Writing

It’s 9 AM. You walk into a conference room at Amazon for a major product decision. No one is talking. Everyone is reading. For 20 minutes, the room is completely silent. Executives, directors, engineers-all reading the same six-page document. No PowerPoint deck. No bullet points. No presenter standing at the front of the room. Just reading. Then, after everyone finishes, the discussion begins. Welcome to Amazon’s most powerful cultural practice: the 6-pager. ...

“I love you,” she gasped. “Really?” he queried. “Yes!” she exclaimed. “But-” he stammered. “No buts,” she interjected. Stop. This is bad writing. And it’s bad for a very specific reason: the dialogue tags are working too hard. The golden rule: “Said” is invisible. Everything else calls attention to itself. And in 95% of cases, you don’t want readers noticing your dialogue tags-you want them immersed in the conversation. What Are Dialogue Tags? Dialogue tags (also called “attributions”) identify who’s speaking: ...

Perfect turn-taking is a myth. Real conversations don’t work like written dialogue usually looks: A: "I went to the store." B: "What did you buy?" A: "Milk and bread." Real conversations are messier: A: "I went to the store and-" B: "Did you get the milk?" A: "I was about to-yeah, I got-" B: "Because last time you forgot and-" A: "I got it! I got the milk." Real speech includes: ...

Watch any great dialogue scene and you’ll notice something: characters almost never directly agree with each other. Even when they’re on the same side, even when they ultimately want the same thing, they resist, deflect, challenge, or qualify. This is called “The No Game”-and it’s one of the simplest, most powerful techniques for creating dynamic dialogue. What Is the “No” Game? The principle: Characters instinctively resist what other characters say, even in small ways. ...

Western storytelling has a formula: introduce a hero, give them a problem, make it worse, then resolve it through struggle. Conflict is everything. Heroes need villains. Protagonists need obstacles. Stories need tension. But what if there’s another way? What if you could tell a compelling story with zero conflict, no antagonist, and no struggle-and still keep your audience completely engaged? Welcome to kishotenketsu (起承転結), the East Asian narrative structure that’s been creating beautiful stories for over a thousand years without relying on conflict at all. ...

Joseph Campbell’s The Hero’s Journey has dominated storytelling advice for decades. Seventeen stages, archetypal characters, mythological resonance-it’s the blueprint for everything from Star Wars to The Matrix to Harry Potter. But there’s a problem: it’s complicated. Most writers don’t need a 17-step formula. They need something practical, intuitive, and flexible enough to apply to everything from sitcoms to space operas. Enter Dan Harmon’s Story Circle-an eight-step distillation of Campbell’s monomyth that’s simpler to use, easier to teach, and just as powerful. ...

“We should talk.” Three words. Grammatically simple. Literally: a suggestion to have a conversation. But everyone who hears them knows: Something bad is about to happen. A breakup. A confrontation. A revelation that will hurt. How do we know? Because of subtext-the meaning beneath the words, the real message hiding under the literal one. And it’s arguably the most important skill in dialogue writing. What Is Subtext? Text: What is literally said Subtext: What is actually meant ...

The Princess Bride begins with a grandfather reading a book to his sick grandson. Inside that book is the story of Westley and Buttercup. But that story contains another story-the legend of the Dread Pirate Roberts. Three stories, nested inside each other like Russian dolls. This technique-nested loop narrative-is one of the most elegant ways to add depth, resonance, and meaning to your stories. But it’s also one of the easiest to mess up. ...

A software engineer tries to explain their work at a dinner party: “So basically we’re implementing a microservices architecture using containerized deployments with an event-driven messaging pattern…” The eyes around the table glaze over. A doctor explains a diagnosis: “You have acute pharyngitis secondary to a streptococcal infection, so we’ll prescribe a beta-lactam antibiotic…” The patient nods, understanding nothing. An experienced teacher wonders why students don’t grasp concepts that seem obvious. ...

Bad dialogue is characters talking at each other, exchanging information the writer needs us to know. Good dialogue is characters doing things to each other with words. Dialogue isn’t just communication-it’s action. Every line should move something forward: plot, character dynamics, tension, understanding, or emotion. If you can cut a line of dialogue without losing anything, it shouldn’t be there. The “Dialogue as Action” Principle Traditional writing advice separates: Action = physical events (fights, chases, building things) Dialogue = characters talking (conveying information, feelings) This is wrong. ...