Editing dialogue goes beyond mechanical editing, partly because people, and thus characters, don’t always speak in grammatically correct ways. Not only does a character’s dialogue reveal their personality, but it also must contribute to the forward momentum of the plot. Every word should have a purpose. And if it doesn’t, get rid of it.
As a copyeditor, I am entrusted to help refine a person’s message to the world. And when it comes to the “spoken” word of dialogue, it is particularly meaningful. Words are not only important for meaningful connections, but they have divine significance and power; they reveal, create, and transform. And when it comes to dialogue, words can paint a thousand pictures, so to speak.
So how do you make this magic happen? When copyediting dialogue, ask yourself: Is this believable? Does it feel natural? Is the author preaching through the characters, or are they letting the story unfold organically? Then consider deleting the dialogue altogether. If you do delete the dialogue, does the scene lose anything important? Would readers notice something is missing? If not, get rid of it. But in addition to the content of the dialogue itself, there are several craft tools we can use to make sure our author’s dialogue is the best it can be.
Speaker Attributions
Speaker attributions—like “he said” or “she whispered”—are tools we wield carefully. They’re sometimes essential for clarity, especially in multi-character scenes, but only use them if you have to. I recommend reading the dialogue aloud without them; if you can follow who’s speaking, leave them out.
Be aware of colorful alternatives to said, such as retorted, chortled, exclaimed. Many times, the dialogue itself can be written in a way that already clearly conveys these ideas. Said becomes invisible, blending seamlessly, while flashy attributions can bring attention to the words themselves, temporarily pulling readers out of the story.
Action Beats
Action beats are descriptive snippets that identify the speaker through movement or context. When an action beat is used correctly, you don’t need a speaker attribution at all. Below, the sentence in bold is an action beat.
He leaned forward, eyes narrowing. “We can’t wait any longer.”
Action beats aren’t just identifiers; they pace the scene. In tense moments, sparse beats keep the energy high. But after intensity, longer and more complex sentences slow things down, giving readers a breath. Beats also add depth, showing emotion through action rather than telling.
Author Explanations
Author explanations are sneaky adverbs, phrases, or beats that overexplain what’s already clear. Some examples are identified in bold below.
“Get out,” she said brusquely.
“Are you really going to do that?” He said with curiosity in his voice.
Arthur apologized all over himself. “I’m so sorry. I can’t believe I did that. I feel so bad.”
Why tell when the dialogue shows? Trust your readers; strong dialogue conveys tone without handholding.
Yet there are times when the spoken words themselves don’t indicate volume or tone. If it’s not obvious, author explanations become essential to the reader’s experience.
He whispered fiercely, “Not here.”
Voice
Character voice ties it all together. Each person’s speech should reflect their background, profession, and personality through their diction, jargon, and regional quirks. In historical or speculative fiction, avoid anachronisms—no modern slang in ancient settings, no real-world metaphors in imagined realms. Consistency within each character’s voice is key. If characters sound interchangeable, query the author and suggest they spend more time on distinguishing each character’s speech. Minor characters need less distinction.
As you move forward to greater heights of writing and editing, remember that your life is meaningful, your voice is significant, and your contribution is unique.
Pleasant penning,
Rachel E. Bradley
The Copyediting Expert
Rachel E. Bradley holds a BS degree in paralegal studies from Northeastern State University in Oklahoma and graduated summa cum laude in 2006. She is a gold member of the Christian PEN: Proofreaders and Editors Network, is an established freelance editor with the Christian Editor Connection, is an instructor with the PEN Institute, is a judge for the Editors’ Choice Award, and has served as faculty for PENCON, the only conference for editors in the Christian market. After serving nine years in the legal field and becoming an advanced certified paralegal, Rachel started her business as a freelance editor and indexer. She now owns Revisions by Rachel Inc. In 2018, Rachel lost her first husband, Matthew, after an intense battle with brain cancer. This life experience carried over into her editing and gave her a new understanding and a fierce compassion for people who feel broken and hurt. In celebration of continued life and hope, Rachel became a licensed skydiver and takes to the skies with her rainbow canopy, “Promises,” any chance she gets. In early 2021, she asked God to choose her next husband. In an incredible tale of trusting God and giving him her yes without exception, Rachel is now joyfully married to Alexander Bradley. They have been assigned the awe-inspiring and continually humbling task of raising two incredible children. Beyond reading, Rachel enjoys Bible studies, dancing during church worship, skydiving, swing dancing, rock climbing, reading, teaching, discussing important issues, watching Star Trek, sewing, cooking, Pilates, horseback riding, water sports, playing guitar, and snow skiing.
You’ve finished your manuscript (MS), and now you are looking for an editor. Congratulations! The first step you need to take is to have a professional editor evaluate your MS. Once you’ve confirmed that you have a solid story structure, a sound plot, and well-rounded characters through an evaluation, you’re ready for copyediting.
Rachel E. Bradley
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