want.
I hate irony, particularly when it is used because there isn't any message or to hide that someone hasn't any story to tell. Just like when someone only spews out a stack of cool words which don't mean anything and then has the gall to call it art. I always want to create a bridge between us and the listener, and I want it to be so that kids want to create for themselves a story or a context of the words.
Professional wrestling... is no different than a Broadway play except that in a Broadway play, actors are using dialogue to tell a story and establish their characters, while in WWE, they're using a physical dialogue to tell their story and build their characters. That's a very unique art; it really is.
Jane Austen, much in advance of her day, was a mistress of the use of the dialogue. She used it as dialogue should be used-to advance the story; not only to show the characters, but to advance.
There aren't any real dumb people in my voices. It's always irritated me about Hollywood dialogue - there's so much dialogue that would just bore a Ford mechanic. This is not how people talk.
Trust the story ... the storyteller may dissemble and deceive, the story can't: the story can only ever be itself.
Dialogue's a method of revelation, of course. A few words of dialogue can reveal worlds about a character.
People learn racism through dialogue. Somebody tells them about it. So if you can learn it through dialogue, you can also unlearn it through dialogue.
The biblical story is in dialogue with the other stories of its time. And if the Bible can be in dialogue with other cultures, why can't the people who are descendants of the Bible be in dialogue with other cultures?
With fiction, you are creating an imaginary world. And it can be a very mechanical process. In a fictional film, you create the characters who become "real people" when facing the camera. When you stop shooting, they change their costumes and become someone else. And people tend to believe in documentary more than fiction. Even if the fiction is based on a true story, everybody will say, "Oh, they're only actors."
In 'Yours Truly,' I was the centre of the story; I was the protagonist. There was a lot more happening inside the mind of the character which was not projected loudly through dialogue and action... As a performer, playing such a nuanced, internal character is challenging.
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