How to write GREAT Dialogue for your Game | Writing Tips

One of the most important aspects of

writing

is character

dialogue

, whether it's for a book, movie, or video

game

, you can't ignore this show versus telling the character's voice and cadence, we cover it all, get ready to learn to

write

excellent

dialogue

s because class is in session. Hello everyone. I'm steel and I'm dealing with Studio Bleu, thanks for joining us for our Creator class, where tonight we'll be talking about how to

write

dialogue for stories and

game

s, oh right, thanks, looks like we just got happy. Didn't we have Jerry following us? Awesome, we are welcome to our broadcast.

Gryphon graceless and XP gained

great

seeing everyone here tonight. That's weird, so someone followed us and we didn't have the yellow brick road. No, it was quite strange. -oh, I wonder if Stream Labs doesn't work. We will have the broadcast for everyone. uh this is Studio Bleu and tonight we're doing a creator classroom. We are going to teach you all the internal and external workings of

writing

dialogue for stories and games. As my lovely wife Bill said, I apologize in advance if Teal and I ever swear, we're not drunk, it's hotter than a donkey, but during the heights of July and nothing we've done has been able to fix what we really had.

Someone was here today working on the air conditioning and was only able to mitigate the problem. Hi Corrigan, how are you? Are we going to participate? So writing dialogue for stories and games is what we are focusing on tonight and the purpose of the presentation mr. Professor Slime would say God, he's terribly rude. We're going to show best practices for creating dialogue for both stories and videos, as well as games, using examples to illustrate the point. This will be more of a lecture and discussion room and less of a classroom. workshop hmm, we are going to divide this into two parts, the first part, steel, I will present the writing of dialogues for narratives such as books, novels and short stories.

They were going to take a quick BRB shuffle shuffle shuffle and Teal will resume writing dialogue for video games. because it's one of the things that she really excels at very well, yeah, welcome to the stream, daydream, daydream, how are you? Okay, so let's get right to the heart of the matter, as usual, in a creator classroom, if you have a question and want to address it. I'm directly looking at the monitor here and I can see you, please let me know what you have to ask or comments you want to add if you want to make just a general comment or you want to address Teal, she's in the directors booth, she can.

See you too hmm, let's start my love, let's start, let's do it in a way that the dialogue and stories are correct, so there are seven points of writing that you can follow when you want to write a dialogue or a story, and a story can be a novel , a short story. a drabble that's like 500 words or less, but you can also apply this to dialogue and scripts and scripts to pretty much anything other than video game media, the things that I'm pointing out that can be used and you'll be able to use some of the fundamentals here in the teal section too because these are all just good writing practices.

The five writing points that we'll get to in just a second or so the fifth through seventh writing points are simply the seven best things you need. To get these dialogue rhythms right, we will show samples of each of these writing points. I will do my best to read correctly and then we will continue with three waves to improve

your

dialogue. Overall, that sounds good, I'll keep my whistle wet here because my throat is already dry thanks, allergies, and welcome to the broadcast Corrigan, yes, welcome, welcome, mmm, that looks good, here we go, let's have some fun, so to be able to review these writing points. and the different samples we are going to review the

great

American classic while the ceiling fan becomes a wonderful and passionate romantic drama written during the War of 1812, so by the way, the film adaptation is incredible, you should check it out, so that here we go. jump to writing point so here is writing point number one, coming in late to the conversation which is actually about such a fundamental topic that many people get lost in any media, stories, games etc, people always start a conversation with hey Bob, hey Jim, and they just get started. chatting about the weather that no one wants to read about you want to skip that irrelevant beginning of the conversation that I refer to as nonsense it's not necessary what you want to do is start with a point that really sets the scene and establishes where you are.

So instead of Bob walking up to Jim and saying hey Bob, hey Jim, what you want to do is have Bob walk up to him and you have to start with Bob walking up to him saying you know the Kings are dead again or that you know something along the way. lines of you know, I just got my family to safety or some relevant information to establish, right? How are you? I am good how are you? There's no reason for the dialogue to start supporting nonsense, so it sets the scene. within the first lines of the narrative, a dialogue or a beginning in the meat of the conversation sheet.

Bad. Sea urchin. Good. He understood it. Yes that's fine. So, for example, um, instead of saying they met in a cemetery at midnight, say something like, Why did you call me to a meeting? cemetery in this godforsaken hour think about it more along those lines with the first with the first example that they found themselves in a cemetery at midnight all you're doing is just giving an establishing shot, it's literally like you're taking a camera pointing towards above putting it in the cemetery seeing two people in Turin and hoping that

your

readers are entertained by the second version why did you call me to a cemetery in this godforsaken hour what you are doing is creating some kind of attention some kind of what does it mean this for the reader why this is important why this person was taken to the cemetery in a godforsaken hour why he is irritated or worried or what then has the characters in the thick of the conversation or near the conclusion of the conversation In other words, when you're getting information out that are important things like that's why I brought you here tonight, it's a good conversation starter when your first line of dialogue is that the reader will immediately wonder, wait what happened. why and then you answer in the subsequent narrative lines or lines of dialogue or we shouldn't have come here, that creates an immediate stake, a potential danger, now you die and you escalate it more than that, Kenya, so the point of this is to trust in that your readers use their powers of inference to fill in the blanks you are writing for supposedly adults you are writing for people who have understanding you are not writing harold and the purple crayon or second graders now, obviously, yes we are writing for children , it's all a little different, this is just going over writing for adults and yeah, okay, so here are some examples of coming into that conversation late and why it couldn't have waited until morning, Philip asked with his hands trembling making the cool candle ring.

Inside the lantern, Garfield bowed respectfully before the magistrate with all due respect. My Lord, he said that the enemy will make landfall in an hour without his approval, the city's defenses will fail and what a shame it was. The bitterness and Philips' voice were so thick that he choked. okay, let me find my pen, the brass can't, the brass candlestick continued to creak, I'd have to talk to the butler about that in the morning, so in this particular sample, you immediately encounter the result of Garfield waking up. magistrate philipse, now we don't have the context here, obviously this is just a sample of a great American masterpiece, but the reality is that you immediately know something is wrong and then when Philip says that the enemy, when Garfield says that the enemy makes landfall, you know what is at stake and we have talked about this in our previous classrooms.

The stakes are important, not just tasty. It also draws the reader in on what the character potentially has to lose before moving on to anything you want to add. You know, you did it. very good job making that point very well, moving on to tip number two, give each character a unique voice. This is extremely important. This is only 1 out of 7 points, but I can't tell you how many times I've read a manuscript. that someone has wanted me to watch I can't tell you how many times I've read a story that's been posted on one of so many websites I can't tell you how many times he or I have seen a game where this advice hasn't been followed and yes, kiyah , this point is very important, each person speaks in their own unique and identifiable way and you are writing, regardless of what you are writing for, it should reflect that the characters can use anything from short words to words. like all of you to figures of speech through colloquialisms, I can recite this forever because I am Cajun for the tone and tenor of your voice.

This is like excitable versus reserved, so to an excitable person his words will come out very briefly. very quickly even if you are not reading that if you are reading them you will say hey this comes out with a lot of emotion something like you know that the freemasons will be the freemasons will rebel at dawn it does not read as if the freemasons will rebel at dawn it reads as if the freemasons They will rebel at dawn, so the choice of words and the way they flow together will create that type of excitability, whereas reserved would be.

I believe in rebellion. I think the Freemasons are starting to rebel. Too bad it's a more reserved anime. In fact, he is very good at this, sometimes annoyingly so, which is why the anime uses repetitive phrases, for example, the old anime fuscia gyoji, the character Toshiro used to say no, dah, at the end of each sentence, a anime that Tiel and I are watching right now is called re something. The type that keeps coming back to life is the respawn ability that depends on a reira Peter. I'm terrible with names, but there's a little librarian character who says I guess at the end of almost everything, those are Reiser, oh thank you dreamy, these are real vocal tics. figures of speech that give credibility to the character make the character speak uniquely now here's the last one here's the one this is what separates the amateurs from the professionals vocal cadence vocal cadence if you can start putting vocal cadence into your actual writing where it is audible inside the reader's head as they read, then you have gone from first level to 9000+ as a writer, that is how you know you have reached the professional level, so vocal cadence is the rhythm at which a person He says words to emphasize and raise and lower the pitch of his voice while writing sentence formation, which is extremely difficult.

In fact, we could create a creator classroom in vocal cadence alone. I could have a short form video that I should probably have both times when you write vocal cadence. You're visualizing how the character sounds when he speaks, for example, whenever Steele speaks, especially in an official capacity, he raises deeply during the opening points, raising his pitch and the emphasis of his voice higher, almost as if they were capitalized, then I let them fall. Afterwards I have a very recognizable vocal cadence, so it's a kind of introduction to the act. um that's one of the things that you as a writer will master throughout your writing career so now we'll move on to our sample welcome to the stream boo boo ho tap mrs.

Maura raced across the room as if it were a race to win. We can't let those Abaddon Russians win. Generals favor first. I, mr. Moral Mr. Maroc said he bent sorry, Mr. Morocco, in the brochure once you consider the eight-second headline, it's just terrible how you know every movie makes you stop at the mantelpiece to briefly touch the family heirloom, your Fingers tingled over the solid gold, even though they shouldn't have. Maybe we have to take Phillips up on his offer, mr. Maura turned the newspaper over and looked at the column at the back. I became like a viper.

Maroc yelled at her husband: Are you paying attention? He said that she shouldn't have married a banker, so in this particular example, Mrs. Maroc speaks very excitedly, you can see from the words surrounding her dialogue, she walked across the room as if she were a race, which means hurry, the movement is witness that she is moving with enthusiasm, so when I read that, she walked across the room as if it were a race to be won, the moment she speaks, my brain fills in the blank, she talks excitedly and then her husband just says the word me, that's it, nothing more, so she almost says failure, almost doesn't sell all her worry, okay, this could. be unique maybe maybe not, but right after it is just awful she continues continues with the same cadence as before choosing thewords what he says is the same as before my brain fills in the blanks he is speaking enthusiastically then pauses on the mantelpiece he remembers very briefly that there is a word briefly to touch the family heirloom, he is considering something and then says, and even if this is slower, it still shows that measure of excitability that we can have to accept Phillips' offer and then, when her husband says For the second time, almost with disdain, we have now gotten their personalities through From his dialogue, especially him, we know that mr.

Maroc is not excitable, he is reserved, whether he doesn't care about his wife's feelings or whether he has a plan or something else, he currently doesn't show that he is upset, so he is relaxed, while she is very excitable, exactly, very energetic, with a very energetic berry and then her. spins like a viper Vipers are fast and then she looks at him, are you even paying attention? And he holds it with a third eye and that's it, now we know everything we need to know about the initial personalities of that lady's characters. maracas isexcitable by whatever is happening most likely excitable in general mr.

Morra is not at all he's laid back he's that reserved guy exactly Kia and then we made tea she shouldn't have married a banker the comment at the end is not only a bit of aha humor but it's also a kind of nudge. that stereotype that cliché of reserved bankers or does now we have in our mind the character of a husband and he has only said three words, okay, moving on to the number, throw whatever you want to Hunt, an interesting choice of words, you have the Mrs. Moorcock turning like a viper, aren't you? you immediately think of something nefarious, yes, a viper has a negative connotation, so it gives the impression that there has been some antagonism between the husband and wife and that is the point, so just by reading that word or being able to infer that there's that word again inference that there aren't necessarily roses and candy in your marriage right, okay, move on hmm, excuse me, tip number three changes the character's voice depending on the recipients, so take everything you just learned from tip number two and now we're going to take go to the next level, so this next level changes your voice depending on the recipient, so what that means is that, very clearly, people speak differently to different people.

I speak very differently to all of you, my audience, the same way I speak to my friends. to my wife Teal differently than I talk to anyone else I talk to my mother differently than I talk to anyone else I'm NOT a cardboard cutout and now we get back to that anime comment in tip number two , the anime genre in general doesn't always flop, but usually real people change their choice of words and their tone and tenor depending on whether or not they have a close connection to someone or someone in a position of authority over them, think about how You can have the arrogant noble who suddenly becomes very reticent when talking to his King, that is a good example, a person who is normally very reserved can open up more when in private there is someone close or intimate with him, it just depends on who.

Everyone speaks differently, what generally doesn't change is their cadence. The cadence usually changes when someone is acting like I'm doing now. I don't normally talk like that outside of our broadcasts or yeah, sorry, I got distracted with Kia, yeah, or even code switching exactly, so hmm, let's get back to what I was saying just cadance. changes when a person is literally changing the way they want to speak on purpose, otherwise you don't think about changing your vocal cadence, so tenor tone word choices are a little more conscious and subconscious, oh my god, the other way around, while the vocal cadence is more conscious, okay, you could show yourself noticeably and develop a character by changing the way you talk to different people and let's go over that severity versus kindness so we have the stern person, now he's kind to another person in private. , maybe you have the severity that I know a severe nobleman who is very her with his peasants who were working his land, but the moment he is alone with his children he becomes a kind, sweet and soft-spoken person, in actually damn the overlord anime was fantastic I keep coming back to the anime because I've been watching it a lot but there was one character that was almost sneering and then at one point when he was alone with his son he was literally the person kinder in terms of anger versus empathy, that's another good option for many people who have aggression.

They tend to show their aggressiveness with almost everyone except those they are closest to or have a special connection with and then indifference versus less indifference so you can have a character like mr. Moorcock, who is literally an indifferent person and then leaves and becomes less and less indifferent towards another person and all of this is very important because you never want to pass up the opportunity to develop a character based solely on what he tells another character that you can. In fact, giving so much information about Mr. Mark was based solely on him talking to someone else, so let's do that, it wasn't until the enemy general left the house that mr.

Morka finally talked to his friend, we should have said something, he was giving us a way out. Syrus Cranston stroked his stubbly chin, we'd be falling deeper into his trap, he said, don't you have that girl hiding in your attic? Doesn't she use it, sir? Morel as Mr. more acts like the taste of that less than him her wife's kitchen law that saved my life from her twice I would never betray her I see Sarah said so you're ready to do this. It was the only appropriate response, so in this particular case. We see a different side of mr.

Moorcock is less of an indifferent person, less of a dismissive person, and is showing real concern for this character. Claudette even says she saved my life twice. He is talking to the sky alone. Cyrus, this enemy general character is gone so now it's just these two and there's a topic and they're discussing it and this person who was very indifferent in a previous scene is now more committed to Claudette and to wrap him in a bow he uses the word I, which is what he was using, which was saying goodbye to his wife but now it has a completely different context yes, the word I is his word, that is his identification word, it is his phrase, however, in this case we are seeing that now has heart behind it instead of indifference, anything inside him is a callback to the indifference he doesn't like that he feels towards his wife, so when he says he makes a comparison to his wife's cooking, any suspicion you had in the previous scene that there was a problem between mr. and Mrs.

Moorcock it has now been confirmed that there is a problem between the two of them, whatever it is, these two have had an unpleasant or at least great marriage for quite some time, let's continue with point number four, the use of dialogue tags, who is right? so I'm a quick sidebar, you can always tell how newbie and amateur a writer is based on how he uses dialogue etiquette. You can also tell how far along someone is on their journey to becoming a professional cyclist, also based on their dialogue axe. It's kind of an unwritten keyword, it's just a way for us, people who have been doing this for years, to say, "Okay, this person is just getting started." This person has been doing it for a while because, without fail, almost all newbie writers overuse dialogue eggs, you know, I want to. to go to the store he said why do you want to go to the store she asked well why he said rubbing his chin I really want an apple where can we get the best apples?

She asked touching her lips well he said how about we? go to the produce aisle the produce aisle that sounds like a wonderful idea she said how many times did I say she said I actually lost count that's over using don't label too well also here's another version of writing for beginners I'd like to go to the store he stated why do you want to go to the store she asked why he pontificated quietly I haven't eaten an apple in a long time where do you think we can get the best apple? he wondered out loud I think we can go to the store aisle he replied that sounds great she said with a smile let's go to the produce aisle I'm so cumbersome it was cumbersome to think about it on the fly let alone say it was difficult because it reads amateurishly so it reaches my The second point the label says is literally invisible to the reader when engrossed, it is noticeable when overused, but when not overused, when used correctly, it becomes invisible and what you want to do is use it from the second point to the third point. is to use as few labels as humanly possible, it's actually better to say: I'd like to go to the store.

He got up and started looking for a shoe. Why do you want to go there? She looked up. She looked up from her book. Because you want? to go there I didn't tag everything in those two sentences, in other words, don't tag if you can tag as little as possible, it's good for you when you have to tag through simple tags, especially the magic tag said and you. You'll see that in the next sample, instead of Steel trying to make things up off the cuff and also in the last point, he only uses other labels like asked, commented, exclaimed, when there is absolutely no other way to express the point of view or when you have to emphasize that point enough to We're willing to slow down the scene, so if a character gets shot and she says father, she screamed, you've put all the emphasis on that now if you've had the character yelling, bellowing, and laughing, whatever.

Let them be your words throughout the book. a shout is going to lose its impact think of it like getting people every time you use a tag, you had a small obstacle every time you hit a tag other than the word it said, you hit a bigger obstacle, you can use those obstacles strategically to Let the reader slow down enough to realize the magnitude of what just happened, but if you abuse the speed bumps you will simply have broken axles and no one will win, moving on to the sample for now, the following has absolutely no no dialogue. labels at all and preferring that Rita listen to me is not as coherent as she sounds.

Phillip stood over the battered body of Mr. he marks by tearing his dueling saber as if the world itself were conspiring to snatch it from his hands. I wish John I had not come to this, it was almost another cabin meeting, most of his divided force is built on the cobblestone town square. He focused her gaze across the crowd past his mortified wife and rested it on Claudette's pale face. Don't let her die. Philip will not spare glances or inflections, unless the only possibility of their survival will be discovered. That was enough and mr. More auto closed his eyes as a general approached with gun in hand, let freedom ring, did not hear the final shot, there is no dialogue, no labels at all and yet I conveyed all the emotion and information and You would have felt that even if I had bet.

I could have read in Bend Ben Stein's monotone style and there would still have been excitement there simply from the choice of words in the fact that instead of labeling I come, I tied each line of dialogue with an appropriate action narrative, everything that made each character complemented what they said and what they said complemented what they did and when you, as a writer, can take the action and the narrative as our action and dialogue and put them together properly to the point where they literally work together like two pieces of a puzzle that they come together to form a complete moment, then you have graduated to the next level of writing, anything from you, honey, no, that is a very good example, thank you, thank you.

Now let's all take a moment of retrospective silence for mr. talked more, okay, wait for tip number five, dialogue rhythms and action rhythms, well, this is fun, okay, mmm, think of each piece of narration and dialogue as the rhythm of a musical number, if you really can start imagining it. your head is a bomb, bomb, bomb, bomb, then your writing will improve dramatically, so when you write, develop and follow that rhythm of rhythms, so what you want to do is think of it as words, words, action , action, action words, action, action words. words action action words words Acton give it as a pattern like a rhythm you're sitting there and you're swapping back and forth between a moment of dialogue and a moment of action don't use one more than the other watch when one Cotts moves on to the other , this is one of those other things, like vocal cadence, that you could literally spend an entire creative class on and should probably make a short video in development.

The action beats are super, super dreamy from Paul. I'm very sorry, forbe fair. The actual art of writing is very complex and most people just think that it's about putting words on a page and yes, you have to do it to improve, so apart from all the techniques we give you about writing, you have to keep writing. every day to get better, so if you're writing, if you're putting those words on a page or in the dialogue boxes of your video games, you're getting better, it takes years, like any other skill, I'll also take the good stuff from good piano in the piano ear how long does it take to become good at archery or martial arts?

Just to keep going one after the other it's better to relate these points to some kind of fiction you like, neck, oh that's so true, so true kiya, yes you hit the climax right there, relate it to the kinds of fiction that you like, related to something you are familiar with, familiarity teaches better than any lecture, that is an absolute truth, okay, focus on what the dialogue and actions are like. They complement each other so that those types of conversations about how dialogue and action complement each other. I mentioned earlier that this is the best way to develop dialogue into action.

Beats, how do I say I want a compliment from Apple? I get up to put on my steel shoes. down in your book, congratulate her for entering the conversation, those are the things that as a writer you need to think about, in addition to how my character is developing, how my story is flowing now, everything that is a skill that is established over time it becomes muscle memory, so if you're watching this, whether live or on VOD, and you're like, "Oh my gosh, this is a lot to take in, the more you practice, the more your muscle memory kicks in and it becomes something you finally do." descriptive and let the beats move the scene forward, a lot of people have this weird fear of writing too many words and I understand that.

I was there once because when you're editing and revising you cut it and it's a lot easier until please support me. If you agree that it's much easier to subtract during editing and add during editing, yes, that's absolutely true, so I'd rather see you write more during a draft and then extract the unnecessary bits and then not put enough information in and have that slide it the right way when I was working on the manuscript when I work on any manuscript of mine, I overwrite it to end up with something that is 160 one hundred and seventy thousand words and after I'm done, I can add it with a machete, it's about 150 to 140 which is more, you know, the fantasy length is 30,000 words ago, bye, that's much better than starting with 120 and adding 130 words to it, that's much harder, your math steel, oh, I can't do math, okay , I'm making a presentation.

I'm almost out of water too, it's too hot here in Houston, okay, let's do our sample of number 5 here. Lady Abaddon held out her teacups so the maid could fill them now that the Moorcocks were out of the way. The left is for New Orleans to fall full of bar. He rubbed his hands back and forth over his pants as he tried hard not to make eye contact with Odette hiding in plain sight, the only thing that could end the war in favor of the union and here she was serving a snack. Forgive me for asking my lady, but have there not been enough deaths when your lady Abaddon rested her hands on a cup of tea in her lap and her scepter in the courtyard of her hall once the port of Orleans is in British hands nothing Will you stop Admiral Cochran?

Upon landing, he will meet the general and the syndicate will fall. Barfield gasps, overshadowed by Claudette, who followed the teapot, forming a hot, steaming liquid on her lover's dress. The stupid lady, a burden, raised her hand in burning fury and then let it fly. So this particular example is a lot like playing ping pong, it's a lot like playing table tennis, as some people call it. I'm going back and forth between the words the characters say and the actions, and making sure each of these are complimenting each other. I'm making sure that when Lady Aberdeen is holding her teacup, you know, keeping it to the side while she has a conversation with Garfield.

I would bring it back and the next paragraph where you refer to it as a scepter to a queen holding court, the court being of course the hall, that is all the information you need to know about Lady Abaddon, even if you never told her. has seen in the story before Garfield, who was previously shown as kind of the vent guy, well now he's trying not to betray this important point, whatever it is with a debt and now we get into some evil plans that's going on and uh-oh boom, the gasp and then Lady Abaddon gets ready to slap our debt and she does each of these her action dialogue action dialogue the real beat is next action dialogue action action dialogue dialogue action action dialogue action action dialogue dialogue action there so here we go I probably messed it up a little bit but you know here question do that spontaneously in my head yeah anyway anything to add there until as far as the speech goes I'm looking at the paragraphs themselves correctly and Lady avidin Garfield, the lady, a burden, Garfield, the lady, a burden, yes, right now, if we were to do an advanced writing class, if we were to actually teach you writing techniques, I would have replaced Garfield's second garfield with e because we already know he's the only man in the scene, so you can say the same thing with Lady, a load, lady, a second load. or third would be she at some point as long as she doesn't clash with Claudette because if the last person who spoke or did something was Lady a burden and Lady a burden does something again we can use the pronoun she however that is outside the scope of this workshop , so forget about that for now we always address that some other time pronoun is something proper, let's stick with tip number six, show as much as possible, we've teased people about this in our let's play when we used to do the ones We set up things we set up with the Triple A developers about it during our critical plays on Wednesdays and Thursdays, we talk about it all the time, this is more than just the convenience of the writers, one of the things that drives Teal and makes me crazy, yes, the most important thing for every cyclist is not to show. hell and you think like you think it's not as important as it is because who cares if you say hey, the apple was red when you do that, when you say and do a very brief explanation of show versus tell, say would be the red apple shown would be that he picked up the apple admiring its crimson color and the dialogue would be that the apples look a little less pink than the others, thank you exactly, Kia. 100%, it's all just an informal essay and for the novice writer they think you know people will do it.

I think it's okay and I'm not putting down the newbie writer because we've all been there, but you know the initial thought is good, why can't I say it? Because my Kia said it's an informal essay if you sit and read. someone else says it's boring it feels dry it feels lifeless show the more samples it gives the reader a hint of participation it's how our brains are programmed to participate we see say we're gathering information we should show we're participating use that as a jockey in your favor to work with your reader's psychology and draw them into your world don't let the narrator explain what's happening let the dialogue do it now that's a little paradoxical to what I just said because you can use the narrator to explain something, there is a difference between the fact that he took the apple admiring its crimson shine and that the apple was red; however, for the purposes of this particular workshop, let the dialogue use it.

Sorry, Corrigan, that's a lot of information for I agree, and unfortunately, when I'm done, we're only halfway through because Teal is going to talk about it from a video game point of view. Writing dialogue is not easy in many of the games that Teal and I have played when we did our Let's Plays all the dialogue part because dialogue is where you have the opportunity to develop your characters, it is where you have the opportunity to advance your story and It's where you have the opportunity to get your player involved and a lot of people just drop the ball. and unfortunately there's no easy way around it, while you can say it's always better for characters to show some exposition, it's more appealing for a character to say that the British are coming than to say and therefore, at dawn, the British The British landed on the beach, it's more attractive, the stakes are higher, yes, Pooh pehota exactly, but you know, take it and grow it, give us a version seven point eight or eight point nine or whatever version it is and then put it on what .

I call it putting it in unreal, right, yeah, Yorkshire says, are we, what is that in reference to Yorkshire? Sorry, Tia says it's bad dialogue or lack of dialogue, but the story continues somehow unless you go to Texas, okay, leave me, leave me. each one of those so kia says there's bad dialogue or lack of dialogue the further the story goes and then combine that with what darla says which is a list of text you don't need to have text some games incredible no. even have dialogue, you could have everything, but that shows at that point, if you have a game where the animations just advance the story like a journey or actually fantastical journeys, that journey of the game, I think it's from the same people who did ICO. oh that's funny Yorkshire okay but yeah that game journey I don't think has any dialogue and all the information you need is in the characters actions as they move there we go and then bad dialogue or lack of dialogue. akia can also create a disconnect if I'm reading what you're asking or saying correctly, the story can continue regardless of which one, but how much connection you want your player to have with your game, the bigger the connection, the bigger their commitment, the bigger you're going to be. play your game and the same goes for a story too, if you're reading a book and you're just a little bit interested, you can leave it at a chapter and then, okay, I read a chapter here, I'll pick it up. in a week and maybe you will, maybe you won't, but if you feel connected to the story you are reading, you will stick with that book and that is the goal of every author: to have someone read their book from beginning to end.

This is a disadvantage as every developer's goal is to have someone play their game from start to finish, so they want to create as much connection and avoid disconnection as much as possible and Yorkshire pudding we like Yorkshire tea here, so please bring it. the gold version we haven't tried yet, let's go back to what you want: a considerable exposure ratio to a towel ratio and I feel like I'm repeating myself at this point, so let's move on, here's the sample we have. Now we're leaving Garfield grabbed a handful of Baudette's clothes, Magistrate Bowers is on the back couch, we have to get there or late, we have to get there before the lady.

A Burton returns to General Howe, who rose from bed with stabs of pain shooting up his leg. "Let me help," she said, limping toward the dresser, "Garfield was at her side before she could take the third jump or she could take the third jump pleading with your highness but she was shot in the knee. Please let me take this. He helped her sit up and then He returned to his task. Thank you, Claudette, he said, spreading a silence where under her breasts, more because of the problem than because of the pain, there is something I have to know, although why is that why John sacrificed himself?

A silence in the room was broken when Garfield spoke his former boss's favorite Word. So yeah, I go and use some narrative spectacle instead of just saying it outright, but a lot of that is also expressed in the dialogue and the urgency is expressed in that we're leaving now. magistrate back before Avedon returns with the general who creates the urgency let me help shows Claudette's personality regardless of her injury, then Garfield talks about her injury and states her injury so that you, the reader, don't have to read about it in the narrative. and then audit, thank and then ask for John, returns to a previous scene and shows the connection between mr.

Moorcock John and all that and then exactly the exactly kiyah that last eye is the icing on the cake and a perfect farewell to the soul of John Martok which is like the way to exploit why I am a man. honey, so yeah, we spent a delightful amount of time on this and I hope it helped you, let's move on to the seventh and final point, move quickly between characters, long winding Mayan registers, little one, try again through winding monologues . and the long, winding blocks of tests are unpleasant. I just like the way that sentence reads better than it sounds, but it's unpleasant.

It's hard to digest long monologues. He was a good man, but the hotel is difficult. It's very difficult with the bad boy sitting there. and presents his evil plan, it's much easier if something happens in the background thanI interrupted him. Think of conversational rhythms as ping-pong or verbal tennis. I've said it before, the back and forth, the back and forth, it's those recurring little things that matter. yes it is, it's kiya, those are those little comments like me that tie the whole narrative together. I'm a different chef, that was awesome, yeah, okay, move quickly between the characters talking and with the story flowing in bits and pieces, the biggest problem every news story has.

The writer or game developer that Tiel and I have ever crossed paths with makes us tell you everything at once. You know we'll give you the Final Fantasy 6 intro every five minutes. We don't want anyone to want that. don't do it, just stop, instead give a little piece, give a crumb, move the reader or player further, give another problem, you're going to go out a little more, forgive the analogy for sounding like that, but you want Starve your players or information enough to keep them reading a little more, but don't starve them so much that they resent you, and it's that balance that is extremely difficult and all writers should strive to achieve, as well. like all game developers, and when you find the balance of giving just enough for hungry readers or players to go a little further, you'll know you've taken the right step.

Let's go to the last show and see what this exciting drama is like. ends well here we go this is how it ends the general removed the hammer from his gun looking away from Garfield's lifeless body Phillips used his remaining arm to push up enough so that he could look at every ounce of his hatred towards his enemy the general lowered the pistol on the magistrate's head face down nothing to say, he will expect you not to give the British bastard the satisfaction of an answer, so be it, the general said with contempt he contemplates the contempt on part of his lips, so this is good, a shot rang out and the general stumbled and mr.

Moore cough rifle shook and scratched small hands let freedom ring both here I go back and forth between the general and magistrate Philipse who is obviously injured I pay attention to the fact that unfortunately Garfield did not make it to the end and we have a back and forth here comment counter comment comment to countercomment comets countercomment to the point where magistrate philipse refuses to give his enemy a chance to reply to his last words, he simply spits defiantly, the general sneers and Claudette shoots them holding sir. more rifle who then says who says mr. More final words if you remember when mr. more died, he said, let freedom ring, that's what she says, but that ties it all together and a nice little oh, but the idea is that we go back and forth, back and forth, back and forth, back and forth, and then, bang boom, dead, let freedom ring.

Whatever you want to add, honey, no, again, it's well-paced, and of course, this was all put together during the construction of this particular Raider classroom, so it's as polished as if I had written it. Through a few reviews until the boss reviewed it and we reviewed it again. No, of course it won't be approximate, but the idea is to show you what the frame looks like and, as we say, get back to that, let the freedom ring, so now we've taken both from Mr. Moore Fox, both words from John Moore, me and let freedom ring and boom together, yeah, that little spite and Claudette saying that exactly here you can imagine in your head what Claudette is saying, maybe even through clenched teeth, you know, let the freedom ring freedom, you know, that's kind of a little bit of a grudge against the man who killed mr.

Moore who was murdered by mr. Moore has his own weapon with the most loving last words that are said, that's called, that's called justice, okay, let's move on, okay, here are some final

tips

and these are these five three final

tips

that will help you polish your dialogue. Okay, read the first one. your dialogue out loud to see how it sounds, how it conveys, and how it conveys emotion, you will also catch small mistakes like saying contemplate instead of despise, that's the best thing you can do for yourself when writing dialogue for a story. No matter the storybook or video game, every line of dialogue is read aloud.

It will take time, but it will save you a lot of headaches. It will also allow you to decide how the vocal cadence of your characters goes and will allow you to. to adjust your writing accordingly number 2 remove extraneous dialogue and conversations if it doesn't advance your story remove it actually it doesn't matter that goes with anything really if it doesn't advance your story it doesn't belong your story it's the same with your video game changes the dialogue and narrative structures this is not always said Eric, you say it many people will do that that is also another obvious beginner mistake where are you going I want to go to the store he said why do you want to go to the store she asked you no I'm just saying dialogue a person who said the dialogue dialogue the person who is so boring change it up a bit have the person say something and then there the dialogue have dialogue action dialogue because you could have two pieces of dialogue action sandwich together in one perfectly permissible paragraph you want to experiment a little bit with what kind of writing style works for you and your mistakes and you want to bring your characters to life those dialogue tags and whether they talk and then act or act instead of talking, it's contextual, there's no one way to do it. to do it or not to do it, but when you continue to write these different characters um in different ways, it allows your writing. to bring the character to life instead of just writing what the character says and we have a few minutes before we go ahead and finish this part and move on to the next part, which will be teal doing dialogue and games, so do we have any? last minute questions for me, steel or teal, do you have anything you want to add about writing dialogue in general?

I would say that when you write dialogue think about how the character says it, for example, a character with a thick mountain accent. say your words differently to someone from the frontier one hundred percent absolutely a nobleman Bringe will sound different to a British nobleman everyone speaks a little differently um Mark Twain did that oh yeah his novels I would drop the DS mm-hmm during dialogue just right , then they would say vixen instead of fix well and there is nothing wrong with that. I've had German characters say zat instead of debt, now you don't want to do it all the time, you don't want to. make it all work every one of them, be a Z for your German or your German doctor, but every once in a while you do things like what she's talking about, like what Mark Twain did, that's absolutely what you do, it's your vocal style of writing, at which point he asks if I would also suggest paying attention to how the people around you speak to understand how fluid conversations can be and then you want to be more fluid than real life conversations when people speak, it's say, listen to me when I am.

Speaking none of this was acting on time I made my slides I reviewed my notes and I still stumbled, but it's okay, human beings stumble, not everyone is an improvisation genius and can create spontaneous things and always have exactly the right words at the moment exactly place the characters you write you want to reduce your stumbles so yes, yes, 100% do what you are suggesting, but remember that your characters speak idealistically, your characters will speak without stumbling almost as much and less than stumbles, the characters point out a moment or they move some kind of Ford narrative because they're nervous, daydream asks, so thanks Bob, a hotel for the compliment, everyone asks how they would handle a conversation within a larger group, say four. or five participants make sure the speakers participate by moving the conversation forward when they are speaking and occasionally draw attention to the non-speakers so the reader remembers they are there.

The last thing you want to do in any large group is make people forget that anyone is there, for example let's say we have five people sitting and they are talking about dinner tonight and there is one person who hasn't said anything in a while , you can draw attention to her, especially if she's getting ready to talk by saying Jennifer rubbed her fingers over her wine glass her brow furrowed slightly you just didn't say anything but you drew attention to the fact that she's there he reminded her. to the reader that she existed and that perhaps you prepared them for her. say something in a few more times so that you can exchange what you don't want to do in the dream and what many people do both in their stories and in their video games is that they take turns. character a will say something character B will say something here C will say something here a will say something character B you just know I'm saying ABCD ABCD that's not natural, that's weird unless you're specifically doing a round-robin In person, it's kind of takes you out, so have A and B talk about something related to A and B, but have C sit there watching, have D call and then have D say something a few seconds later and have B respond and then have C. respond. to him and post his information and then have a or in other words, it's like a game of ping-pong where you just throw the hot potato at each other, but it's relevant to the conversation, hopefully, that helped daydream any other questions or any other comments no other questions we'll give it a minute and then we'll go ahead and be here I'll be awesome I'm glad I can help daydream ok come on Yorkshire have you seen the movie ?

They throw mom off the train. with a veto and Billy Crystal years ago it was with the woman who played mom to Tella from The Goonies yes, which by the way, Goonies is the best Sean Astin movie that has ever bitten me, but many, many years ago in Yorkshire I think I saw her. on HBO when HBO was around, so if you ask me to remember a particular moment, I'll probably have to win Five. I don't remember it, but I saw it and it was pretty funny, in the other one, that is. right, it's about a cyclist, yes it is, it's good, it's just been a hot year, but I didn't say hot minutes, okay, any last minute questions, otherwise we'll go to BRB and when we get back.

Teal will be here in the players' seat talking about games. You have one more minute on my watch. This has been. It was actually a lot. Condensing it into seven talking points that you all could use because it's such a big subjective eight that we can have entire courses at this university, courses that have, they have university courses, they have workshops and I've been to some of them where it's all about just dialogue writing and we're talking about a full six hour day with an hour for lunch, yes this is intense, this is in line with the story arc I did a few weeks ago, about a month ago, there's a lot of job, but the thing is that once you master the art of writing dialogue you'll really up your game, so right now we'll go ahead and BRB and we'll be out for about three to five minutes. and we come back, Teal will be here and talk about video games.

Oh, I'll be back guys and we'll be back, how is everyone? I hope you're doing well, welcome to the second part of our maker classroom. I'm going to be presenting dialogue in video games, if you're just joining us, this is writing dialogue in stories and games, and my wife Teal will be presenting the second half. Apologies for muting BRB's music. I don't know why it was like that, but oh well. We're good here honey, take it away, so in my part of the classroom I'll detail what the purpose of dialogue is, how it's presented in games, and best practices for writing your video game dialogue, the purpose of dialogue. okay, the slides are out of order again, seal, oh that's not good, I blame, I blame power paw, okay, okay, the purpose of game dialogue is, first of all, to convey information to the player, this can be anything from where a certain object is located in the search for what is happening in your country, your king, what is the weather like somewhere else, you must understand it, that is the purpose of the dialogue to infer the destination, convey information to the player and you also want to guide him.

For the player throughout the game this is best shown by approaching an NPC and they give you a biker and you continue doing this site quest and people tell you things and you follow what they are doing and finally you want to engage the player not There's nothing more boring than just sitting there and watching text messages as they appear on the screen, just telling you this is what's happening and this is why it's happening. It is very boring. An example of this would be the opening of Xenosaga, oh. To a large extent, it's almost like a 10-minute exposition.

You're sitting there. I'm starting to get involved. You are watching a movie. At that moment, the dialogue introduces you to the story, to the action. Let me go ahead and make a comment. we just expounded quite interestingly, you mentioned the start ofset of terminals that you can hack, but you must have a hacking expert and tell that this is the story of these people who used to work for a company in Washington DC since before the bombs and the relevance of their story is that there was a lot of corporate corruption and affected the food and water supply in the area, you won't know about that unless you're able to hack into those terminals, right?

No, that for me, that is, no, I don't like it. Okay, Rilo also mentions this and this may be more similar to what he says in Fallout 3, there was a kid at heart that opened up new options for talking to kids and he sows what do you think about that teal? If I get this now I can talk to the children in their language and I will have different options and different dialogues because I am talking to them as if I were a child and they trust me as a child, that is actually a good use of what if we talk of collectible dialogue? because you're actually uploading and I hate things, but you're collecting. children, you discover certain information by being able to talk to children and children together have a story to tell correctly and you are not going to know that story unless you can talk to them correctly.

I like that. well, but at the same time I have to compare that to the computer terminal where you have to have an expert hack it to be able to read stories, um, that's something that if you're going to have something like that in your game, you have to keep it up to date. minimal because what you're doing is excluding players, so now players should be able to choose whether to search for a collectible dialogue tree or not, and whether you keep the toys. away from the player who feels like cheating, it deprives them of an experience they would otherwise have right now.

In this sense, I think this is where Clock is going, if you have a child at heart, you can achieve the same goal as If you do a persuasion test or a mission, you are not actually doing anything different, you are just achieving the same goal. differently because you have a child's heart in that sense, where you don't exclude the player, but you allow him to do it. dodge a check or more easily achieve the same goal they could achieve otherwise, what do you think about that? Yeah, right, that gets a check mark. Yeah, that's fine, but if you exclude them, that's when you say fear, be careful, be careful, right, I got it and yeah, also the chat talks about low intelligence and the original consequences that would require all your characters to talk and growl or you know Grogg like weapons.

Yeah that's like that too, I think it's cool now because you can choose your stats and if a player has chosen. to have an intelligent one, then they are accepting the consequences of the right choices, yes exactly, so the player chose to have a low intelligence or before, the player is choosing the consequences that come with that, did you understand? A failed hacking minigame is easy anyway doesn't want really doesn't justify locking yourself behind a necessary retirement requirement yes exactly ok we can complete let's move on to the last mm-hmm by the way chat this is a great conversation parallel, feel free to continue like this, just make sure that if someone asks a question about Teal, Teal has a chance to address it; otherwise chat guys what are you doing we love you for that oh we have dialogue Bart that's when a character utters a line of dialogue without any direct action required from the player.

They can come from the main character or NPCs, they can also be triggered by specific events that take place or be completely random. Yes, for example, a dialogue bark would be an angry response from the NPC when the PC bumps into them. Yes, it could be comments from NPCs about the recent series of murders ah, yes, yes, it could be an overheard conversation between NPCs about the monster in the nearby graveyard, very cool, the advantages of this make the game feel very alive , whoa, yes, Chet Chet Chet, you can impart important information without telling the players, the absolute downside of course is that this can get annoying if it's repetitive and excessive use by NPCs will overwhelm the player.

Correct saturation, an example of that would be three or four NPCs starting to talk at once. Oh yes, one is talking to you two. talking to each other and the last one is musing out loud to himself or lovingly singing a song about Ragnar the Red actually Tony yes my example was in Skyrim yes yes yes I can't tell you how many times I walk into a tavern and just get swamped with indc yelling things at me uh i got adjustments yeah in fact one of the games we're doing our crit game on has some of the best dialogue parks we've ever seen.

Final Fantasy 7 remake when you're going through the slums mm -hmm that's it by far it's always enough it doesn't repeat itself too much and it just feels alive and moves and changes as you progress through the story so I love it . Griffin said that the outer worlds have a special ending if you don't. I don't have much intelligence, which is true. I didn't know this, but it's true that there are a lot of games where if you don't have certain things or you upgrade your character or certain things, you get certain endings and then Rilo says. the market and Sleeping Dogs did this all the vendors would talk, they want to fight for your attention, yes you end up hearing every 7th word said exactly and that's quite overwhelming especially if it's your first time at the market and you're trying to guide me was very annoying when we first beta-ed Elder Scrolls Online and were in the straw, Makai for a while.

I remember that every time we approached the market we heard purchasing transactions. Selling I have what you need over and over again in different repeating patterns yeah and it was non stop they actually pulled it for the commercial the golden release mm-hmm ah so because it was so annoying I love the barking. I love the dialogue barks. but i like it when they are well done and in just the right amount yes like the ff7 remake and guys this requires programming this is not like you know just a quick quick fix so yeah that brings me to my advice .

About the dialogue barks, do you want to include a variety of barks and make sure you set them up to avoid overwhelming the player? So yeah, set them so they don't all start at the same time as soon as you get on the tablet. Bethesda doesn't do anything. to control their barking now babies just say it when you're around honestly if you're using something like coding or a blueprint or something it's a lot easier but you could even do it in RPG Maker where you would have whatever program your Come Out has barks and you would have a random timeout, so maybe five to eight seconds you know a random amount and you output it so it can be done on any engine.

Yes, again, to summarize the four types of video game dialogue. systems, whether players can choose or make their dialogue short, there you have it and that ties into the previous part of the lecture, if it works great, let's get to the best practices, best practices for writing dialogue of your video game, your dialogue is valuable, so don't do it. Don't waste it, the typical video games with a duration of 20 hours and some with a duration of 60 hours or more. Does the developer want to write 60 hours of dialogue? It depends on the developer. Yes, also, having a lot of useless or filler dialogue makes the story uninteresting to the world. flat and players are bored or disengaged and as we talked about earlier, a disengaged player is less likely to pick up their game, yes, Okubo does that when you're writing dialogue, ask yourself these questions, right?

This dialogue teaches the player about the characters what? Do they say it well and how do they say it? Give clues about your goals. Good dialogue makes the objectives very clear to the players. You want to avoid being wordy and too cryptic. Make sure the player can figure out what to do with difficulty. -hmm, we're looking at your side quests. There is dialogue in Def Dear World, in other words, it says it helps and sets the context for your players. The way we see the world is greatly affected by the fragment of conversation we hear and the things we read and observe and the things others tell us last no no last for this dialogue provide valuable background information very important want to delete unnecessary information so that only the essence of what needs to be said remains.

The backstory is good, but most people just don't like it, they aren't as interested as you are the developer, so keep it short and save your long expositions or that recognizable dialogue and lastly, This dialogue is hilariously beautiful or extremely clever looking, since everyone sees things differently, it's best practice. Go over your game script with others to get their opinions absolutely because what's funny to you may not be funny to anyone else. Experience that first hand and recently. I have a joke in the hearts and rows demo that keeps failing because it's only teal. you get it, you'll go away, ask the questions how many, sorry, long roads and loud touch, we all know we won't know until the games are over, the dialogue in that game will be as detailed as a wash. we did it with David Copperfield, yes, that guy, the guy who wrote that ticket with very little knowledge Charles Dickens is a lightly written Charles Dickens novel, no, it won't be 80 hours because, although we are emulating the detailed style of the Victorian era, we don't.

I'm going to subject you to a Victorian-style conversation because it would take you ten minutes to get to a point that we have to get to in one. Yes, thank you, yes, sure, but even there we can only be so detailed and hide under the shield of well, this. It's Victorian long before players say we don't care about a yes and we know that approaching it is going to be a difficult balance and that's something for all of you if you're writing a story where the characters are intentionally true. in a way that might irritate your reader or your player, you need to find that balance where it's enough to get the boss flavor, but not so much that it pisses everyone off, not everyone will like it, but that's okay, you're not going to please everyone, but don't go and have a 20 minute exposition, don't do what Xenogears did, yeah, where Cyton gives you 20 minutes of dialogue explaining what the empire is and it rams us and everyone is doing that.

I don't care, you just don't care. do it, damn it, boo pehota six, write that, write it, so to sum it up nicely, you want to keep what works and throw away what doesn't exactly work. I can't emphasize that enough edit edit edit easier to subtract than add yes doesn't emphasize that enough yeah he's right on that point you just hope the character dies in the next scene oh my god I didn't actually see that , yes Kia, you are absolutely right, it was a sidebar to kill him. Xenogears is one of my favorite RPGs in the history of all things that scene is in the underground of Nutt Shevat the other one but the Empire almost killed me for the game for me it almost killed me it was twenty to thirty minutes of the characters just talking and most of it was a character explaining things and I was like, are you crazy?

This is terrible, oh yeah, Griffin says 500 hours and that's just the intro, that's the prologue before the opening credits, okay, move on to the next point, okay, make your characters consistent hmm, there's that voice the one we speak well, yes, through voice action, dress gestures mm-hmm, they need to be consistent, so how do you do it? First of all, put yourself in their shoes, how would you act in that situation? Teal, yes, I apologize for interrupting, but I can't emphasize enough if you, the writer or developer of the game, can't relate to your character, your readers and players never will.

I'm going to take a step back, but I felt compelled to say no, that's very The good thing is that yes, danaiah's game for the people in the back, if you, the writer or the developer, can't relate to your character , your readers and players won't be able to do it either, that's right, another thing you can do is find their personality profile. In fact, I have done this. you can go online and use myers-briggs or the OEM website, uh, find personality, hell, even astrology, you know, but have an idea of ​​what kind of personality they are, what they have, yeah, and stick with this person , for example, and an introvert.

Thinking Perceiver Are you an extraverted judge of feelings? Judging correctly. Funnily enough, we thought we actually drew a straw. Astrological signs and Myers-Briggs for sisters Rosa and Corazón, so we really know their personalities. Akia says give them some dimensions. Yes that's how it is. give them dimensions, yes, another thing you can do is base it on real life examples, okay? Do you want to know how a bartender speaks? a pub go to a pub there are a lot of them a bart a bartender in a pub what will sound different than a bartender in a five star hotel a lot so yes personality type is the reason all japanese games have blood type, yes, absolutely, that's huge for the Japanese, therefore, they carry thatinsensitive or inappropriate words, phrases or ideas.

Can I ask for clarification on that on number three? Can I ask for clarification? Yeah, okay, you're saying it's sensitive or inappropriate for shock value or just because it doesn't match how the character actually relates to the world. For example, elvish racism in Dragon Age mm-hmm, that's acceptable, inappropriate comments like knife ears, which is obviously a racial slur, are given in that context. Yes, I see, so you have to make sure that what you are saying works and is important. the world you are not just throwing things away to forgive the avant-garde quotes right that makes a lot of sense it is always very difficult when you act when you have a character in a story who has an eight and a true illness whether it is physical or mental well, it is difficult to write about that, write it sensitively and that's why you'll need several sets of eyes to make sure you're not inadvertently insulting, mm-hmm, mocking what's right or spreading misinformation exactly.

Yes, it's a video game, yes, it's entertainment, but people in the real world are playing your game well and you should be aware of the hot topics and try to keep them out of your games. If you must touch one, then you will. You need help to make sure you're not crossing that line exactly because your game becomes a platform and that platform can cause damage. I think the best example I've seen in teal is Hell-blade's sinuous sacrifice mm-hmm or the developers actually hired psychiatrists to work with them on schizophrenia and hearing voices okay yeah so the character without, whoo-hoo, the lack of better terms like schizophrenia, hearing voices from the beginning of the game, it is done in a way that is respectful and correct and ultimately gives the player an experience they will never forget, by the way , if you ever play that game, play with headphones, don't play it without putting on headphones, yes, it's amazing and scary at the same time. time, yes, there are always better ways to make a character exactly yes, this is exactly what I like about the way Dragon Age handles its elvish racism is that they show how systemic it is, it's such an important part of society human that some people are that way and you don't even realize it and then you have your low gains, a great example mm-hmm low gain Mac tier was the best character in the Dragon Age series, especially Origin, because of the way he was introduced, he was a nationalist that he really loved. his country but he did terrible things he was racist but he didn't hate them just because he hated them because that's what you did it was uncomfortable watching some of the scenes Loghain was in yes but he was a very powerfully written character yes Enya was sacrificed it's a game awesome, hello brother caspo, welcome to the stream, we are getting close to the end, but feel free to hang out, we are talking about writing dialogues within games and stories, these continue.

I want to go back and give an example of your target audience and be relatable to them yeah, oh, some examples are if you're writing for a younger audience, you want to avoid inappropriate language oh yeah, you know you're writing for, let's say, you're writing. for tweens, okay, please don't drop the f-bomb for an older audience, you can explore deeper concepts, so that's what in a nutshell is what I mean by relating to your target audience, making sure that they understand exactly what you are doing. This uncomfortably hard to categorize group is now called yaa and that just changed a lot of the rules because they used to be children among adults, yeah it's not now, that's not why it's expanded its age range, it includes 13 to 13 years old. 23 true and okay, hey, thanks for following, go Casper, I really appreciate why he's a young adult, right, and the best example of why I can give you this pop that was very popular at one time is the Twilight series.

City of Bones was also popular because it's typically written about teenage characters from their correct point of view and it involves some kind of romance or love triangle and something supernatural mostly it's a supernatural situation a lot why nowadays it's supernatural but I've seen why in strictly real world settings it also takes place in a university and not in Yorkshire not just for girls not just for girls it's for boys too it's for boys too uh The hunger games doesn't have anything supernatural but it does have a love triangle, yeah, it has life and death struggles and it's very good, it means young adult, yeah, and it's um.

The Hunger Games is amazing, yes, again, you have teenage protagonists from her point of view and she is the heroine, she is a heroine of the story, another series that you may not be as familiar with is Melissa's lovely and wicked series Moore, who is in her classic y8, you have a teenage character who is the one who the first book is from her point of view and she is the savior. from the fairy world, she's the queen of summer, so she knows she's very special and stuff, and then there are boys who are in love with her and you have a villain who wants to stop her and that's typical yaa.

At this point it is not necessary to have female main characters; In fact, it is one of the most popular book series of our generation. It became one of the most popular movie series of our generation, technically yaa and it features a main male hero and that is Harry Potter, yes, Potter. The Harry Potter series is technically y8, now you can build something and say that the last two books aren't especially Deathly Hallows. but it's essentially why he's a young adult he starts out as a child and goes all the way to seventeen and he's the chosen one and that's a big trope of why the chosen one is the hero, the heroine that you are.

You're the special one, right, special, you're welcome brother Casper, I hope you enjoy it. We do our game reviews on Wednesdays and Thursdays, okay, and yes, The Hunger Games Rilo is an amazing series although it is easier to read than some of the others. more complex adult books I enjoyed it a lot I enjoyed it more than the movies and the movies are good yes, because I'm the chosen one, the chosen one, I think that's it for this dialogue right wrong, it's in mine, right, leave Step to the last slide and I just want to conclude by saying that the best thing you can do for free video game dialogue is to do it, yeah, okay, just like Steel Sale with writing novels, yeah, you just need to practice, practice, practice. because the more you write, the better you will be and that's how it is, that's how it is a reality to write dialogue in anything, try, you just have to keep writing every day, even if I'm not writing. a book or our dialogue for a game.

I'm writing one of the articles for the table system we're working on, so I try to write five hundred to a thousand words a day, no matter what's right, it's the only way to do it. You're going to be good at it, it's a skill set and you have to practice at it, but actually, if you think about The Hunger Games, that world, yeah, most of the reasons why a world doesn't really work. Well outside of their narrative but that's okay because you're there for the fantasy, you're not really there for the world, yeah I mean, sorry Harry Potter fans, the Wizarding World wouldn't work, we're too smart, everyone obfuscated and erased charms in the world I wouldn't see that damn storm that you see at the end of the first fantastic beast mm-hmm I call that one from théâtre, of course, you should have heard him huffing and puffing on his popcorn, it's the only time I've called Rowling anyway, yes, but Yes, and why eight, and especially fantasy, why the supernatural, why eight, you know the worlds are fantastic and incredible, but they are fantasy, right? realistically, true, they don't get the same pass for adult passengers, by the way, you don't have to say something, why just because your character is a child or a teenager, however, you need to make sure of that when you write it. let people know that this isn't just because it has a minor character as one of the leads before it became a thing.

The books were divided into fantasy and science fiction and your characters were from the age of twelve and up. for you, forty-two, you know it ran the gamut, what tied all the books together into one genre is how they were presented one hundred percent. Rilo Stephen King has children's characters and his stories are for adults. I would never identify him. when I was a kid or why a book now isn't, it's still one of the most horrible stories I've ever read and for the first half all the characters look like twelve thirteen mm-hmm so yeah it's not about the age of your characters, it's about what you're presenting and how it's being presented and it's baffled some people who were writing and have been writing since the '70s and '80s and they've had to adapt, but it's extremely popular and it sells, so that is not going to disappear.

We got off topic a little bit, we got to what Teal was talking about, yes, keep writing every day, so if you're a game developer and you're listening to this, whether live or on VOD, practice writing your characters' dialogue , even if it's a monotonous 500 words, do it every day if you're listening to this and want to be a writer, whether it's scripts, screenplays, full novels or short stories, write something every day, steal rights every day, so if you want to write , write every day. yeah, make it part of your activity, you know, do it to relax, do it to finish, do it during your lunch break.

I think it was Neil Gaiman or I think it was no game who said: write, write, write a little more directly on your finger to the right until the keys break, then take a pencil and start writing on your pencil, it will turn it into a chunk, then start using your blood on your fingers or bumps and keep writing some more, in other words, if you want to be good at writing, guess what you've got. To do it, you did it right, that's all, so we'll open this up, I guess, with last minute questions. I spit questions, guys, open this was a very solid topic that we started between two mediums, books and video games, but the concepts. they're basically the same across the board, it's all the same, it doesn't matter what it is, if you have characters talking you can apply something from this workshop, yeah, conference presentation, boo boo, tap on the head, you're nothing, you are just painting your model.

Right now, thank you, dream, that means a lot, that really matters to us and when we choose these themes, we try to choose the ones that we think are going to give the most bang for the buck, as the case may be, uh-huh and we wanted that this one hit hard now someone made a comment earlier this was a lot to take in and we recognize that going in we knew that this was going to be one of the most difficult witnesses, wait we get to color theory, you are learning, hopefully, if you are helping, that's all we care about, right, honey, that's right, dialogue is the best way to engage your players and fully involve them, that's why it's very important to get it right very easily, oh, very cool, cool dream.

I'm glad we could help you. I really am. I hope we were able to answer your questions and everyone else who has been listening. I hope this has been able to help you. I hope they are writing especially for their dialogue. it gets better and if that's the case, let us know, let us know in our discord or if you're watching this on YouTube, we have a channel in our discord, yes, specifically for writing, we call it Writing Workshop, yes, and you can participate there. and asking people questions or answering people's questions, critique works that kind of thing, that's what it's for, yeah, it's for people to put their heads together and get better at writing, yeah, we have some amazing writers and developers Generally they show they are on that channel all the time and can offer really comprehensive advice.

There are other streamers who were also very good in this article from professional Oxana writers, so you can always pick their brain without them being busy banging their heads. a role-playing game, but the reality is that on our Discord channel we have a channel specifically for writing workshops, use it, we are always there to help you and if you are watching this on YouTube, let us know if it helped you in a comment . and let us know if you have any questions maybe think of anything else too yeah keeping the audience so I think unless something comes up we'll call you in about a minute okay let's move on to Dragon Quest . 11 on Wednesday and the remake of Final Fantasy 7, which may be the end of the game, we will see it on Thursday, on Thursday we will not cure and then Friday will be our AMA, which on Friday, if you have been following the interesting story of our adventure table, We can talk about that on Friday, unless, if you're a Slime Tastic supporter, someone who's a Tier 2 Twitch subscriber or ten bucks or more on Patreon can be part of our weekly roundtable tomorrow at five from the center, six from the East and we will do it. talk about our tabletop adventureat the time and how things were so you can take a look and get a bunch of other perks, but that's always on Tuesdays, always on Tuesdays, otherwise Fridays for the AMAs, dialogue is a weakness, there you got it.

I'm glad this was able to help riffin, okay can we call it my love, let's go ahead and call it right, this has been a great stream, have we been able to really help. The hotel says amazing broadcasts, very good, so live culture, you are very welcome. daydream, so just a reminder that on Wednesday we will do a Dragon Quest 11 critical playthrough and on Thursday we will do a Final Fantasy 7 remake critical playthrough, it may be the end of the game and lastly, Friday is our AMA, ask us anything, so if you like what you saw, hit the like button, subscribe to our channel, consider supporting us on patreon connections via Facebook, Twitter, discord and we'll see you in the next video, see you Next time, oh, you make me want to talk to say, you say, I like it.

If I hate you, find someone.