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25 Engaging Narrative Speech Examples for Effective Storytelling

Are you finding it tough to keep your audience hooked on your stories? Trust me, you’re in good company; I’ve wrestled with the same challenge and knew something had to give. After diving deep into research, I stumbled upon 25 captivating narrative speech examples that completely revolutionized my approach to storytelling .

In this article, I’ll share these dynamic techniques and real-life instances that will empower you to enchant any crowd. Brace yourself for a true game-changer !

Table of Contents

Key Takeaways

• Narrative speeches are a powerful way to share stories and ideas. They use personal experiences or creative tales to make messages memorable.
• Effective narrative speeches require careful planning, from choosing the right topic to organizing thoughts in an engaging way.
• Using descriptive language, vivid details, and expressive tone can help bring your story to life for listeners.
• There are many topics you can explore in a narrative speech, including personal challenges, memorable experiences, and lessons learned.
• Practice and feedback are important steps in improving your storytelling skills for captivating audience attention .

Understanding the Essence of Narrative Speeches

What is a narrative speech and how it differs from anecdotes.

Definition of the word ‘narrative’

A narrative is a story that someone tells or writes . This story can be about real events from the past or made-up adventures . In speeches, narratives help us share personal experiences and entertain our audience.

They bring life to our words by allowing listeners to see through our eyes. Stories in narrative speeches often highlight lessons learned or moments that changed us.

Using effective storytelling techniques , these stories connect with people on a deeper level . Every good speech uses elements of narratives to keep the audience engaged and interested.

We use tales from our own lives or others’ experiences as examples when talking about overcoming fear, learning new skills, or any topic we choose for public speaking .

Difference between anecdotes and stories

Anecdotes are brief personal stories , while stories are more detailed and often fictional or based on real events. Anecdotes aim to illustrate a specific point or experience , whereas stories have a developed plot with characters and settings .

Anecdotes usually focus on one incident, while stories can span a longer period and involve multiple events. Additionally, anecdotes tend to be shorter in length than stories.

The distinction between anecdotes and stories lies in their depth and purpose; anecdotes serve as brief illustrations for specific points or experiences, while stories offer more extensive plots with characters and settings, typically involving multiple events over a longer timespan.

Effective Narrative Speech Topics

Choosing captivating narrative speech topics is crucial for engaging your audience and making an impact. From brainstorming ideas to selecting the right topic, this section will guide you through the process, ensuring your narrative speech resonates with your listeners.

Brainstorming ideas

When brainstorming ideas for narrative speeches, consider real-life experiences and personal anecdotes . Here are some engaging topics to spark your creativity:

• Reflect on a valuable lesson learned
• Describe a memorable travel experience
• Share a moment of overcoming fear or adversity
• Discuss a significant achievement or milestone
• Explore a unique hobby or passion
• Recall a funny or embarrassing moment
• Delve into a cultural tradition or family heritage
• Analyze a turning point in your life
• Examine the impact of a role model or mentor
• Reflect on a memorable childhood experience

Remember , your own experiences can be the most compelling source of storytelling material!

Choosing the right topic

When choosing a topic, consider real-world experiences and anecdotes . Your story should be engaging and relatable to your audience. Think about personal challenges , unexpected adventures , or lessons learned .

These topics will make your narrative speech more impactful and memorable for your listeners, enhancing the effectiveness of your storytelling skills.

So, here are 40 firsts you can consider for your narrative speech topics :

• Your first day at school
• Your first pet
• Your first time riding a bike
• The first movie you ever watched at the cinema
• Your first camping trip
• The first time you traveled by plane
• Your first job interview experience
• Your first public speaking experience in school
• The first time you cooked a meal by yourself
• Your first volunteering experience
• The first time you overcame a fear or phobia
• The moment of your highest achievement so far
• The moment of your lowest point in life
• That one person who has had the most significant impact on your life
• A great lesson learned from a failure
• Your biggest adventure yet
• The funniest mistake you’ve ever made
• A surprising discovery that changed your perspective on something important
• A moment when someone’s small act of kindness meant the world to you
• An unforgettable family tradition or ritual
• Your most memorable travel experience
• A mystery or ghost story that still gives you chills
• Meeting someone famous unexpectedly
• An embarrassing moment that turned into a valuable life lesson
• The day that completely changed the course of your life
• The greatest risk you took and what happened next
• A challenge that tested your patience and resilience
• How a seemingly ordinary event led to extraordinary opportunities for growth and success
• The best surprise party or celebration planned for someone else
• An unexpected turn of events leading to an unusual friendship
• Losing something precious and learning to cope with it
• Experiencing an extreme weather condition like never before
• Rescuing an animal in need or being rescued by one
• That one subject in school which impacted your way of thinking
• Owning up to a mistake and dealing with its consequences
• A personal project or hobby turning into something much more than anticipated
• Discovering an old family secret or hidden treasure
• Attending an event that broadened your cultural horizons dramatically
• An encounter with nature that left an indelible mark on your soul
• The day when empathy made all the difference, bringing about positive change.

As we have explored various engaging narrative speech examples, let’s now understand how to write a compelling narrative speech .

40 tell-a-story speech topics

• Overcoming a fear
• A memorable family vacation
• Learning to ride a bike
• Meeting a childhood hero
• Getting lost in an unfamiliar place
• Standing up for what’s right
• My first job interview
• Making a big decision
• The best gift I ever received
• A challenging sports moment
• A funny misunderstanding
• My proudest achievement
• Dealing with failure and learning from it
• An unexpected act of kindness
• The power of teamwork in a tough situation
• Making a new friend in an unlikely place
• .The day that changed my life
• .An unforgettable journey
• .Coping with a difficult loss
• .Discovering a passion or hobby
• .A valuable lesson learned from a mistake
• .Facing a personal challenge head – on
• .Exploring a new culture or tradition
• Experiencing the joy of accomplishment after hard work
• Exploring the beauty of nature
• Facing and overcoming adversity
• Discovering the true meaning of friendship
• Learning to appreciate the little things in life
• Navigating through peer pressure successfully
• Stepping out of my comfort zone for growth
• Making a tough moral decision
• Finding inspiration from an unexpected source

35 more narrative or personal story speech topics

Transitioning from brainstorming ideas to choosing the right topic, here are 35 more narrative or personal story speech topics:

• Overcoming a challenging obstacle
• A meaningful encounter with a stranger
• Learning a valuable lesson from a mistake
• An unforgettable adventure in a new place
• Navigating through tough decision – making
• Embracing change and growth
• Facing and conquering fear
• Unforgettable moments of friendship
• Discovering an unexpected passion
• The impact of a mentor in your life
• Standing up for what you believe in
• Finding strength in moments of weakness
• Adapting to a new culture or environment
• The joy of pursuing a lifelong dream
• Humorous mishaps and their life lessons
• Celebrating cultural traditions and experiences
• Moments of empowerment and self – discovery
• Overcoming adversity in the face of criticism
• Life – changing travels and discoveries
• The power of resilience and perseverance
• Living with gratitude despite challenges
• Drawing inspiration from influential figures
• Cultivating empathy through personal experiences
• Heartwarming acts of kindness and compassion
• Resilience forged through difficult times
• Unforgettable lessons from unexpected sources
• Navigating the complexities of family dynamics
• Triumphs over self – doubt and insecurities
• Lessons learned from overcoming failure
• Unforgettable encounters with nature’s beauty
• Moments that reshaped your perspective on life
• Honoring the impact of significant relationships
• Personal milestones that shaped your identity
• The journey towards self – acceptance and confidence
• Transformative experiences that changed your outlook

These topics aim to inspire engaging storytelling for effective communication, public speaking, and literary projects.

How to Write a Narrative Speech

Craft your narrative speech around a personal experience or significant event. Create a strong introduction , include vivid details in the body, and conclude with an impactful ending to engage your audience.

Utilize descriptive language and sensory details to make your story come alive for your listeners. This will help them connect with your experiences and emotions on a deeper level.

Steps and guidelines

When writing a narrative speech, consider the following steps and guidelines:

• Understand your audience and their interests before deciding on a topic.
• Brainstorm ideas and select a personal experience or anecdote that resonates with you.
• Structure your speech with an engaging introduction , body, and conclusion.
• Use descriptive language to paint a vivid picture for your audience.
• Include relevant details that add depth and emotion to your story.
• Practice delivering your speech using varied intonation and gestures for impact.
• Seek feedback from others to refine your narrative for maximum effectiveness.

These steps will help you craft a compelling narrative speech that captivates your audience and leaves a lasting impression.

Sample student narrative speech outline

When it comes to crafting a compelling narrative speech, having a well-structured outline is crucial. Here’s a meticulously tailored student narrative speech outline to guide you through the process:

• Introduction
• Engaging opening : Grab the audience’s attention with a captivating hook or personal anecdote.
• Establishing the theme : Clearly introduce the topic and its relevance to the audience.
• Purpose statement : State the main idea or lesson that will be conveyed through the narrative.
• Setting the Scene
• Describe the setting : Paint a vivid picture of the time and place where the story takes place.
• Introduce characters : Briefly introduce key characters and their roles in the narrative.
• Build tension : Set up any conflicts or challenges that drive the story forward.
• Conflict and Resolution
• Unveil the problem : Clearly present the central conflict or obstacle faced by the protagonist.
• Rising action : Detail how tensions escalate as characters attempt to overcome challenges.
• Climax and resolution : Describe the pivotal moment when the conflict reaches its peak and explain how it is ultimately resolved.
• Lesson Learned
• Reflect on experiences : Share personal insights gained from overcoming obstacles in your story.
• Relatable message : Tie in universal themes or lessons that resonate with your audience.
• Call to action (optional) : Encourage listeners to apply newfound wisdom in their own lives.
• Recap key points : Summarize the main events and takeaways from your narrative journey.
• Final thought or quote : End with a memorable closing line that leaves a lasting impression on your audience.

By following this structured outline, you can effectively craft a captivating narrative speech that engages your audience and leaves a lasting impact.

Examples of Engaging Narrative Speeches

Explore captivating narrative speech examples such as “A long way,” “A valuable lesson,” “My guided lesson 3,” and “Improving communication.” Discover the power of effective storytelling.

Personal narrative speech: A long way

I remember the time when I started my public speaking journey . It felt like a mountain to climb, but with practice and determination, it became more manageable. Engaging storytelling can transform your fear into confidence .

Real-world experiences make for compelling narratives – they resonate with the audience and bring your speech alive.

Moving forward, let’s learn about “Personal narrative speech: A valuable lesson “.

Personal narrative speech: A valuable lesson

During my college years, I learned a valuable lesson on the power of perseverance . It all started when I faced a tough challenge that seemed impossible to overcome. Despite feeling discouraged, I refused to give up and pushed through the obstacles.

This experience taught me that determination can lead to success , even in the face of adversity. The journey was not easy, but it strengthened my resilience and showed me the importance of never backing down from difficult situations.

My time grappling with this challenge was a turning point in realizing how perseverance can lead us towards unexpected victories. Through this personal narrative speech , you’ll explore how embracing challenges can pave the path for growth and triumph in both personal and professional endeavors.

Personal narrative speech: My guided lesson 3

During my guided lesson 3, I learned how to craft a compelling narrative speech that captivates the audience. Real-world experiences and anecdotes are the backbone of an engaging narrative.

The importance of narrative style in effective storytelling cannot be underestimated, emphasizing the significance of engaging storytelling to bring ideas alive .

– Personal narrative speech: Improving communication

Personal narrative speech: Improving communication

Improving communication is crucial for effective storytelling . It helps in connecting with the audience and conveying the message clearly. To enhance communication skills , practice active listening, maintain eye contact, and use body language effectively.

Engaging the audience is essential by using expressive tone and gestures to keep them interested. Make sure to speak clearly and confidently while avoiding filler words like “um” or “uh”.

These steps will help improve your overall communication skills and make your narrative speech more engaging for your listeners. Now let’s move on to exploring effective narrative speech topics .

Narrative essay on basketball injury

Transitioning from the topic of improving communication, let’s delve into a personal experience that revolves around a narrative essay on basketball injury . I vividly recall the adrenaline rush during a crucial game when, unfortunately, an unexpected twist led to an ankle injury .

The excruciating pain and subsequent recovery became a significant part of my journey and have since shaped my perspective on perseverance and resilience in the face of adversity.

Navigating through the complexities of physical setbacks provided valuable insights into determination and overcoming obstacles. Despite the daunting nature of such experiences, they can serve as powerful narratives that resonate with audiences, illustrating the importance of perseverance and fortitude.

Let’s talk about narrative speeches. They’re a great way to tell stories and keep people interested. I used to struggle with public speaking, but I worked hard and learned a lot. Now, I help others speak confidently.

Narrative speeches use storytelling to share ideas or experiences . There are 25 engaging examples in this topic that show how powerful storytelling can be, no matter what you’re talking about.

Stories make things interesting and help people remember your message. Whether you’re using personal experiences or creative tales, the right story can really make your speech stand out.

Writing a narrative speech takes some planning. You need to pick the right topic and organize your thoughts carefully. But when you get it right, it’s worth it!

There are all sorts of topics you can choose for your speech. From personal stories to lessons learned , there’s always something interesting you can talk about.

Remember that telling a good story is key in narrative speeches. It doesn’t matter what genre or form; if your story is compelling, people will listen.

Adding entertainment into your speech makes it more fun for everyone listening. They’ll enjoy hearing what you have to say and appreciate the effort you put into making it engaging.

Digital storytelling is another cool thing to try! You can mix different media like videos and pictures with your words to bring ideas alive even more vividly than ever before.

Understanding how narratives work helps too – knowing skills like setting up tension and providing resolutions keeps listeners on their toes wanting more!

Always looking at new ways to improve my own speaking has shown me just how much impact a well-told story can have on an audience.

Ryan Nelson is the founder of Speak2Impress, a platform dedicated to helping individuals master the art of public speaking. Despite having a crippling fear of public speaking for many years, Ryan overcame his anxiety through diligent practice and active participation in Toastmasters. Now residing in New York City, he is passionate about sharing his journey and techniques to empower others to speak with confidence and clarity.

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Story telling setups: what works & why

How to successfully introduce stories in speeches.

By:  Susan Dugdale  | Last modified: 11-30-2022

Some storytelling setups, (the way you lead in, or introduce a story as part of a speech), are much more successful than others.

Get it right and you'll have your audience enthralled, hanging off your every word. 

Get it wrong and your audience will have turned their ears off as fast as if you'd flicked a switch. 

Have you ever had a story fall flat?

If you've had the experience of a story failing to fire, yet you know it was relevant to your audience, and your speech, maybe the way you introduce it needs fine tuning.

The best storytelling setups sneak up on an audience capturing their attention before they've had an opportunity to zone out. They do it without fanfare. The drums do not beat loudly. The trumpets do not herald their arrival.

What's on this page? Quick links to get around fast.

Examples and discussion of what NOT to do and why

Examples of what to do - 3 sets of storytelling setup types:

• Imaginative openings 
• Personal openings
• Rhetorical questions - silly and serious

More resources for storytelling including narrative speech topics

From the 'how NOT to open a story' department

Speakers who skillfully weave story telling into their speeches tend not use these introductions:

• That reminds me of a really funny story...
• Have you heard the one about ...?
• I heard a great joke the other day. You're going to love it.
• I don't know whether I should tell you this but ...

All of those  introductions are dangerous. They come waving big red warning flags. 

"Hey!", they shout at the audience, "There's a story coming up!  I want you to be amused by it. I want you to laugh!" 

What's the problem with these openings?

The problem is that they give your audience a chance to pit themselves against you.  Fortunately that's not usually out loud. So they're not shouting back at you.

However in the privacy of their own minds they're beginning to wonder whether they want to listen to you.

Let me show you how it works.

That reminds me of a REALLY funny story

In the first example, "That reminds me of a really funny story", you've created several hurdles for yourself to get over before you even get to telling your story.

The first is that you have said you are, "telling a story". Your audience may interpret that as you are about to tell them something fictional,  perhaps a lie, and worse, completely irrelevant.

The second hurdle is that you've told them it's "really funny".

While some people don't want to listen to "make believe",  many more don't want to be told something is funny before they experience the funniness for themselves. They want to make up their own minds about what is amusing and what is not. (Thank you very much. Please don't waste my time!)

Have you heard the one about ...? and other gems

Using "Have you heard the one about ... ?" as an opener sets your story up as a yarn or a joke that is going the rounds.

Someone told it to me. They got it from someone else, who got it from someone else, and now I'm telling it to you. It's not personal experience, or even a new story, and therefore it can be dismissed very easily. Boring. Not original. A total turn off.

"I heard a great joke the other day ..." fits into the same slot as the starter above with the added loaded inference that the word "joke" carries. This is funny. You will laugh. Because I say so.

The last example, "I don't know whether I should tell you this ..." invites the response, "No, you shouldn't", in the mind of your audience before your story has begun.

Do you see what's happening?

So what story telling setups do work?

The ideal is an opener that doesn't appear to be one. It has the audience involved, listening attentively without pausing to consider whether they want to, or not. 

Even though it precedes the actual story, it does not create an opportunity for the same inner resistance as the examples above do.

1. Invitations to imagine

Openers actively engaging the audience's imagination are effective. They invite partnership,  togetherness, a shared journey.

• I want you to visualize ...
• Imagine ...
• Let's step back in time ...
• Come with me ...

Do you see the difference?

2. Making it personal

Setting your story as part of your personal experience works well. These invite your audience to share an aspect of your life, to trust and to identify with you.

Consider these:

• Just yesterday I was talking with a friend ...
• On my way to work this morning ...
• My wife thinks I ...
• My phone rang. It was ...
• I was in XXXX (insert name of local shop/restaurant etc) when...
• Last summer ...

3. Rhetorical questions - silly & serious

If it fits your speech you could also experiment with story telling setups based on rhetorical questions. As well as straight or serious questions, try some obviously ridiculous ones to grab your audience's attention. 

Examples of both are:

• How many years have you been 40?
• Is it true that diamonds are a girls best friend?
• Do you remember when the sky was always blue and summer was endless?
• Why is it that whenever you're late, you can never find a car park?
• Why should we care about others?
• Who decides what is fashionable and what is not?
• How come it always rains when it's holiday time?
• How come so many people are described as "average"?

Try multiple openings

When you're writing or rehearsing your speech try several setups before settling on the one you're definitely going to use. Listen for "rightness" of fit to your story, your speech,  and your audience.

PS. Consider endings too

Just as there are seamless ways of entering a story, so too there are slicker ways to exist.

You do not have to announce, "By the way, that's the end of the story".

Instead try a pause, a change of tone, a shift in body language or speaking rate. All of these signal the start of a new segment without saying anything.

More about storytelling in speeches 

For how to choose the right story, the benefit of sharing personal stories, and how to improve your storytelling see: storytelling in speeches .

I've also got two pages of tell-a-personal-story speech topic suggestions that are perfect for honing skills. (If you're looking for suitable topics for the Toastmasters Level 3 Storytelling project, do check these out.)

• 125 narrative speech topics -This page includes a free printable narrative speech outline.
• 60 vocal variety and body language topics .
• Return to top of storytelling setups

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How to tell a captivating story — from a wedding toast to a job interview

Audrey Nguyen

Our lives are filled with storytelling, from the stories we tell our friends over dinner, to the ones we tell at eulogies, during toasts, at job interviews and on dates.

7 tips on giving a memorable toast for any occasion

"[Stories] make us laugh and they make us feel hope, and they make us feel like it's going to be OK, [like] we're less alone," says Sarah Austin Jenness, the executive producer of The Moth , an organization and podcast dedicated to teaching and promoting the craft of storytelling. Jenness is one of the co-authors of How to Tell a Story: the Essential Guide to Memorable Storytelling from The Moth .

Stories help us relate to each other and build community, say Jenness and her co-author and fellow storytelling coach, Meg Bowles. Leveling up our storytelling game can lead to more meaningful connections.

Here's their step-by-step guide on how to tell a story, from an idea to delivery:

1. Understand that a story is more than a scene or an anecdote.

Does the story you want to tell have a beginning, a middle and an end? Does it have tension? Does it show some sort of transformation? These are the basic elements that make an anecdote blossom into a full-bodied story.

When you're telling a story, you aren't just describing what happened when you walked into the coffee shop and saw your ex on a date. You're telling us how that moment felt emotionally, how you were affected, how you reacted and how you're a different person after having endured that moment.

2. Select a meaningful story.

Each of us has hundreds of stories we could tell. How do we know which one to pursue? "I always say to think back to moments in your life that really shifted you in some way," Bowles says. "Dig in to that."

When you think of a moment, ask yourself, "Why did that moment stick with me? What about that moment was important to me?"

"You start to see patterns of your story arise," says Bowles.

Big decisions are a good place to find stories; so are embarrassing moments and mistakes. Think of a time you did something but it didn't go as planned. Within these kinds of prompts you can begin to explore moments of vulnerability.

If you're not sure how or where to start mining for your own stories, here are some helpful prompts:

• If your life were a movie, what's one scene you'll never forget? 
• What's something someone said to you that you'll never forget? 
• Tell us about a breakthrough moment. 
• Tell us about a time you had to follow your heart. 
• Tell us about a moment you were reunited with something you treasure.

3. Develop your story.

Once you find the story you want to tell, put it under a magnifying glass to blow it up big. Where were you (physically, mentally, emotionally) in that moment? How did it impact your life? What were the results?

Boil your story down to one sentence that helps focus what it's really about. For example, "It took a disaster for me to understand the important role my father played in our community." This will help you decide which details support your main point.

Every family has stories to tell. Here's how to document yours

Remember that in any great story you're not just sharing events that happened, you're also sharing the thoughts and feelings running through you during those events.

4. Figure out the structure.

A good rule of thumb is to start in the action of the story – this will draw people in. From there, ask yourself if you'll tell your story in chronological order, or if you'll start at the end and find your way back to the beginning, or if you want tell it in a series of flashbacks instead of a linear structure.

Don't worry about getting too fancy with the structure – often, telling a story chronologically is the best way to go. "You want to take people through the journey so they can experience what you experienced, " Bowles says.

5. Understand how you've changed by the end.

By this point, you know the moment your story is centered on, what the stakes or tensions are and how you want to tell the story. Writing the ending can be the hardest part.

"Stories in real life usually aren't tied up with a bow," Jenness says. "You just have to end the story in a different place than [where] you began."

The key to a good ending is showing the audience your transformation over the course of the story, even if it's a slight transformation. "There's the 'you' we met in the beginning and the 'you' at the end," she explains.

6. Ask yourself if you're ready to share the story.

If you're considering telling a story rooted in vulnerability or trauma, it's important to consider whether you're emotionally ready to share that story.

Here are some signs you might not be ready to tell a story publicly:

• if you get stuck on one scene and aren't able to come out of it because you're reliving it – this can happen with traumatic events and could be a sign of post-traumatic stress disorder. 
• if it's tough to find an ending to a story, it may mean that you're still living it. You might need to "press pause" and return to the story when you've had more time to process.

7. Before you deliver the story, practice, practice and practice again – but don't memorize it.

It's natural to feel nerves before sharing a story aloud. Become very familiar with your story. Practice enough to be comfortable telling it from memory, but the Moth team recommends that you don't memorize it word for word. If you memorize it verbatim, your delivery can sound stiff and you might go blank.

"Stories are alive and they're meant to sound alive," Bowles says.

A good strategy is to really learn the words you want to use for the beginning and end of your story, but keep your notes in between as bullet points. That way you can naturally fill the gaps, but you have your most important elements well-rehearsed.

"If you go blank on stage, just think, 'What happened next?'" Jenness says. "If you realize you didn't set it up right, you can always say 'Now, what I forgot to tell you about my mom is...' or 'What you really need to know...'"

8. Remember that storytelling is not about the storyteller – it's about connection.

Want To Listen Better? Turn Down Your Thoughts And Tune In To Others

Keep it short and tight. If you're telling a story in a more interactive environment, like over dinner, remember that the purpose of storytelling is to engage with others. It's not about taking the spotlight for the entire time you're with someone. You want to offer a jumping-off point for someone else to share their own story, too.

Want to practice listening and find inspiration? Check out stories heard on The Moth .

Elise Hu is also the host of the TED Talks Daily podcast.

The podcast portion of this story was produced by Audrey Nguyen and Meghan Keane.

We'd love to hear from you. If you have a good life hack, leave us a voicemail at 202-216-9823 or email us at [email protected] . Your tip could appear in an upcoming episode.

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Resource 9: Storytelling Speech Template

Storytelling speech template.

The most effective and enjoyable story to tell are the ones that come from the heart. Instead of concentrating on the fact that you have to tell a story, start from a place of excitement and care: What are you really excited to share with people? What moments are special to you? What memories bring strong emotions for you, whether they be motivation, pride, shame, longing, or even regret? Don’t get in your own way by thinking about how a particular memory might be too small, too insignificant, or too boring. Instead, remember stories should be a reflection of you, not what you think others want to hear.

The following template can be used in more formal storytelling situations, where you are telling a story uninterrupted for an audience, often as a portion of a speech. As with any template, you might not need this tool; in fact, if it interferes with you being authentic, please disregard! That said, if it helps you get unstuck or get the ideas flowing, use this template to organize your ideas. Note: the sections in this template can also be placed in any order, depending on what makes sense for your speech. For additional help, watch the video example of 16-year old Matteo giving a speech on arts education.

“Personal-Universal-Application” Format

Storytelling is a powerful communication tool — here’s how to use it, from TED

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Many of the best TED Talks are built around stories, with speakers’ personal anecdotes helping them bring their ideas to life. Here, TED head curator Chris Anderson provides us with some storytelling dos and don’ts. Plus: news about the TED Masterclass app.

After watching a great talk on TED.com , many of us have wondered: “Could I do it myself? Could I give a TED Talk?”

Now’s your chance to find out.

The new TED Masterclass app — available from the Google Play store and the Apple App store — is designed to help you develop and share your best ideas as a TED-style talk. Guided by TED head curator Chris Anderson and based on his book TED Talks: The Official TED Guide to Public Speaking , the app-based course features 11 animated lessons that break down the public-speaking techniques that TED speakers use to present their ideas. Developed by TED-Ed , the course also features a library of full-length TED Talks from Brené Brown, Bryan Stevenson, Susan Cain and others to reinforce its lessons.

In this post, which is adapted from the TED Masterclass app and his book, Anderson discusses how we can learn to use storytelling to elevate our speeches, presentations and talks.

The best evidence from archaeology and anthropology suggests the human mind evolved with storytelling. About a million years ago our hominid ancestors began gaining control of the use of fire, and it seems to have had a profound impact on their development. It provided warmth, defense against predators, and the ability to cook food (along with its remarkable consequences for the growth of our brains.

But it brought humans something else. Fire created a new magnet for social bonding and drew people together after dark. In many cultures, one form of fireside interaction became prevalent: Storytelling.

It’s no surprise that many of the best TED Talks are anchored in storytelling. But when it comes to sharing a story as part of a presentation or speech, there are four key things for you to remember.

• Base it on a character your audience can empathize with or ar0und a dilemma your audience can relate to.
• Build tension whether through curiosity, intrigue or actual danger.
• Offer the right level of detail. Too little and the story is not vivid; too much and it gets bogged down.
• End with a satisfying resolution, whether it’s funny, moving or revealing.

Of course, it’s all in the execution. Before speaking in front of a group, it’s really worth fine-tuning our stories — including the stories from our own lives. Many of us overstuff them with details that are important to us, but a wider audience just doesn’t need to know.

Building your talk around a single story can offer huge benefits. The personal story is the simplest, easiest-to-prepare type of talk; after all, you know your story and you know more about it than anyone else in the world. A personal story will also create empathy with your audience. Your throughline is taken care of — it’s simply the narrative arc of the story.

But there’s one trap that you must avoid. Your overall goal as as speaker is to give, yet personal stories sometimes fail to do that. They may entertain or intrigue or boost your ego. But they don’t automatically give the audience something they can walk away with — such as insights, actionable information, perspective, context, hope.

One of the biggest reasons we turn down applications to speak at TED is when they offer compelling anecdotes but no central idea that wraps their narrative together. This is heartbreaking, because the speakers are often fascinating people. But without an idea, it’s an opportunity missed.

The key shift needed is an artful edit of your journey that links together critical moments in a way that someone else can derive meaning from them. If your journey reveals something powerful you’ve learned and if each step is revealed with humility, honesty or vulnerability, it’s a journey that other people will gladly make with you.

There’s one other non-negotiable essential if you’re telling your own story: It has to be true. This may seem obvious, but people sometimes try to impress their audience by exaggerating or fibbing — precisely because they know a story can have so much impact. You must resist this temptation.

When you combine a truthful story with a desire to use it for the benefit of other people, you’ll be giving your listeners an extraordinary gift. In her TED Talk , psychologist Eleanor Longden was willing to share how she began hearing voices in her head while she was at university. It led her to being diagnosed with schizophrenia, institutionalized, and driven to the point of suicide.

Her story alone is riveting, but she builds it so people leave her talk with inspiring insights on schizophrenia, mental illness, and how we might rethink our responses to them.

Here’s part of her ending:

“There is no greater honor or privilege than facilitating that process of healing for someone, to bear witness, to reach out a hand, to share the burden of someone’s suffering, and to hold the hope for their recovery. And likewise, for survivors of distress and adversity, that we remember we don’t have to live our lives forever defined by the damaging things that have happened to us. We are unique. We are irreplaceable. What lies within us can never be truly colonized, contorted, or taken away. The light never goes out.”

In his TED Talk: How the worst moments in our lives make us who we are , writer Andrew Solomon described how he was humiliated as a child, even before he came out as gay. But he manages to turn his story into an exhilarating narrative of identity that anyone could relate to and learn from.

“There’s always somebody who wants to confiscate our humanity. And there are always stories that restore it. If we live out loud, we can trounce the hatred, and expand everyone’s lives.”

Stories resonate deeply in every human. By giving your talk as a story or a series of related stories, you can greatly increase your connection with your audience. But please: Let it mean something.

Ready to tell your own story? Download the TED Masterclass app from the Google Play store and the Apple App store . After downloading it, you’ll be able to see an overview of every lesson — including what it’s about, what you’ll learn, and a two-minute video — from the entire course. You’ll also get a preview of the library and the idea log. Full access to the course ($89.99) is available via in-app purchase, and all proceeds will go to support the nonprofit work of TED.  

About the author

Chris Anderson is the curator of TED.

• Chris Anderson
• public speaking
• storytelling

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How to tell powerful stories in your speeches.

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Why tell stories in speeches? Because they are interesting, they help people remember what you say, and they are a good way to convey information and emotion memorably.

Mark Turner , a writer and philosopher who has been associated with the Institute for Advanced Study, and the Center for Neural and Cognitive Sciences at the University of Maryland, goes even further. In his landmark book, The Literary Mind , published by Oxford in 1996, he says, “Story is a basic principle of mind.” In other words, he argues that we think in terms of stories. We learn from the high chair that if we push a glass of milk over, white liquid spills on the floor, a parent comes running making noises, mops it up, and kisses us on the top of the head (if we’re lucky). That’s a story, and it’s a basic understanding of cause and effect by which we make sense of our world.

There are actors, actions, objects, and results. It’s all good fun, it’s memorable, and it’s how we continue to think long after we’ve left the high chair.

How does that apply to public speaking? Most people organize their talks in lists of information. (Five reasons to join our exciting investment program.) Unfortunately, the human mind is not constructed to remember lists very well. Once you’ve told me 3 or 4 things, to remember the 4th or 5th I’ll have to forget the first. ‘In one ear and out the other’ pretty describes how we respond to lists. Yet everyone who has heard, seen, or read it once remembers the story of Romeo and Juliet.

So if you give speeches more like Shakespeare and less like the phone book, you’ll be much more memorable. That’s why stories are important.

How do you create a great story for the purposes of public speaking?

My favorite structure for a persuasive speech is the problem-solution structure.

You begin by describing a problem that the audience has, and then you describe a solution. You can either hold to that structure, and tell stories at various points along the way, as examples and supporting evidence and so on, or you can treat the whole speech as a story.

Think of your stories as having three acts.

The first act presents an idea or a situation that will engage the audience (Romeo meets Juliet and falls in love). It’s best if this idea or situation is one that, once it has happened or been told, cannot be undone. (Romeo cannot ‘unmeet’ Juliet.) If you give your audience some information at the beginning of your speech that they don’t know, it has the same effect. (Our customer base has been eroding for the last 16 quarters, and just today I learned that it’s official — we’re now down for 17 quarters. We can’t afford to go on like this…).

Needless to say, it should be information that is of interest to the audience — it should be about a problem they have.

The second act raises the stakes on the earlier idea or situation. (Romeo marries Juliet despite the feud between the two families.) Once again, it should be something that cannot easily be undone. (If we have another down quarter, we’re going to have to close manufacturing plants in Chicago and Ohio.)

The third act precipitates a resolution, either favorable or unfavorable, by posing a question that must be resolved. (Romeo kills Tybalt in a duel, thus resulting in his banishment. Will Romeo and Juliet live happily ever after? Answer: no.) (To turn things around, I’m starting a new product line, code name Lemmings, that will excite customers once again and bring them flocking back to our stores.) Just as no one in the play Romeo and Juliet ever literally asks the resolving question out loud, you don’t have to in your speech. You do have to resolve it, and the best way is to get your audience to undertake some action to enlist them in your persuasive moment. (I’ve put prototype Lemmings underneath your chairs. I’d like you now to please take them out of their boxes and try them out.)

Just as the rest of Romeo and Juliet fills in around these key moments with scenes that explore the consequences of these interesting, fateful actions, your speech should too.

That’s the basic structure of a good story. But there’s more.

Western society contains a few basic stories that everyone knows and resonates to, so if you can invoke one of those stories, you’ll get instant buy-in from your audience.

For example, if you ask your employees to embark with you on a long and arduous journey to develop a new product, they’ll complain about the obstacles along the way, unless you invoke a Quest story. Then, the obstacles are to be expected because that’s what happens on a quest. The heroes (your audience) meet obstacles and suffer reversals — but eventually overcome them all to reach the goal. Don’t make the mistake of casting yourself as the lone hero — always bring the audience along with you.

The Quest story is the most basic one, and audiences get the idea very quickly because the story is so deeply ingrained in our psyches. Quest stories have heroes, journeys, obstacles, mentors, and most importantly a goal at the end. For more information on the subject, read Joseph Campbell’s The Hero with a Thousand Faces the definitive book on the subject.

After the Quest, the other fundamental stories are: Stranger in a Strange Land , Love Story , Rags to Riches , and Revenge .

The way to think about these stories is as thematic ideas that you invoke as you go through your speech. You might do it with a specific reference to a particular, well-known Quest story, like the Holy Grail, the Wizard of Oz, or Raiders of the Lost Ark, or you might use the elements and the language of a Stranger in a Strange Land story in order to bring the audience into that magical space without actually telling them bluntly that ‘you’re on a quest’. It’s better in this case not to be blunt, but rather to evoke the stories with their unconscious power to orient us and bring us into a space where we see the outcome as ordained by the structure of the story.

Once you’ve picked your thematic story and you’re off on a Quest or you’re all Strangers in a Strange Land, then you want to think about using archetypes to get further storytelling mileage out of our common mythology.

Basically, an archetype is a model of a character, or part of a character. The word and concept have been around for a long time, but they were made famous, so to speak, by the great Swiss psychologist Carl Jung.

When Jung talked about archetypes, he meant primarily aspects of a person — the Self, the Shadow (your Dark Side) and the Persona (the face you put toward the world). But he also talked about a host of other kinds of people, and aspects of people and the natural world, that could be archetypes, from the child, hero, mother and wise old man to the fish.

The idea is that your particular mother resonates for you with the archetypal mother in some ways, and not in other ways. You may develop a mother complex as a result. We live at our best and most fully when we’re in harmony with all the archetypes we summon up.

Jung believed that archetypes were real — a kind of bridge between our inner psychological world and the real world out there. More than that, we all have access to universal wisdom and understanding through and with these archetypes.

OK, so what does that mean for speakers?

I think we can invoke the power of the basic archetypes by naming them at appropriate moments in our stories and by using them as ways to connect with the audience. Words like ‘child’, ‘mother’, ‘father’ and so on have enormous resonance for just about everyone in your audience. The trick is to let your audience do the work, creating the associations, by giving them enough detail to get their minds working, but not so much that you stop them from using their imaginations.

Archetypes work best in simple stories that allow audiences to fill in the blanks. You need to craft these stories — really parables — with great care so that they are not hackneyed or silly.

If you do it right, you can create powerful, memorable stories — on a variety of levels — in your speeches that call us all to our best, archetypal selves and move your audiences to action.

For a great example of successful storytelling in a speech, watch Malcolm Gladwell’s TED.com talk on Howard Moskowitz, spaghetti sauce, and the platonic dish. Gladwell’s story artfully weaves together the food industry’s quest for understanding human food-eating behavior with a three-act drama about Howard Moskowitz’s search for the perfect spaghetti sauce. The result of the search will surprise you; in part because Gladwell has constructed the story so well, and in part because you may think you know what you want in a spaghetti sauce, but you really don’t.

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[…] Depois de todas as dicas anteriores, é importante compilar tudo e criar uma ligação. A apresentação tem que ter um fio condutor, do princípio ao fim. Uma excelente maneira é contar uma história, criando personagens, por exemplo. Deves ser criativo e dar asas à tua imaginação. Sobre este ponto podes ler mais aqui. […]

[…] to our thinking: Stranger in a Strange Land, Revenge, Rags to Riches, and Love Story. You can look elsewhere in the archives for explanations of the stories and what they […]

Very helpful :-)

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9 Storytelling Approaches For Your Next Speech or Presentation

Hitiksha jain.

• Speech Writing

Storytelling is an ancient art form and a valuable form of human experiences. It is an interactive art of using words and actions to unravel the elements and images of a story while encouraging the listener’s imagination.

“Storytelling is the most powerful way to put ideas into the world today.” Robert McKee

Public speaking has become an integral part of our professional life, as it is a great way to speak directly to your target audience and perhaps push your business ideas and make valuable personal connections.

Storytelling is the focal point of any successful speech or presentation. In contrast, most of the sales presentations and pitches fail due to their lack of ability to narrate a story, as you are unable to break down the wall between you and your audience and get them to care and invest in your message.

But why is storytelling so important?

Well, we all love listening to stories, as our brains have an embedded need for narrative, whether it’s schemas, scripts, or metaphors. In short, stories are how we think and make sense of the world around us, and this extends to business concepts as well.

This hidden power of storytelling can influence the way we make decisions and persuade others of our ideas. While delivering a speech, stories are the most effective way of organizing information, as it is a powerful form of communication that translates ideas and moves people to action.

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Empathy is one of the greatest tools to build a rapport with your audience and it is only possible via storytelling.

Here, at Frantically Speaking we have compiled some fundamental ways on how you can deliver your PowerPoint Presentation/ Speech by stealing one of these classic storytelling techniques:

1.  Monomyth – The Hero’s Journey

It is one of the popular forms of story structure. In this structure a hero goes on a challenging and adventurous journey– moves from certainty to uncertainty– and returns home with newly found wisdom.

Monomyth can be of great help in the conversion cycle from prospect to purchase because stories are inspiring and it allows you to bring your message alive for your audience.

Japanese yo-yo-er BLACK shares his inspiring story of how he found his passion, wisdom and became a world champion.

Why does it work?

• It engages the audience by accessing their imagination and making them a part of the journey
• Demonstrates the benefits of risk taking behaviour
• Evokes a sense of empathy in them
• Deciphers the importance of learning new lessons and gaining wisdom
• Finally, your audience sees the value of your product or service

2. Rags to Riches

We all love listening to success stories, especially when the protagonist has struggled from the depth of despair. Rags to Riches is a story structure that is built on the basis of how a person from an oppressive and poor background–struggles– attains wealth and status.

HSBC’s The Elevator ad shows the ups and downs of entrepreneurship, it is a great example of Rags to Riches in all its complexity.

Why is it beneficial?

• It provides a sense of hope
• It is relatable, as all of us have faced difficulties

3. The Mountain

Imagine climbing a mountain, you will know you can never walk straight up the mountain and usually have to traverse lots of smaller ascends and descends. Just as you “climb up the mountain” in your talk, you show your audience how you faced challenges and overcame them, all the while building up to your climatic challenge at the top of your mountain.

To understand this better, it follows the shape of a mountain, meaning it works linearly and allows you to build tension as you head towards the climax at the peak of your talk – i.e. the top of the mountain – before then relieving the tension and coming to an end.

It is somewhat similar to the Monomyth technique; however, the only difference is that the ending has a bit more freedom. For instance, after the climatic challenge, it is not necessary to have a happy ending.

Aimee Mullins uses a mountain-structure speech to tell her personal story – from being born without fibula bones in her lower legs to becoming a famous athlete, actress, and model.

Why is it impactful?

• Emphasizes on how you overcame challenges
• Builds suspense that keeps the audience curious
• Provides satisfying conclusions to make your audience take a desirable action

4. Nested Loops

Nested Loops is a classic way to make stories more hypnotic. Here, you use the Zeigarnik effect by telling three or more narratives in a row. Psychologists believe that people remember interrupted tasks better than the complete ones.

In this framework, you don’t finish any of these narratives, by breaking the end and starting the next story. Once you’ve given the gist of all the narratives, you start to close your loops in the reverse order- i.e. the last story is finished first.

Chimamanda Ngozi Adichie used this framework to talk about her experiences at university and the way Africa is perceived in the Western world. 

• Portrays how you obtained your wisdom/knowledge through various interactions
• Explains how you arrived at a conclusion or inspired to achieve something

5. Sparklines

Sparklines technique shuttles between hope and reality, where you and your brand promises to bridge the gap between the ideal and contemporary situations. Basically, you provide a ray of hope towards all the problems that we have in our society, personal lives and businesses. The presenter makes an emotional appeal, fueling a desire for change in the audience.

Example- Martin Luther King’s speech, “I have a dream” is very famous as he visualizes a society without racism and intolerance.

How does it help?

• Emotional appeal is a secret weapon to getting into the hearts and minds of your audience and it works the best
• Evokes a sense of hope for a better tomorrow
• Prompts an action

6. In Medias Res (into the middle of things)

As the name suggests, you begin your narrative in the heat of the action rather than starting from the beginning. Basically, you launch your story right into the action–providing the snippets of how you got there. This works because you take your audience to the most titillating part which makes them inquisitive to know how you got there.

The Odyssey is the best example of this structure, as it starts with most of Odysseus’ journey already finished. The story up to that point is then told through flashbacks as we learn about the fantastic characters he met along the way.

• It is attention grabbing because you start your story with the most fundamental part
• Suspense adds onto keeping the audience hooked

7. False Start

You start with a false/predictable story and then unexpectedly reveal something before starting the story with an altered perspective. You try to lure your audience by an untrue story and then ball them over by turning the tables. This technique is used best to describe a failure– how you dealt with it, your learning experience, etc.

J K Rowling shares about her time at university where the listeners expect her to talk about her growing success instead she focuses on the period that almost made her feel she had ‘failed’ in life.

• It relates to the audience when you talk about failure
• Displays problem solving

8. Petal Structure

Just like a flower that has a lot of petals, this framework consists of a lot of speakers around one concept/message. It is useful to connect unconnected stories that relate back to the same message. The petals (people) can overlap, but each of them need to complete their respective narratives.

Simon Sinek tells a series of stories to help visualize his ideas, each one strengthening the message further.

• Provides a lot of narratives and emotional appeal around the same message
• The audience comprehends the importance of your message via a series of stories

9. Converging Ideas

You can use this framework to describe the convergence of different ideas to form a single product or idea. It is an effective way to show the emergence of a product from the scratch.

In simple words, you use this technique when you want to tell your audience a story of how several branches of thoughts came together in a single idea. It is a wonderful tool to show your audience how great minds came together and solved a problem.

It is somewhat similar to the Nested Loops structure; however, instead of framing one story with complementary stories, it can show how several equal stories come to a single strong conclusion.

The science writer John Bohannon’s, “Modest Proposals” is a spellbinding choreographed talk. He delivers his case in collaboration with dancers from the Black Label Movement.

• Demonstrates how development occurred
• Showing how symbiotic relationships have formed
• Explains how to deal with problems

Final Words

Narrative technique should be chosen in order to deliver your main message and influence the audience. You need to develop the most appropriate technique to surprise your audience, make it easier to follow the flow, and reveal your message in a stronger way.

The impact and superiority of telling stories can hardly be overstated. With the new ability to skip advertisements, unsubscribe emails, your brand’s content remains the sole way to connect with your customers and build a long-lasting relationship. It is only when individuals know your brand, can entrust you with their loyalty.

For your next presentation, try one of these techniques to approach raw information and define a basic structure to communicate it in an effective and memorable way.

In the meantime, let us know in the comments below how you plan on telling your next business story online?

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My Speech Class

Public Speaking Tips & Speech Topics

Narrative Speech [With Topics and Examples]

Jim Peterson has over 20 years experience on speech writing. He wrote over 300 free speech topic ideas and how-to guides for any kind of public speaking and speech writing assignments at My Speech Class.

Narrative Speech Topics

• Your Events, Life Lessons, Personal Experiences, Rituals and Your Identity.

The main point is that you are talking about yourself.

Your  thoughts, feelings, ideas, views, opinions and events are the leading ladies in this special public speaking speech writing process.

In this article:

Your Life Lessons

Experiences, narrative speech writing tips, 10 fast showcases.

Here are example narrative speech topics you can share in a speech class or other public speaking assignment in high school, college education. Narrow the speech topics appropriately to the public speaking occasion rules with the specialized checklist I have composed with seven narrative speech writing  tips .

The checks and tips also serve as hooks for to narrate a paragraph in an college essay.

Can We Write Your Speech?

Get your audience blown away with help from a professional speechwriter. Free proofreading and copy-editing included.

The backbone of my advice is: try to keep the story devoted and dedicated. If you find it hard to develop speech topics for narration purposes and you are a little bit overwhelmed, then try ten ways I’ve developed to  find narrative speech topics .

Most students mark out an event in their speeches and essays. An event that stipulate a great step in life or an important moment that has impact on your prosperity or lifestyle from that particular period:

E.g. An accident or remarkable positive event that changed my life. The birth of my brother, sister or other relative and the impact on our household and family-life. My first day at high school or college. The decision I regret most at my school or in my professional job career. My day of graduation (If you have not yet graduated from an educational institution, describe your hardworking and your planning efforts to achieve the qualification). My first serious date with my boyfriend / girlfriend. A significant family event in the summer. A memorable vacation. A historical event that impressed me. The day I will move overseas. A milestone that seemed bad but turned out to be good. My heroic sports moment at the campus field.

Take personal growth and development as starting point. Widen the horizon of the audience to a greater extent with narrative speech topics on wisdom. Construct a life lesson yourself, based on a practical wisdom acquired by own experience, or one you have been be introduced to by someone else:

E.g. The influence of a special person on my behavior. How I have dealed with a difficult situation. What lessons I have learned through studying the genealogy of my family. A prejudice that involved me. An Eureka moment: you suddenly understood how something works in life you had been struggling with earlier. How you helped someonelse and what you learned from her or him, and from the situation.

For this kind of public speaking training begin with mentioning intuitively the emotions you feel (in senses and mind) and the greater perception of the circumstances that lead to apprehension of a precarious situation:

E.g. My most frustrating moment. How you handled in an emergency situation. How I break up with my love. A narrow escape. A moment when you did something that took a lot of courage. A time when you choose to go your own way and did not follow the crowd. How I stood up for my beliefs. The day you rebelled with a decision concerning you. How you cope with your nerves recently – think about fear of public speaking and how you mastered and controlled it in the end. What happened when you had a disagreement with your teacher or instructor in class, this triggering narrative speech idea is great for speech class, because everyone will recognize the situation.

This theoretic method is close related to the previous tips. However, there is one small but significant difference.

Let’s define rituals as a system of prescribed procedures or actions of a group to which you belong. In that case you have the perfect starters to speak out  feelings .

Complement the ritual with your own feelings and random thoughts that bubble up when you are practicing the ritual:

E.g. How you usually prepare for a test at high school or for a personality interview or questionnaire. Your ritual before a sports game. Your ritual before going out with friends – make up codes, choosing your dress or outfit, total party looks. The routines you always follow under certain circumstances on your way to home. Church or other religious rituals you think are important to celebrate. Special meditative techniques you have learned from old masters in East Asia.

These examples are meant to accent the cultural and personal charateristics based on values, beliefs and principles.

What do you think is making life worth living? What shaped your personality? What are the psychological factors and environmental influences?

And state why and how you ground your decisions:

E.g. My act of heroism. The decisions my parents made for me when I was young – school choice, admission and finance. How curiosity brings me where I am now. I daydream of … A place that stands for my romantic moments – a table for two in a restaurant with a great view. My pet resembles my personal habits. A vivid childhood memory in which you can see how I would develop myself in the next ten to fifteen years. Samples of self-reliance in difficult conditions, empathy towards others in society, and your learning attitude and the learning curve.

Make a point by building to a climax at the end of your speech topic, whatever the narrative speech topics may be you want to apply in some sort of public speaking training environment. Build your way to the most intense point in the development or resolution of the subject you have chosen – culminate all facts as narrator to that end point in your verbal account.

Narrative speech tips for organizing and delivering a written description of past events, a story, lesson, moral, personal characteristic or experience you want to share.

• Select carefully the things you want to convey with your audience. Perhaps your public speaking assignment have a time limit. Check that out, and stick to it.This will force you to pick out one single significant story about yourself.And that is easier than you think when you take a closer look at my easy ways to find narrative topics.
• What do you want your audience to remember after the lapse?
• What is the special purpose, the breaking point, the ultimate goal, the smart lesson or the mysterious plot?
• Develop all the action and rising drama you need to visualize the plot of the story: the main events, leading character roles, the most relevant details, and write it in a sequence of steps. Translate those steps into dialogues.
• Organize all the text to speech in a strictly time ordered format. Make a story sequence. Relate a progression of events in a chronologically way.The audience will recognize this simple what I call a What Happened Speech Writing Outline, and can fully understand your goal. Another benefit: you will remember your key ideas better.It can help if you make a simple storyboard – arrange a series of pictures of the action scenes.
• Build in transition sentences, words or phrases, like the words then, after that, next, at this moment, etc. It helps to make a natural flow in your text.
• Rehearse your narrative speech in front of a friend and ask opinions. Practice and practice again. And return to my narrative speech topics gallore if you get lost in your efforts.Avoid to memorize your text to speech. When you are able to tell it in a reasonably extemp manner – everyone can follow you easily – it is okay.
• Finally, try to make eye contact with your listeners when you deliver this educational speech and apply my public speaking tips one by one of course.
• A good place to start finding a suitable narrative speech topic is brainstorming about a memorable moments in your life, a situation you had to cope with in your environment, a difficult setting or funny scene you had to talk your way out.

Try to catch it in one phrase: At X-mas I … and followed by a catchy anf active verb.

E.g. At X-mas I think … I want … I’m going … I was … I stated … I saw … .

After the task verb you can fill in every personal experience you want to share with your public speaking audience in a narration. These 40 speech topics for a storytelling structure can trigger your imagination further.

My most important advice is: stay close to yourself, open all your senses: sight, hearing, taste, and even smell and touch. Good for descibing the memorable moment, the intensity of it.

• A second way to dig up a narrative speech topic is thinking about a leading prophetic or predictive incident in the previous 10 years or in your chidhood. Something that illustrates very well why and how you became who you are right now.

E.g. Your character, moral beliefs, unorthodox manner of behaving or acting or you fight for freedom by not conforming to rules, special skills and qualities.

• The third way I like to communicate here with you is storytelling. Let yourself be triggered for a narrative speech story by incidents or a series of events behind a personal photograph or a video for example.

E.g. Creative writing on a photo of your grand-grandparents, of a pet, a horse, an exciting graduation party, a great architectural design.

• You also can find anecdotal or fictional storylines by highlighting a few of your typical behavior or human characteristics.

E.g. Are you a person that absorbs and acquires information and knowledge, likes to entertain other people or nothing at all? Or are you intellectually very capable in solving comprehensive mathematical calculations? Or are you just enjoying life as it is, and somewhat a live fast die young type?

Or a born organizer – than write speech topics about the last high school or college meeting you controlled and administered.

• The fifth method I would like to discuss is the like or not and why technique. Mark something you absolutely dislike or hate and announce in firm spoken language (still be polite) why. A narrative speech topic based on this procedure are giving insight in the way you look at things and what your references are in life.

It’s a bit like you make a comparison, but the difference is that you strongly defend your personal taste as narrator. It has a solid persuasive taste:

E.g. Speeches about drilling for oil in environmental not secure regions, for or against a Hollywood or Bollywood movie celebrity, our bankingsystem that runs out of trust of you the simple bank account consumer. Or your favorite television sitcom series.

• An exciting, interesting, inspiring or funny experience or event that changed your life is the next public speaking tip I like to reveal now.

E.g.? Staying weekends at your uncle’s farm shaped you as the hardworking person you are nowadays. A narrative speech topic in this category could also be about music lessons, practical jokes. Or troublesome events like divorce, or great adventures like trips at the ocean. Or even finding faith or a wedding happiness.

And what do you think of extreme sports tournaments?

• An important lesson you learned from someone you admire. This is a very classical narrative speech topic.

It tends to be a little bit philosophical, but if you tell you story people will recognize what you mean and compare that with their own stories and wisdom lessons.

Tell the story of a survivor of a traffic accident, and how you admire her or his recovery. Winners of awards, great songwriters, novelists, sportsheroes.

This list is almost exhaustive. Share the wisdom of their fails and achievements.

• The moment in your life you see the light, or that was very insightful. It seems a bit like my number six advice, but focus more on the greatness and happiness of that very moment. A moment’s insight is sometimes worth a life’s experience, American Judge Oliver Wendell Holmes have said.

Magnificent and breath-taking nature phenomenons, precious moments after a day of struggle, final decisions that replenish, lift your spirit.

• A fable or myth that has a moral lesson you try to live to.

Aesop Fables are a great source for a narrative speech topic idea structure. Think about The Dog and His Reflection, The Fox and The Grapes, and Belling the Cat. Talking about fairy tales as an inspiring source: what do you think of a personal story about the moral of The Emperor’s New Clothes?

• The relation between a brief series of important milestones in your life that mold your character is also possible – if catchy narrated storytelling of course :-).

First day of school, first kiss, Prom Night, your high school graduation, wedding, first job interview.

Christening Speeches

Pet Peeve Speech Topics

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• 17 Storytelling Ideas to Breathe Life Into Every Speech
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With a few audience members after sharing stories in Australia

You saw the title so let’s jump right in with 17 storytelling ideas that will breathe life into your speeches and keep your audiences engaged.

Idea Number One: Start your stories in different places. You don’t have to start a story at the beginning. You can start it in the middle or even at the end. For example, I could start a story like this:

“There I was, standing on stage with the 1 st place trophy at the 1999 World Championship of Public Speaking. Life as a speaker was great! However, it didn’t start out that way. In fact, back in 1995…”

You can give the end and then work your way back to how you got there. Mix it up with each story. Don’t start them all in the same place.

Idea Number Two: Keep your audience curious from the beginning. What questions can you plant in the minds of your audience members that they’ll want answered during the story? For example, I start off one of my stories with, “You might not have realized this but…I’m black. Hold on, let me tell you how I found this out!” Along with uncovering some humor, this line makes my audience curious as to what happened and, therefore, they’re happy to come on the journey with me.

Idea Number 3 : Get to your stories quicker. There’s way too much set-up (what I call “pre-ramble”) for many of the stories I see. Get to the story quickly and then go rapidly into the conflict.

Idea Number 4: Take your time between your lines. That’s where the story lives…in the space between the lines. Don’t rush to get to your next line. Instead, find ways to milk the line you just gave. In several of my stories, the majority of the laughs come from the looks rather than the lines. However, you have to give yourself space for that.

Idea Number 5: Condense to connect. When you give a scene with two (or more) characters talking in dialogue, don’t tell us everything, just tell us something . Try not to go back and forth between characters with lines of dialogue more than 2-3 times. Otherwise, your audience will quickly grow tired. Instead, put all of the important statements in no more than a couple of lines of dialogue.

Idea Number 6: Use character dialogue (with a quick narration set-up) in order to shorten your stories and pump life into them. There’s far too much narration in many stories. Dialogue will shorten your stories.

Idea Number 7: Don’t just establish a conflict, escalate it.

Idea Number 8: Don’t be the Guru of your own story. Let us know who or what gave you the cure that changed your life for the better. You can be the hero (the person who overcame his conflict) but don’t be the Guru (the person who showed you how).

Idea Number 9: Show the emotional change in your character AFTER you overcome OR transcend your conflict. No change, no story.

Idea Number 10: Realize it’s the looks you give before, during, and/or after the lines that really tell the story. Or as my friend, Darren LaCroix, says, “Reactions tell the story.”

 Idea Number 11: Make sure you have a Foundational Phrase that your audience can easily remember and repeat. It should be rhythmic, you-focused (meaning audience-focused), and preferably fewer than 10 words. For example, one of my foundational phrases is, “Don’t get ready, stay ready.” My audiences can use that phrase as a guide moving forward.

Idea Number 12: When delivering the lines of your characters, use their posture, positioning, and a “slight” change in your voice (whether it’s pace, pitch, volume, etc.) to make that person come alive and be different from the other characters. For example, you might have a character that is stern and so he has a very stiff posture and possibly crosses his arms and frowns when he talks.

Idea Number 13: Be subtle with everything you do delivery-wise. For example, you don’t need to speak with a child’s voice when delivering the lines of a child. Instead, speak with your voice (with maybe a little higher pitch) but deliver it with the child’s expression. He or she can also look up to show that the child is talking to an adult.

Idea Number 14: Come out of your story to talk to the audience. Remember, you are NOT doing a stage-play. You’re supposed to be having a conversation with your audience. When you get into a story, you don’t have to lose that conversation. Instead, mix the story with the conversation. For example, I have a story that goes like this:

“You should have been with my wife and me 11 years ago as we took our 6 month-old daughter, Tori, to the doctors. Raise your hand if you have kids? Great, then YOU know the doctor is going to measure her length and her weight…” Even though I already started my story, I looked to find ways to keep bringing my audience members into it. I call these “You-focused check-ins.” They keep the audience on their toes because, instead of being passive spectators, they become active participants.

Idea Number 15: When your story is over and you’ve given your Foundational Phrase, you don’t need to ramble on about the point. First of all, the story actually makes the point. The Foundational Phrase makes the point memorable.  If you keep talking and trying to drive the point home, your audience will want the ride to end.

Idea Number 16: Invite your audience members into your scene. For example, I might say, ”Imagine being in my passenger’s seat as I went through the KFC drive-thru.” My audience members are now in my passenger’s seat for that story.

Idea Number 17: With a few exceptions, keep your stories short. The longer you work on a story, the shorter it should get. I try to keep most of mine under 4 minutes.

There you have it…17 storytelling ideas that will breathe life into every speech.

What are some ideas you have that have helped with your stories?

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8 Opening a Speech: Get Their Attention from the Start!

Get the audience’s attention, or the rest of your speech is a waste. I mean it!  Most people spend the majority of their speech preparation time working on the body of their speech and then they tack on an opening and a closing last minute.

The opening and closing deserve the most attention. Why?  If you don’t get the audience’s attention and get them to pay attention to you instead of…  the thoughts in their heads, their grocery lists, their neighbors, their social media…then all the rest of your brilliant content is wasted because they will never hear it. Lisa Marshall of Toastmasters International stresses the opening words are so important that “I spend 10 times more time developing and practicing the opener than any other part of the speech.”

Look at the description of Person A and Person B and tell me which person you like more.

Person A envious, stubborn, critical, impulsive, industrious, and intelligent

Person B intelligent, industrious, impulsive, critical, stubborn, and envious

If you are like most people, you have a preference for Person B.  This illustrates a study by Solomon Ashe. He had subjects rate these two people using a string of descriptive words. Now look back at the descriptions. Look closely and you will notice they are the same words in a different order. Most people put the most emphasis on the first three words in determining how they will create the person. Like Asche’s subjects, your audience will be evaluating those first three words. Let’s bring it back around to speechmaking. The first sentence out of your mouth is crucial and the first three words are especially important.

I am sure you are not surprised to know that people form opinions quickly. To prove this, researchers showed subjects either a 20-minute clip of a job applicant or a 20-30 second clip of a job applicant. They were asked to rate the person on likeability and self-assurance. People were able to form an opinion in under thirty seconds. Not only that but they were able to form the same opinions from a 30-second clip as a 20-minute exposure.

The Battle for Attention

Remember that every piece of content in our modern era is part of an attention war. It’s fighting against thousands of other claims on people’s time and energy. This is true even when you’re standing on a stage in front of a seated audience. They have deadly distracters in their pockets called smartphones, which they can use to summon to their eyes a thousand outside alternatives. Once emails and texts make their claim, your talk may be doomed. And then there’s that lurking demon of modern life, fatigue. All these are lethal enemies. You never want to provide someone with an excuse to zone out. You have to be a savvy general directing this war’s outcome. Starting strong is one of your most important weapons. Chris Anderson, TED Talks, The Official TED Guide to Public Speaking.

“People don’t pay attention to boring things,” according to John Medina, author of Brain Rules, “You’ve got 30 seconds before they start asking the question, ‘Am I going to pay attention to you or not?'” It is important to get your audience’s attention right away. In this chapter, I will share with you several ways to win the war for attention and to start your speech right. I will show you the basic opening and closing structure of speeches and give you many examples of what that looks like.  A speech, like an airplane, needs a good take-off and a good landing. Now it’s time to prepare to have a strong take-off and learn everything that goes into a speech introduction. This chapter is full of examples from a variety of talks. I included quotes from those introductions, but I also included links to each of those talks hoping you will be interested enough to want to listen.

Ways to Start a Speech

Chris Anderson likens this to battle. “First there is the 10-second war: can you do something in your first moments on stage to ensure people’s eager attention while you set up your talk topic? Second is the 1-minute war: can you then use that first minute to ensure that they’re committed to coming on the full talk journey with you?”

When thinking about your speech, spend a lot of time thinking about how to win the battle for their attention. Your introduction should make your audience want to put down their phones and listen. Your introduction should be so compelling they stop their wandering minds and turn their thoughts to you and you alone. Your introduction should start with three strong words where they form a strong opinion of you and your speech.  Let me share how to accomplish this. 

Capturing the audience through the story is one of the most powerful ways to start a speech. A story engages the brain in powerful ways and causes the audience’s brains to sync with the speakers. A well-told story will allow the audience to “see” things in their mind’s eye and to join the speaker’s emotions.

Watch this clip by Ric Elias for how he begins his speech with a powerful story. Particularly notice his first four words, “Imagine a big explosion.” 

Imagine a big explosion as you climb through 3,000 ft.   Imagine a plane full of smoke.   Imagine an engine going clack, clack, clack.   It sounds scary.   Well, I had a unique seat that day. I was sitting in 1D. I was the only one who could talk to the flight attendants. So I looked at them right away, and they said, “No problem. We probably hit some birds.” The pilot had already turned the plane around, and we weren’t that far. You could see Manhattan. Two minutes later, three things happened at the same time.

Ric Elias, Three Things I Learned While My Plane Crashed. 

Consider these other examples and notice how the speaker uses a story.

More powerful introductions using story:

I love you, I believe in you and it’s going to be OK. The three things that I needed to hear three years ago when I felt more abandoned than ever. I remember that day as if it happen this morning. It was Sunday and I had just woken up early at a brisk 12:30 in the afternoon. Ryan Brooks, Honesty, courage, and the importance of brushing your teeth.  When I was nine years old I went off to summer camp for the first time. And my mother packed me a suitcase full of books, which to me seemed like a perfectly natural thing to do. Because in my family, reading was the primary group activity. And this might sound antisocial to you, but for us, it was really just a different way of being social. You have the animal warmth of your family sitting right next to you, but you are also free to go roaming around the adventureland inside your own mind. And I had this idea that camp was going to be just like this, but better. Susan Cain. The Power of Introverts. I grew up to study the brain because I have a brother who has been diagnosed with a brain disorder: schizophrenia. Jill Bolte Taylor, My Stroke of Insight. A few years ago, I got one of those spam emails. I’m not quite sure how, but it turned up in my inbox, and it was from a guy called Solomon Odonkoh.  James Veitch This is What Happens When You Reply to Spam Email. Eleven years ago, while giving birth to my first child, I hemorrhaged and was transfused with seven pints of blood. Four years later, I found out that I had been infected with the AIDS virus and had unknowingly passed it to my daughter, Ariel, through my breast milk, and my son, Jake, in utero. Elizabeth Glaser,  Address to the 1992 Democratic National Convention.

Good stories immediately set the stage and introduce you to the place and to the people. Doing this helps your brain can form a structure where the story takes place. It helps you see the story unfold in your mind.  If you need help starting a story, Vanessa Van Edwards suggests these prompts:

• Once upon a time.
• I’m here for a reason, and it’s an interesting story.
• The best thing that ever happened to me was.

There is an entire chapter on the Power of Story that can be found here.

Humor is a rubber sword – it allows you to make a point without drawing blood. – Mary Hirsch

  When Family Guy’s Seth MacFarlane spoke at Harvard Commencemen t in the rain, he started with “There’s nowhere I would rather be on a day like this than around all this electrical equipment.” People laughed, people smiled, and the speech was off to a strong start. Humor works because it gives the audience a hit of the feel-good hormone dopamine. That is … if you are funny. If you decide to use humor, make sure you are funny. Test your humor on honest friends. In addition, the humor you use should fit your personality and your audience. Be warned, some groups would find humor inappropriate, do your research.

Watch this clip for how Tshering Tobgay begins his speech with humor. 

In case you are wondering, no, I’m not wearing a dress, and no, I’m not saying what I’m wearing underneath. (Laughter) This is a go. This is my national dress. This is how all men dress in Bhutan. That is how our women dress. Like our women, we men get to wear pretty bright colors, but unlike our women, we get to show off our legs. Our national dress is unique, but this is not the only thing that’s unique about my country. Our promise to remain carbon neutral is also unique, and this is what I’d like to speak about today, our promise to remain carbon neutral.

Tshering Tobgay, This Country Isn’t Just Carbon Neutral–Its Carbon Negative. 

More powerful introductions using humor

I didn’t rebel as a teenager.   I started late and was still going at it the summer I turned thirty. I just became an American citizen, I divorced my husband, I got a big tattoo of a bat on my arm, and I joined a New York City punk band. Danusia Trevino, Guilty I need to make a confession at the outset here. A little over 20 years ago, I did something that I regret, something that I’m not particularly proud of.   Something that, in many ways, I wish no one would ever know, but that here I feel kind of obliged to reveal. In the late 1980s, in a moment of youthful indiscretion, I went to law school. Dan Pink, The Puzzle of Motivation.  It is really interesting to be a woman and to get to 45 and to not be married yet and to not have kids, especially when you have pushed out your fifth kid on television. Tracee Ellis Ross, 2017 Glamour Woman of the Year. I am not drunk …but the doctor who delivered me was.” (reference the shake she has due to a botched medical procedure at birth causing her cerebral palsey). Maysoon Zayid, I’ve Got 99 Prolbems and Cerebral Palsey is Not One of Them .

Salutation followed by humor

Oh boy, thank you so much, thank you so much.   Thank you, President Cowan, Mrs. President Cowen; distinguished guests, undistinguished guests, you know who you are, honored faculty and creepy Spanish teacher.   And thank you to all the graduating Class of 2009, I realize most of you are hungover and have splitting headaches and haven’t slept since Fat Tuesday, but you can’t graduate ’til I finish, so listen up. When I was asked to make the commencement speech, I immediately said yes.   Then I went to look up what commencement meant which would have been easy if I had a dictionary, but most of the books in our house are Portia’s, and they’re all written in Australian.   So I had to break the word down myself, to find out the meaning. Commencement: common, and cement, common cement.   You commonly see cement on sidewalks.   Sidewalks have cracks, and if you step on a crack, you break your mother’s back.   So there’s that.   But I’m honored that you’ve asked me here to speak at your common cement Ellen DeGenres, Commencement Speech at Tulane. Well, thank you. Thank you Mr. President, First Lady, King Abdullah of Jordan, Norm, distinguished guests. Please join me in praying that I don’t say something we’ll all regret. That was for the FCC. If you’re wondering what I’m doing here, at a prayer breakfast, well so am I. I’m certainly not here as a man of the cloth, unless that cloth is — is leather. Bono at  the  54th annual National Prayer Breakfast.  

Starting your speech by sharing a little-known fact, can be powerful. For this to fully work, you need to have the audience’s attention from the very first word. Read on for how these speakers started strong.

Powerful introductions using facts

Sadly, in the next 18 minutes when I do our chat, four Americans that are alive will be dead from the food that they eat. Jamie Oliver, Teach Every Child About Food. So I want to start by offering you a free, no-tech life hack, and all it requires of you is this: that you change your posture for two minutes. Amy Cuddy, Your Body Language May Shape Who You Are. Okay, now I don’t want to alarm anybody in this room, but it’s just come to my attention that the person to your right is a liar. (Laughter) Also, the person to your left is a liar. Also the person sitting in your very seats is a liar. We’re all liars. What I’m going to do today is I’m going to show you what the research says about why we’re all liars, how you can become a lie spotter and why you might want to go the extra mile and go from lie spotting to truth seeking, and ultimately to trust building. Pamela Meyer, How to Spot a Liar. You will live 7.5 minutes longer than you would have otherwise, just because you watched this talk.  Jane McGonigal. The Game That Can Give You Ten Extra Years of Life. There are 900,000 divorces   in the United States of America every year.   Fewer than 10% of them   ever talked to anybody about their relationship.   So why would you need a science?   Well, we need a science to develop effective treatment   and understanding of how to make love work.   Why?   Why should we care about having great relationships?   Well, it turns out that in the past 50 years,   a field called social epidemiology has emerged,   and it shows that great friendships,   great love relationships between lovers and parents and children   lead to greater health – mental health as well as physical health –   greater wealth, greater resilience,   faster recovery from illness,   greater longevity –   if you want to live 10 to 15 years longer, work on your relationships,   not just your exercise –   and more successful children as well.   John Gottman. The Science of Love.  This room may appear to be holding 600 people but there is actually so many more because within each of us there is a multiple of personalities. Elizabeth Lesser,  Take the Other to Lunch.

Using a physical object can draw the audience’s attention. Make sure you plan the timing of the prop, and you practice with it. It is important that it is large enough for the audience to see and they can see it well enough that they are not frustrated. Depending on your speech, it may be appropriate to put it away, so it is not distracting.

Powerful introductions using props

Darren Tay walks onto the stage and stares at the audience. He pulls a pair of underwear out of his pocket and puts them on over his suit. “Hey loser how do you like your new school uniform. I think it looks great on you. Those were the words of my high school bully Greg Upperfield. Now if you are all wondering if the underwear that Greg used was clean, I had the same questions. Darren Tay, Outsmart, Outlast. Toastmasters 2016 World Champion of Public Speaking . Mohammed Qahtani walks onstage, puts a cigarette in his mouth … then looks up as if noticing the audience and says, “What?” As the audience laughs, he continues. “Oh, you all think smoking kills? Ha-ha, let me tell you something. Do you know that the amount of people dying from diabetes are three times as many [as the] people dying from smoking? Yet if I pulled out a Snickers bar, nobody would say anything.” He goes on to say, his facts are made up and his real topic is about how words have power. Mohammed Qahtani, Toastmasters 2015 World Champion of Public Speaking

JA Gamach blows a train whistle and then starts his speech as if he were a conductor, “All aboard! It’s a bright sunny day and you are taking a train. You are wearing a pair of sandals you proudly made yourself. As you board the train one of your sandals slips off and falls beside the track.  (J.A. loses one sandal that falls down the platform.)  You try to retrieve it. Too late. The train starts to pull away. What would you have done? I would have cursed my bad luck, mad at losing a sandal. JA Gamache, Toastmasters 2007 World Championship. 

Use a Quotation

Powerful introductions using quotes.

Rules for using quotes

• Be sure to use the quote purposefully and not just as placeholders.
• Quotes can just take up valuable space where you could put content unless they are not properly used.
• Let the quote be more important than the author. When using a quote at the opening, say the quote first and then the author. When using a quote at the end of a speech, say the author first and then the quote.
• Keep it short and sweet. Use a quote that gets to the point quickly.
• If you must use long quotes–put them on your slide.
• If you project a quote, read it to the audience. Never expect them to read it while you talk about something else. Never say stupid things like, “You can read, I’ll let you read this for yourselves” or “Your adults, I’ll let you process this.”
• Check the authorship and authenticity of the quote. There are so many quotes on the internet that are misattributed and misquoted. For example, who wrote the quote: “They may forget what you said, but they will never forget how you made them feel”?
• Do not go for the overused quote or your audience is prone to dismiss it.  Instead of quoting an overused “I have a dream quote” do as Jim Key, the 2003 Toastmasters International World Championship of Public Speaking did and pick an equally great but lesser-used Martin Luther King Quote: “The time is always right to do what is right!”

Watch Nate Stauffer at a Moth Grand Slam as he uses poetry to start and carry his story.

Watch this clip for how Andrew Solomon opens with a quote to make us think about depression. 

Andrew Solomon, Depression, The Secret We Share. 

Reference the Occasion

Ceremonial speeches often call for acknowledgment of those in attendance or a mention of the occasion. Here is how Martin Luther King Junior set up his famous speech. I am happy to join with you today in what will go down in history as the greatest demonstration for freedom in the history of our nation. Five score years ago, a great American, in whose symbolic shadow we stand today, signed the Emancipation Proclamation. Martin Luther King Junior, I Have a Dream.

Get the Audience Involved

Having the audience stand, raise their hand, or even nod in encouragement can cause them to focus on your message. This can be particularly helpful if the audience has been sitting for a while. Let me show you a few examples of how that works.

Ask a Question

You can involve the audience from the start by asking them a question.

Watch the first few minutes of Amy Purdy’s speech and how she starts with a question, “ If your life were a book   and you were the author,   how would you want your story to go?” 

More powerful introductions using a question

I’m here today to talk about a disturbing question, which has an equally disturbing answer. My topic is the secret of domestic violence and the question I’m going to tackle is the one everyone always asks. Why would she stay? Why would anyone stay with a man who beats her? Why Domestic Violence Victims Don’t Leave- Leslie Morgan Steiner Here’s a question we need to rethink together: What should be the role of money and markets in our societies? Today, there are very few things that money can’t buy. If you’re sentenced to a jail term in Santa Barbara, California, you should know that if you don’t like the standard accommodations, you can buy a prison cell upgrade. It’s true. For how much, do you think? What would you guess? Five hundred dollars? It’s not the Ritz-Carlton. It’s a jail! Eighty-two dollars a night. Eighty-two dollars a night. Michael Sandel, Why We Shouldn’t Trust Markets with Our Civic Life.

How do you explain when things don’t go as we assume? Or better, how do you explain when others are able to achieve things that seem to defy all of the assumptions? For example: Why is Apple so innovative? Year after year, after year, after year, they’re more innovative than all their competition. Simon Sinek, How Great Leaders Inspire Action.  Can you remember a moment when a brilliant idea flashed into your head? Darren LaCroix,  Ouch! World Champion of Public Speaking.

Have the Audience Participate

If you ask a question you want the audience to answer, be sure to give them time to respond. If they raise their hands, be sure to acknowledge their response. You might have the answer by standing, by raising their hands, by speaking to their neighbor. You might call on one member of the audience to answer for the group.

If you ask a question you want the audience to answer, don’t let your presentation slide give away the answer. For example, one speaker had a slide behind him that said, “Lesson 1: Don’t Worry About IQ.” He has the audience raise their hand if they want to improve their grades then he asks, “So can I get a show of hands, how many would say IQ is going to be the most important to get those marks to go up?” Very few people responded because the answer was “written on the wall” literally.

Watch this clip as Allan Pease engages the audience.

Everybody hold your right hand in front like this in a handshaking position. Uncross your legs. Relaxed position. Right hand in front. When I say the word, “Now” here’s what we’re going to do. I am going to ask you to turn to someone besides you, shake hands as if you’re meeting for the first time, and keep pumping till I ask you to stop. Then you’ll stop and freeze it and we’re going to analyze what’s happening. You got that? You don’t have time to think about this. Do it now. Pick anybody and pump. Pump, everybody. Freeze it. Hold it. Stop. Hold it. Freeze it. Keep your hands locked. Keep them locked. The person whose hand is most on top is saying “I’ll be the boss for the rest of the day.” Allan Pease, Body Language, the Power is in the Palm of Your Hands. 

More powerful introductions using audience participation

I have a confession to make. But first, I want you to make a little confession to me. In the past year, I want you to just raise your hand if you’ve experienced relatively little stress? Kelly McGonigal, How to Make Stress Your Friend. So I’d like to start, if I may, by asking you some questions. If you’ve ever lost someone you truly loved, ever had your heartbroken, ever struggled through an acrimonious divorce, or being the victim of infidelity, please stand up. If standing up isn’t accessible to you, you can put your hand up. Please stay standing and keep your hand up there. If you’ve ever lived through a natural disaster, being bullied or made redundant, stand on up. If you’ve ever had a miscarriage, if you’ve ever had an abortion or struggled through infertility, please stand up. Finally, if you or anyone you love has had to cope with mental illness, dementia, some form of physical impairment or cope with suicide, please stand up. Look around you. Adversity doesn’t discriminate. If you are alive, you are going to have to, or you’ve already had to, deal with some tough times Thank you, everyone. Take a seat. Lucy Hone: The Three Secrets of Resilient People.  Advice from Moth Storytelling Club Have a great first line that sets up the stakes and grabs attention No: “So I was thinking about climbing this mountain. But then I watched a little TV and made a snack and took a nap and my mom called and vented about her psoriasis then I did a little laundry (a whites load) (I lost another sock, darn it!) and then I thought about it again and decided I’d climb the mountain the next morning.” Yes: “The mountain loomed before me. I had my hunting knife, some trail mix and snow boots. I had to make it to the little cabin and start a fire before sundown or freeze to death for sure.”  

Arouse Suspense or Curiosity

Watch this clip for how Kathryn Schulz creates curiosity by showing us Johnny Depp’s tattoo and then talks about her tattoo of regret. We hang on to her every word wondering, “Where is all this going and how bad can her tattoo really be?”

So that’s Johnny Depp, of course.   And that’s Johnny Depp’s shoulder.   And that’s Johnny Depp’s famous shoulder tattoo.   Some of you might know that, in 1990,   Depp got engaged to Winona Ryder,   and he had tattooed on his right shoulder   “Winona forever.”   And then three years later —   which in fairness, kind of is forever by Hollywood standards —   they broke up,   and Johnny went and got a little bit of repair work done.   And now his shoulder says, “Wino forever.”

Kathryn Schulz, Don’t Regret, Regret. 

  Saying unexpected things or challenging assumptions can get a speech started off right. A herd of wildebeests, a shoal of fish, a flock of birds. Many animals gather in large groups that are among the most wonderful spectacles in the natural world. But why do these groups form? The common answers include things like seeking safety in numbers or hunting in packs or gathering to mate or breed, and all of these explanations, while often true, make a huge assumption about animal behavior, that the animals are in control of their own actions, that they are in charge of their bodies. And that is often not the case. Ed Yong. Zombie Roaches and Other Parasite Tales. TED Talk

 Keys to Success

Memorize your first sentence so you can deliver it with impact. Memorize your whole speech opening if possible. Make sure your first three words have an impact.

Typical Patterns for Speech Openings

• Get the audience’s attention–called a hook or a grabber.
• Establish rapport and tell the audience why you care about the topic of why you are credible to speak on the topic.
• Introduce the speech thesis/preview/good idea.
• Tell the audience why they should care about this topic.
• Give a transition statement to the body of the speech.

Step Two: Credibility

First, you hook the audience with your powerful grabber, then you tell them why you are credible to speak on the topic and why the topic is important. If they know your credentials, you would not need to tell them your credibility but you may still want to tell them why you are interested in the topic. Here are a few examples of how some speakers included credibility.

Tell Why You Are Credible

I’m a doctor, but I kind of slipped sideways into research, and now I’m an epidemiologist. Ben Goldacre, Battling Bad Science.  I started studying resilience research a decade ago at the University of Pennsylvania in Philadelphia. It was an amazing time to be there because the professors who trained me had just picked up the contract to train all 1.1 million American soldiers to be as mentally fit as they always have been physically fit. Lucy Hone: The Three Secrets of Resilient People.  What I’m going to do is to just give a few notes,   and this is from a book I’m preparing called   “Letters to a Young Scientist.”   I’d thought it’d be appropriate to   present it, on the basis that I have had extensive experience   in teaching, counseling scientists across a broad array of fields.   And you might like to hear some of the principles that I’ve developed in doing   that teaching and counseling. EO Wilson: Advice to a Young Scientist. 

Step Three: Tell Why it is Important

Early on in your speech, you should tell the audience why they should care. You should connect the speech to things they care about. This is where you answer, so what, who cares?

You know, I didn’t set out to be a parenting expert. In fact, I’m not very interested in parenting, per se. It’s just that there’s a certain style of parenting these days that is kind of messing up kids, impeding their chances to develop.  Julie Lythcott-Haims, How to Raise Successful Kids – Without Over-Parenting

Step Four: Tell the Purpose of the Talk (aka Preview/ Thesis)

“If you don’t know what you want to achieve in your presentation your audience never will.” – Harvey Diamond, author

Tell the audience your purpose, clearly give them an overview of the main points.  MIT professor, Patrick Winston says one of the best things to add to your speech is an empowerment promise. You want to tell people what they will know at the end of your speech that they didn’t know at the beginning. It’s their reason for being here.  His empowerment promise was, “Today you will see some examples of what you can put in your armory of speaking techniques and it will be the case that one of those examples–some heuristic, some technique, maybe only one will be the one that will get you the job. By the end of the next 60 minutes, you will have been exposed to a lot of ideas, some of which you will incorporate into your own repertoire, and they will ensure that you get the maximum opportunity to have your ideas valued and accepted by the people you speak with.” Notice that this statement told you what to expect and why it mattered.

Here are examples of how various speakers accomplished this.

For years, I’ve been telling people, stress makes you sick. It increases the risk of everything from the common cold to cardiovascular disease. Basically, I’ve turned stress into the enemy. But I have changed my mind about stress, and today, I want to change yours. Kelly McGonigal, How to Make Stress Your Friend.   We’ve been sold the lie that disability is a Bad Thing, capital B, capital T. It’s a bad thing, and to live with a disability makes you exceptional. It’s not a bad thing, and it doesn’t make you exceptional. Stella Young, I’m Not Your Inspiration, Thank You Very Much

What I’m going to show you is all of the main things, all of the main features of my discipline, evidence-based medicine. And I will talk you through all of these and demonstrate how they work, exclusively using examples of people getting stuff wrong. Ben Goldacre, Battling Bad Science.  I would like to think that we (Arab women) poor, oppressed women actually have some useful, certainly hard-earned lessons to share, lessons that might turn out useful for anyone wishing to thrive in the modern world. Here are three of mine. Leila Hoteit, Three Lessons on Success from an Arab businesswoman We are often terrified and fascinated by the power hackers now have. They scare us. But the choices they make have dramatic outcomes that influence us all. So I am here today because I think we need hackers, and in fact, they just might be the immune system for the information age. Sometimes they make us sick, but they also find those hidden threats in our world, and they make us fix it. Keren Elazari. Hackers: The Internet’s Immune System Try This — Inspired by TED Master Class After you write your thesis, send it to three people with the question, “Based on what you read here, what do you think my speech will be about?”  

Putting It All Together

At this point, you know you need to have a grabber, a preview, a credibility statement, and a so-what-who-cares statement.  Let’s take a look at one of the top TED talks of all time by Jamie Oliver. This speech is a good illustration of everything we’ve been talking about so far and how all this works together.

“Everybody close your eyes.”

I don’t want to close my eyes; it makes me feel awkward and exposed to be in a group of people with my eyes closed. Because of that, I keep my eyes open. The problem is  when I keep my eyes open, I feel like some sort of horrible nonconformist rebel. I feel awkward with my eyes closed and I feel guilty if they are open. Either way, I just feel bad. Besides, half of the time when speakers tell audience members to close their eyes, they forget to tell us when we can open them. If you are wanting me to imagine a story, just tell me to imagine it, don’t make me close my eyes (rant over).

“Can everybody hear me?”

You should plan your opening to be intentional and with power. “Can everybody hear me” is a weak and uncertain statement and this is not the first impression you want to leave. Do a microphone check before the audience members arrive and have someone stand in different corners of the room to make sure you can be heard. Don’t waste your valuable speech time with questions that you should already know the answer to.

“How long do I have to speak?”

You should know that before you begin. Even if the presentations for the day are running over and you are the last speaker, you should ask the MC before you begin. Always plan your first words with power.

“Can you read this?”

You should make your slides big, really big. Test out your slides in advance of your speech, walk all around the room and make sure you can read them. Have a friend check them out as well. You should know they are big enough because you planned for it and tested it.

“Turn off your cell phones and laptops.”

People really hate having things taken away, not to mention that your audience may want to take notes on their devices. Chances are you are speaking to adults, let them determine if it is appropriate to have out their technology.

“I’m sorry, I’m losing my voice.” “I’m stopped up.” “I’m under the weather.”

Stop apologizing! Stop making excuses!  While these lines may be true, they just come of as excuses and can make the audience either feel like you don’t want to be there, or they just feel sorry for you.

“I’m so nervous right now.”

Talking about your nervousness will make you more nervous and will make them look for signs of your nervousness. Just start your speech.

“So, Um, Ok.”

Do not start with hesitation. Plan the first words, memorize the first words, practice the first words.  Do not start with “Ok, so um, now I’d like…” Plan strong and start strong.

Do Not Discuss Your Business with People Watching…Really! I Mean It! Many of us are giving and listening to presentations in an online format.  I have attended numerous presentations this year through Zoom where I have to sit and watch while the organizers engage in personal small talk or deal with the details of the presentation. This is how the speech I recently attended began. “Donna, you are going to share your screen, right?” “Yes. I have my PowerPoint ready to go. Will you push “record” when I give the signal?” “Sure. Where did you say that button is again? Do you think we should wait five more minutes, I think we had more who were coming? Dave, what was the total we were expecting?” “Yeah, we had 116 sign up, but the reminders went out late so this may be all we have. We can give them a few more minutes to log on.” “Donna, How is your dog? Is she still struggling with her cone since her spay surgery? My dog never would wear the cone –she tore her stitches out and broke her wound open. It was terrible. Well, it looks like it is about time to begin, thank you everyone for coming.” If you are organizing an event online, hosting a speech online, giving a presentation online–please keep it professional. Most platforms will allow you to keep the audience in a waiting room until it is time to start. If you have a business to deal with, keep the audience out until you have everything ready to go. Once the audience is in the meeting, you should engage the audience in group-type small talk or you should just start the presentation. In professional settings, you should start the meeting on time. Why punish those who showed up on time to wait for those who aren’t there yet?

A Conversation Over Coffee with Bill Rogers

I asked my long-time friend, Bill Rogers, to write an excerpt to add to the book.  I met Bill when he was the Chief Development Officer for a hospital in Northwest Arkansas and I met him again when he was reinventing himself as a college student getting a Master’s Degree in the theater.  He would love to share a symbolic cup of coffee with you and give you advice about public speaking. 

Perfect morning for a walk, isn’t it? Join me for a cup of coffee? Wonderful. Find us a table and I’ll get our coffee.

There you go; just like you like it. There’s nothing like a great cup of coffee on the patio of your neighborhood coffee shop, is there?

Now that you’re settled in your favorite chair, take a sip, and let that glorious caffeine kick in and do its stuff. Okay, let’s talk.

So, you were asking me about public speaking.

Well, let’s see. Where do we begin?

One of the first pieces of advice I ever received was to imagine that every member of your audience is sitting there in their underwear! Yeah, right. That never worked for me. I tried it once with a local civic group of community leaders both male and female. If the intent of that tidbit is to make you relax, it certainly didn’t work for me. It just made me more self-conscious…and more nervous. I not only got distracted, but I also lost my train of thought, I started sweating, and, of course, imagined myself standing there without clothes. Needless to say, that speech was a disaster and I’ve never used it again. I suggest you don’t either.

In the early days, I also relied very heavily on my typed-up speech. Now, there’s nothing wrong with that unless you find yourself reading it word for word as I did. Nothing is more boring nor puts an audience to sleep quicker than a speaker with their nose down reading a speech. There’s no connection and connection with your audience is key.

As you know, I love theatre and I’ve done a bit of acting over the years. Early on, I learned that the quicker I learned my lines, the more I could play, experiment, and shape my character. It relaxed me and gave me enormous freedom. It led me to find a mantra for myself: “With discipline comes freedom.” This freedom will allow you to improvise as your audience or situation dictates while still conveying the core message of your presentation. That discipline and its resulting freedom apply to public speaking of any kind and, I think, will serve you well.

Another old adage we’ve all heard is Aristotle’s advice. You know the one. No? Well, roughly, it’s to tell your audience what you’re going to say, say it, and then tell them what you just said. That’s the basic formula for public speaking. And it works as a good place to start.

However, effective speaking is much more and, to me, it starts with a story or even a simple sentence.

You know the feeling you get when you read the first sentence of a good book and it just reaches out and grabs you? That should be your goal with every presentation. One sentence to capture your audience’s attention. Something that causes them to lean forward. Something that sparks their imagination.

It doesn’t have to be all that profound either. It can be something very simple. A personal story that relates to your topic. A relevant fact or statistic that defines or illustrates the issue or subject matter at hand.

A couple of classics come to mind. The first is Alice Walker’s, “The Color of Purple.”

“You better not tell nobody but God.”

And the second one is from my favorite novel, “To Kill A Mockingbird,” by Harper Lee.

“When he was nearly thirteen, my brother Jem got his arm broken at the elbow.”

Both sentences hook you immediately. A few simple words speak volumes. After reading or hearing those words, you naturally lean in. You want to learn more. You want to find out what happens next. Every effective speech or presentation does the same thing.

Of course, make sure that the first and last thing you say to your audience is both relevant and appropriate. I share this out of an abundance of caution. I once worked for an internationally recognized and well-respected children’s research hospital and I was given the privilege to speak at a national educational convention. The room was filled wall to wall with teachers. I thought I’d be cute and add a little levity. I opened my presentation with this line, “You know, I’ve had nightmares like this…” Instead of the roars of laughter, I was expecting, a wave of silence ensued. Not only was the line not funny, but it was also wholly inappropriate and I immediately lost my audience. Not my best day. Learn from my mistakes.

Finally, let’s touch on the importance of approaching a speech as a conversation. You and I are sitting here enjoying our coffee and having a friendly, relaxed conversation. Strive for that every chance you get. You may not always have that luxury. Some speeches and presentations simply demand formality. But even in those cases, you can usually make it somewhat conversational. I always try to write my speeches in a conversational style. Like I’m talking to a friend…or trying to make a new one.

So, to recap: tell a story, learn your lines, hook your audience with a simple sentence, close with a question or call to action, use repetition, keep it conversational, treat your audience as a friend, and give yourself permission to relax.

Above all, be yourself. Allow yourself to be as relaxed as you are with those closest to you. If you’re relaxed, if you try to think of your audience as a friend, then, in most cases, they too will relax and they will root for you. Even if they disagree with what you are telling them, they will respect you and they will listen.

How about another cup?

Key Takeaways

Remember This!

• The most important part of your speech is the introduction because if you don’t get their attention, they are not listening to the rest of what you have to say.
• To get attention, tell a story, use humor, share a quote, tell a startling fact, show a prop, ask a question, reference the occasion.
• In addition to the grabber, a good introduction should establish rapport and tell the audience why you are credible.
• An introduction often includes a “so what who cares statement” to tell the audience why this should matter to them.
• The thesis/preview should be clear enough that someone could read just that sentence or couple of sentences and know what the speech is about.

Please share your feedback, suggestions, corrections, and ideas.

I want to hear from you. 

Do you have an activity to include? Did you notice a typo that I should correct? Are you planning to use this as a resource and do you want me to know about it? Do you want to tell me something that really helped you?

Click here to share your feedback. 

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Veitch, J. (2015). This is what happens when you reply to spam email. Ted Talk. [Video] YouTube.  https://www.ted.com/talks/james_veitch_this_is_what_happens_when_you_reply_to_spam_email?language=en Standard YouTube License.

Wilson, E.O. (2012). Advice to a young scientist. [Video] YouTube.  https://www.ted.com/talks/e_o_wilson_advice_to_a_young_scientist?utm_campaign=tedspread&utm_medium=referral&utm_source=tedcomshare Standard YouTube License.

Winston, P. (2019). How to speak by Patrick Winston.[Video] YouTube.  https://www.youtube.com/watch?v=Unzc731iCUY Standard YouTube License.

Yong, E. (2014).  Zombie roaches and other parasite tales. TED Talk  [Video] YouTube.  https://www.ted.com/talks/ed_yong_zombie_roaches_and_other_parasite_tales?language=en Standard YouTube License.

Young, S. (2014). I’m not your inspiration, thank you very much. [Video] YouTube.  https://www.ted.com/talks/stella_young_i_m_not_your_inspiration_thank_you_very_much?language=en Standard YouTube License.

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5 Ways to Make Your Story Matter When Public Speaking

Storytelling is a great way to engage an audience-- but make sure your stories are relevant, not just riveting..

The value of storytelling in professional and executive communications is no secret. Inserting  stories into your presentations humanizes you, creates magnetic engagement, and, ideally, memorably illustrates your point. An abundance of conferences, books, and articles are devoted to storytelling--so much so that if you don't have a story in your speech, you might want to reconsider speaking.

But telling a good story and sharing a story strategically are two different things. The first is designed to entertain--serving a minor objective at best, while the second is designed to illustrate your point--fulfilling a fundamental objective. What you want is an audience inspired to support you or take action. What you don't need is an audience merely thinking you're a great public speaker (unless your only objective is to get more public speaking gigs.)

If you include a story in your next presentation, consider five strategic ways to make that story matter.

1. Pick stories that prove, illustrate, or at least introduce your point.

In the context of a presentation, a story doesn't justify its own existence. Used most advantageously, the story is a powerful vehicle through which a meaningful point travels. Your goal is to make the story relevant, not just riveting.

Any true story can help propel a point--like a moment from your childhood, an eye-opening incident from your professional history, or an event you witnessed at a business location--but the key is connecting the interesting moment to an imperative message.

For example, Starbucks CEO Howard Schultz has been known to talk about an accident that left his father unable to work when Howard was a child and how that drives his interest in caring for Starbucks employees. Likewise, Zappos CEO Tony Hsieh tells stories about his early days at the company , during which he recognized the value of building a corporate culture.

Both of these stories are deliberately designed to convey an important message or make a positive impression--not just to delight an audience or make the speaker more relatable.

2. Use language that explicitly connects your story to your point.

The work of making your story relevant doesn't happen during the telling of the story; it happens after you tell the story, with critical connector lines like these:

"This story illustrates why we must..."

"This case study exemplifies the importance of..."

"This event proves what's possible if we..."

"This moment was pivotal in developing my appreciation for..."

These phrases put the story's point in virtual neon for the audience. Without these connectors, the story lacks a clear purpose.

At the end of the day--or a presentation--an audience that remembers your story but not your point is left with something amusing but not valuable. But an audience that remembers your point--even if they forget the story--is gifted with inspiring insight.

The best TED Talks are filled with stories--they virtually require it--but if you watch carefully, you'll spot these connector lines ("here's why I told you that story") expressed in various ways.

3. Keep the audience hooked with scene-setting, volume, and pausing.

Of all the effective storytelling tips, these three are the most practical for presenters:

First, set the scene. Share the date and time of the day, the place (like a city or restaurant), and any necessary conditions, like weather or holiday seasons. These details help the audience visualize the story, which keeps them hooked.

Second, increase your volume. This helps the audience hang onto your words without straining to hear or understand, which can hinder their reception of the story and, consequently, your point.

Finally, embrace pausing.   Pauses add suspense to the story but, more importantly, give your mind time to generate the right words and ideas to keep the story tight and precise.

4. Make the stories quick and concise to keep yourself in point-making mode, not storytelling mode.

The longer and more complicated a story is, the more likely it will bore or at least distract your audience , so keep it within one minute by omitting details that may be intriguing but pull attention away from your point instead of toward it. Speaking longer than one minute means you are performing, not presenting. As I sometimes say to my clients, "This isn't This American Life . Get in and get out of your story."

5. Share not just what happened but what you learned from it.

Humans connect with humans more effectively through relatable human feelings than recognizable events, so try to share a key learning, insight, or realization that sprung from the occasion. Sometimes that learning is your key point, and sometimes it leads to your key point, but unearthing and presenting it will make your story more personal and more valuable to the audience.   

A refreshed look at leadership from the desk of CEO and chief content officer Stephanie Mehta

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How to Start a Speech: The Best (and Worst) Speech Openers

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One of the hardest things about public speaking is knowing how to start a speech. Your opening line is your first impression. It’s how you capture attention. It’s how you captivate the audience. So how do you make sure you nail it every time?

The best way to know how to open a speech is to look at what has worked in the past. When we examined the top speeches of all time and the most popular TED talks of all time, we found some interesting speaking patterns.

Time has identified the top 10 greatest speeches of all time. They are:

Opening Lines of the Top 10 Greatest Speeches of All Time

#1: Socrates – “Apology”

#2: Patrick Henry – “Give Me Liberty or Give Me Death”

#3: Frederick Douglass – “The Hypocrisy of American Slavery”

#4: Abraham Lincoln – “Gettysburg Address”

Opening Line: “Fourscore and seven years ago our fathers brought forth on this continent a new nation, conceived in liberty and dedicated to the proposition that all men are created equal.”

#5: Susan B. Anthony – “Women’s Rights to the Suffrage”

#6: Winston Churchill – “Blood, Toil, Tears, and Sweat”

#7: John F. Kennedy – “Inaugural Address”

Opening Line: “We observe today not a victory of party, but a celebration of freedom — symbolizing an end, as well as a beginning — signifying renewal, as well as change.”

#8: Martin Luther King, Jr. – “I Have a Dream”

#9: Lyndon B. Johnson – “The American Promise”

#10: Ronald Reagan – “Remarks at the Brandenburg Gate”

How do all of these historical greats start their speeches? Is there a difference between these and some of the more modern top TED talks?

Before we dive in, let’s recap with some critical do’s and don’ts when opening a speech:

Opening Lines of the Top 10 TED Talks of All Time

Here are the opening lines to the top 10 Ted Talks of all time according to view count:

#1: Sir Ken Robinson – “Do schools kill creativity?” Opening Line: “Good morning. How are you? It’s been great, hasn’t it? I’ve been blown away by the whole thing. In fact, I’m leaving.”

#2: Amy Cuddy – “Your Body Language May Shape Who You Are” Opening Line: “So I want to start by offering you a free, no-tech life hack, and all it requires of you is this: that you change your posture for two minutes.”

#3: Simon Sinek – “How Great Leaders Inspire Action”

#4: Brene Brown – “The Power of Vulnerability” Opening Line: “So, I’ll start with this: a couple years ago, an event planner called me because I was going to do a speaking event.”

#5: Mary Roach – “10 Things You Didn’t Know About Orgasm” Opening Line: “All right. I’m going to show you a couple of images from a very diverting paper in The Journal of Ultrasound in Medicine.”

#6: Julian Treasure – “How to Speak so that People Want to Listen” Opening Line: “The human voice: It’s the instrument we all play.”

#7: Jill Bolte Taylor – “My Stroke of Insight” Opening Line: “I grew up to study the brain because I have a brother who has been diagnosed with a brain disorder: schizophrenia.”

#8: James Veitch – “This is What Happens When You Reply to Spam Email” Opening Line: “A few years ago, I got one of those spam emails.”

#9: Cameron Russell – “Looks Aren’t Everything; Believe Me, I’m a Model” Opening Line: “Hi. My name is Cameron Russell, and for the last little while, I’ve been a model.”

#10: Dan Pink – “The Puzzle of Motivation” Opening Line: “I need to make a confession at the outset here.”

What can we learn from these opening lines? There are some patterns that can help us. First, let’s start with what you shouldn’t do. Have you ever made one of these cardinal speaking sins?

Never Start a Presentation with…

Anything technical! This is a big mistake people make when they have not done a tech check ahead of time or are feeling nervous. Never start with these openers:

• Is this microphone working?
• Can you hear me?
• Wow, these lights are bright!

Your nervousness. Many people think it is vulnerable to start with how nervous they are about speaking — you can mention this later, but it should not be the first thing. Why? People will then only be looking for signs of your nervousness. Don’t start with:

• I’m so nervous right now!
• Wow there are so many people here.
• I’m not a great public speaker.

A lackluster or non-believable nicety. It’s great to be grateful to the person who introduced you, but it’s not a great way to include the audience. It’s ok to thank the audience for being there—but do it at the end (not as your opening line). These are all too boring:

• Thanks for having me.
• Thanks for that intro.
• Nice to be here.

Boring, shmoring! I have an exception here if you can make it funny. Ken Robinson started with a nicety and then turned it into a joke. He said, “ “Good morning. How are you? It’s been great, hasn’t it? I’ve been blown away by the whole thing. In fact, I’m leaving.”

More Public Speaking Resources

Get even more public speaking tips with our related resources:

• 10 Presentation Ideas that will Radically Improve Your Presentation Skills
• 6 Public Speaking Apps to try Before Your Next Presentation
• My Top 5 Favorite Public Speakers
• 15 Science-Based Public Speaking Tips To Become a Master Speaker
• How to Give Captivating Presentations
• How to Give an Awesome Toast

How to Start a Presentation

A story. The absolute best way to start a presentation is with a story. There is nothing better to capture the imagination and attention of an audience. Try to use these speaking openers as fill-in-the-blanks for your speech.

• I’m here for a reason. And it’s an interesting story…
• The best thing that ever happened to me was…
• Once upon a time…

In his talk, “The lies our culture tells us about what matters,” David Brooks started off with a great opening line AND a story. He said, “So, we all have bad seasons in life. And I had one in 2013. My marriage had just ended, and I was humiliated by that failed commitment.” Makes you want to watch right…

And if you need help on storytelling basics, be sure to check out some of my top 5 favorite speakers .

A BIG idea. Sometimes you want to share your big idea right up front. This can be helpful because it is intriguing and gets people clued in right away. All TED speakers try to integrate their big idea early.

• You’re here for a reason. It’s…
• The single most important thing I want to share with you today is…
• Today, I want to share a big idea…

I love how Stacy Smith starts off her talk with her big idea framed in an interesting way. She said, “Today, I want to tell you about a pressing social issue. Now, it’s not nuclear arms, it’s not immigration, and it’s not malaria. I’m here to talk about movies.”

Special Note: Be very careful to NOT deliver your one-liner by re-reading your title slide. You also want to position it as exciting and intriguing. For example, don’t say, “Today I am going to talk about body language.” Instead say, “Today I am going to teach you the single most important thing you can do to improve your charisma… and it starts with your body.”

A quirky one-liner. If you can use humor — do it! Humor or curiosity is a great way to start a speech on a high. You can get creative with these! Think of an interesting fact about you, your audience or your topic that can lead you into your content.

• One thing most people don’t know about me is…
• A teacher, a mother and a duck walk into a bar…
• I want to tell you something surprising.

When I gave my TEDx London Talk I started off with a quirky one-liner that immediately got a few laughs. It was “Hi, I’m Vanessa and I am a recovering awkward person.” It worked so well it is also the first line of my book, Captivate . 

II love the way Eve Ensler opens her speech with an interesting one-liner: “For a long time, there was me, and my body.”

This is a great tip from Conor Neill. He says that it is great to start with a question that the audience is asking themselves or would be very curious to know the answer to. This might be phrasing a pain point or worry for your audience.

• Do you ever worry about…?
• Have you ever wondered…?
• You might have always thought…

See Cono Neill’s examples here: 

Did you know…? Any interesting factoid or curiosity is bound to intrigue your audience. This is great if it leads into your content or a story. I like to start with did you know… Here are some that I use. You will have to fill in the blank for your audience:

• Did you know that it takes less than a second to make a first impression ?
• Did you know that your nonverbal communication is 12.5 times more powerful than your words ?
• Did you know that we are lied to 200 times a day ?

Jamie Oliver does this amazingly in his TED Talk. He starts with this mind-blowing fact, “Sadly, in the next 18 minutes when I do our chat, four Americans that are alive will be dead through the food that they eat.”

Hopefully these opening lines will give you some ideas to use to open your speech.

How to End a Speech: My Favorite Closers

Do you know how to end on a high? Leave a lasting impression in your presentation? Science tells us that the first and last parts of your presentations are the most important. Get our FREE download to get our closer guide.

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20 thoughts on “how to start a speech: the best (and worst) speech openers”.

Love your material

didnt help me but still good stuff

Thank you Vanessa. I’ve been a public speaker for 25 years and I’m impressed with your content here. Thank you. Looking forward to a deep dive into more of your material. With gratitude.

Found these examples super informative. Can’t wait to mix match the examples to see which one will work best for my presentation!

I am preparing to make a presentation on Public Speaking and came across your article. This is very instructive and timely too.Many thanks.

Comments are closed.

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How To Write Dialogue In A Story (With Examples)

One of the biggest mistakes made by writers is how they use dialogue in their stories. Today, we are going to teach you how to write dialogue in a story using some easy and effective techniques. So, get ready to learn some of the best techniques and tips for writing dialogue!

There are two main reasons why good dialogue is so important in works of fiction. First, good dialogue helps keep the reader interested and engaged in the story. Second, it makes your work easier to write, read and understand. So, if you want to write dialogue that is interesting, engaging and easy to read, keep on reading. We will be teaching you the best techniques and tips for writing dialogue in a story.

Internal vs External Dialogue

Direct vs indirect dialogue, 20 tips for formatting dialogue in stories, step 1: use a dialogue outline, step 2: write down a script, step 3: edit & review your script, step 4: sprinkle in some narrative, step 5: format your dialogue, what is dialogue .

Dialogue is the spoken words that are spoken between the characters of a story. It is also known as the conversation between the characters. Dialogue is a vital part of a story. It is the vehicle of the characters’ thoughts and emotions. Good dialogue helps show the reader how the characters think and feel. It also helps the reader better understand what is happening in the story. Good dialogue should be interesting, informative and natural. 

In a story, dialogue can be expressed internally as thoughts, or externally through conversations between characters. A character thinking to themself would be considered internal dialogue. Here there is no one else, just one character thinking or speaking to themselves:

Mary thought to herself, “what if I can do better…”

While two or more characters talking to each other in a scene would be an external dialogue:

“Watch out!” cried Sam. “What’s wrong with you?” laughed Kate.

In most cases, the words spoken by your character will be inside quotation marks. This is called direct dialogue. And then everything outside the quotation marks is called narrative:

“What do you want?” shrieked Penelope as she grabbed her notebooks. “Oh, nothing… Just checking if you needed anything,” sneered Peter as he tried to peek over at her notes.

Indirect dialogue is a summary of your dialogue. It lets the reader know that a conversation happened without repeating it exactly. For example:

She was still fuming from last night’s argument. After being called a liar and a thief, she had no choice but to leave home for good.

Direct dialogue is useful for quick conversations, while indirect dialogue is useful for summarising long pieces of dialogue. Which otherwise can get boring for the reader. Writers can combine both types of dialogue to increase tension and add drama to their stories.

Now you know some of the different types of dialogue in stories, let’s learn how to write dialogue in a story.

Here are the main tips to remember when formatting dialogue in stories or works of fiction:

• Always use quotation marks: All direct dialogue is written inside quotation marks, along with any punctuation relating to that dialogue.

• Don’t forget about dialogue tags: Dialogue tags are used to explain how a character said something.  Each tag has at least one noun or pronoun, and one verb indicating how the dialogue is spoken. For example, he said, she cried, they laughed and so on.

• Dialogue before tags: Dialogue before the dialogue tags should start with an uppercase. The dialogue tag itself begins with a lowercase.

• Dialogue after tags: Both the dialogue and dialogue tags start with an uppercase to signify the start of a conversation. The dialogue tags also have a comma afterwards, before the first set of quotation marks.

• Lowercase for continued dialogue: If the same character continues to speak after the dialogue tags or action, then this dialogue continues with a lowercase.

• Action after complete dialogue: Any action or narrative text after completed dialogue starts with an uppercase as a new sentence.

• Action interrupting dialogue: If the same character pauses their dialogue to do an action, then this action starts with a lowercase.

• Interruptions by other characters: If another character Interrupts a character’s dialogue, then their action starts with an uppercase on a new line. And an em dash (-) is used inside the quotation marks of the dialogue that was interrupted. 

• Use single quotes correctly: Single quotes mean that a character is quoting someone else.

• New paragraphs equal new speaker: When a new character starts speaking, it should be written in a new paragraph. 

• Use question marks correctly: If the dialogue ends with a question mark, then the part after the dialogue should begin with a lowercase.

• Exclamation marks: Similar to question marks, the next sentence should begin with a lowercase. 

• Em dashes equal being cut off: When a character has been interrupted or cut off in the middle of their speech, use an em dash (-).

• Ellipses mean trailing speech: When a character is trailing off in their speech or going on and on about something use ellipses (…). This is also good to use when a character does not know what to say.

• Spilt long dialogue into paragraphs: If a character is giving a long speech, then you can split this dialogue into multiple paragraphs. 

• Use commas appropriately: If it is not the end of the sentence then end the dialogue with a comma.

• Full stops to end dialogue: Dialogue ending with a full stop means it is the end of the entire sentence. 

• Avoid fancy dialogue tags: For example, ‘he moderated’ or ‘she articulated’. As this can distract the reader from what your characters are actually saying and the content of your story. It’s better to keep things simple, such as using he said or she said.
• No need for names: Avoid repeating your character’s name too many times. You could use pronouns or even nicknames. 
• Keep it informal: Think about how real conversations happen. Do people use technical or fancy language when speaking? Think about your character’s tone of voice and personality, what would they say in a given situation? 

Remember these rules, and you’ll be able to master dialogue writing in no time!

How to Write Dialogue in 5 Steps

Dialogue is tricky. Follow these easy steps to write effective dialogue in your stories or works of fiction:

A dialogue outline is a draft of what your characters will say before you actually write the dialogue down. This draft can be in the form of notes or any scribblings about your planned dialogue. Using your overall book outline , you can pinpoint the areas where you expect to see the most dialogue used in your story. You can then plan out the conversation between characters in these areas. 

A good thing about using a dialogue outline is that you can avoid your characters saying the same thing over and over again. You can also skim out any unnecessary dialogue scenes if you think they are unnecessary or pointless. 

Here is an example of a dialogue outline for a story:

You even use a spreadsheet to outline your story’s dialogue scenes.

In this step, you will just write down what the characters are saying in full. Don’t worry too much about punctuation and the correct formatting of dialogue. The purpose of this step is to determine what the characters will actually say in the scene and whether this provides any interesting information to your readers.

Start by writing down the full script of your character’s conversations for each major dialogue scene in your story. Here is an example of a dialogue script for a story:

Review your script from the previous step, and think about how it can be shortened or made more interesting. You might think about changing a few words that the characters use to make it sound more natural. Normally the use of slang words and informal language is a great way to make dialogue between characters sound more natural. You might also think about replacing any names with nicknames that characters in a close relationship would use. 

The script might also be too long with plenty of unnecessary details that can be removed or summarised as part of the narration in your story (or as indirect dialogue). Remember the purpose of dialogue is to give your story emotion and make your characters more realistic. At this point you might also want to refer back to your character profiles , to see if the script of each character matches their personality. 

Once your script has been perfected, you can add some actions to make your dialogue feel more believable to readers. Action or narrative is the stuff that your characters are actually doing throughout or in between dialogue. For example, a character might be packing up their suitcase, as they are talking about their holiday plans. This ‘narrative’ is a great way to break up a long piece of dialogue which otherwise could become boring and tedious for readers. 

You have now planned your dialogue for your story. The final step is to incorporate these dialogue scenes into your story. Remember to follow our formatting dialogue formatting rules explained above to create effective dialogue for your stories!

That’s all for today! We hope this post has taught you how to write dialogue in a story effectively. If you have any questions, please let us know in the comments below!

Marty the wizard is the master of Imagine Forest. When he's not reading a ton of books or writing some of his own tales, he loves to be surrounded by the magical creatures that live in Imagine Forest. While living in his tree house he has devoted his time to helping children around the world with their writing skills and creativity.

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Short Anecdotes for Speeches and Parables to Amaze Your Audience

Short anecdotes for speeches are a fantastic way to end a presentation with a bang. These stories can be fiction, actual incidents from history, or even just funny stories from your own personal life. When you deliver them well, though, they have a lasting impact. I often use these short anecdotes for speeches when I’m trying to teach something meaningful to the audience. So, in most instances, speakers use these anecdotes in training sessions or motivational speeches.

When You Use an Anecdote in a Speech, Tie the Story to the Greater Meaning of Your Presentation.

The anecdotes themselves add entertainment and humor to a speech. But when you use the story to relay a greater message, they almost have a magic quality. When you tell an anecdote in a speech, spend time at the end tying the incident back to the main point of your presentation.

When my daughter graduated from High School, a local pastor delivered her commencement address. He used a well-known anecdote in a masterful way as the start of the commencement speech. Since he was a pastor, he told the story of John the Baptist baptizing Jesus. Being a professional speaker myself, I wondered exactly how he would tie that story to a graduation ceremony.

He went on to explain how many Christians might see a “Baptism” as the ending point. However, Jesus started his public ministry at his baptism. The pastor then shared with the graduating class that many of them are likely seeing the ceremony as the end of their schooling. In reality, though, commencement means the beginning. The speaker used the anecdote really well and inspired the graduating class with the short story.

So, I thought that it might be fun to just jot down a few of the most inspirational (or just funny) short anecdotes for speeches that I have come across in my career. Perhaps you can use them in your next presentation.

Short Anecdotes for Speeches

The parable of the pebbles.

Eventually, he saw in the distance what looked like an oasis. He moved as fast as he could to what could be his salvation. Just as darkness fell, he felt cool water on his sandal.

He dropped to his knees and began cupping water into his mouth with his palm thanking God that he had survived. Then, out of the darkness, he heard a big booming voice from heaven say, “Merchant! Reach down, pick up some stones, put them into your pocket, and in the morning you will be both glad and sad.”

Well, when a big booming voice from heaven tells you to do something, you tend to do it. So, he reached into the stream, picked up a few pebbles, and put them into his pocket. He then packed up his camel as fast as he could and took off.

When he felt like he was far enough away from the voice that he was safe, he made camp.

Laying under the stars, he finally realized that he had been pretty dehydrated. So, he convinced himself that he had just imagined the voice. When he woke the next morning, he felt something in his trouser pocket. He pulled the pebbles out of his pocket in amazement. They weren’t just ordinary pebbles. They were precious gems — diamonds, emeralds, sapphires, rubies… At that moment, he was both glad and sad.

He was glad that he picked a few pebbles up…

He was also very sad, though, that he hadn’t picked up more while he was there.

The parable of the pebbles is an analogy to training sessions. When we finish a training session without putting a lot of effort into the skill development, we will often be glad that we gained some skill. However, we can often look back and wish that we had worked a little harder so that we could have developed more.

Rocks in a Jar Time Management Presentation Anecdote (Analogy)

However, he pulled out a bag of smaller pebbles like you would see in a fish tank, and poured them in as well. As he shook the jar, the smaller pebbles fell into the spaces between the large rocks. Again he asked, “So, is the jar full?” The group was more hesitant, now, though. So, they waited to see what he would pull out next.

Not to disappoint, he pulled out a bag of sand and poured it into the jar as well. “Now is the jar full?”

One of the high-achievers in the front row, learning his game said, “No, you can still pour water into the jar.”

Of course, he did.

The same woman in the front row then said, “I get it. The point is that no matter how busy our schedule is, you can always cram something else in, right?”

The consultant smiled at her and said, “Not exactly. My point is that the big items only fit into the jar at all because we put them in first. If you don’t focus on the big things like, spending time with your family and having a strong spiritual life, the little things will always seep in and take up all the space.”

Use the Rocks in a Jar Time Management parable to encourage people to focus on the most important things in life.

The Obstacle in Our Path Parable

Finally, a vegetable farmer with a small cart came by. Seeing that the boulder was a great obstacle for his fellow merchants with wagons, he decided to try to move the bolder. He pushed and strained as fellow travelers watched. Eventually, he was able to clear the boulder from the roadway. As he went back to retrieve his cart, he noticed a money bag where the boulder had been. Inside was a dozen gold coins along with a note from the king thanking him.

You can use the Obstacle in Our Path Parable to show how every obstacle in our path is an opportunity for reward. However, most people see the obstacle and go the other way.

The Ripple Effect

A troubled monk goes to his Abbott for guidance, and after listening intently, the Abbott asks the monk to join him on a walk. The arrive at a pond near the back of the monastery. The Abbott asks the monk to pick up a stone and toss it into the center of the pond. The monk complies. “Now,” said the Abbott, “as the ripples come closer to the shore, stick your finger in the water to try to stop them.” The monk tries, but as he sticks his finger in the water, the action just creates more ripples.

The confused monk looks at his mentor and says, “Abbott, I can’t. My actions just cause more ripples.”

The Abbott smiles, and says, “So, you cannot stop the ripples?”

“Correct,” said the monk.

“But could you have stopped yourself from tossing the stone into the pond in the first place”?”

This short anecdote has a ton of applications in a speech. I sometimes use it to show that often we spend a lot of time trying to mitigate a symptom versus fixing the actual problem causing the symptom. For instance, people will often come to my classes to reduce the number of times they say “uhhmm” in a speech or to avoid speaking too quickly. Those are just symptoms of nervousness, though. If you try to treat the symptom, it’s like trying to stop the ripples. However, if we help the presenter reduce the actual nervousness, the ripples go away altogether.

Tell Us Some of Your Favorite Short Parables for Presentations.

If you have a compelling story, anecdote, or parable that you like t0 use in your presentations, share it with us in the comments below. We will try to make this page a repository for great presentation anecdotes.

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Writing dialogue in a story requires us to step into the minds of our characters. When our characters speak, they should speak as fully developed human beings, complete with their own linguistic quirks and unique pronunciations.

Indeed, dialogue writing is essential to the art of storytelling . In real life, we learn about other people through their ideas and the words they use to express them. It is much the same for dialogue in fiction. Knowing how to write dialogue in a story will transform your character development , your prose style , and your story as a whole.

We’ve packed this article with dialogue writing tips and good examples of dialogue in a story. These tools will help your characters speak with their full uniqueness and complexity, while also helping you fully inhabit the people that populate your stories.

Let’s get into how to write dialogue effectively. First, what is dialogue in a story?

Inner Dialogue Definition

Indirect dialogue definition.

• How to Write Dialogue: Elements of Good Dialogue Writing

How to Write Dialogue in a Story: 4 DOs of Dialogue Writing

• How to Write Dialogue in a Story: 4 DON’Ts of Dialogue Writing

9 Devices for Writing Dialogue in a Story

Dialogue writing exercises, how to format dialogue, what is dialogue in a story.

Dialogue refers to any direct communication from one or more characters in the text. This communication is almost always verbal, except for instances of inner dialogue, where the character is speaking to themselves.

Dialogue definition: Direct communication from one or more characters in the text.

In works of Fantasy or Science Fiction, characters might communicate with each other telepathically or through non-human means. This would also count as dialogue in a story.

The importance of dialogue in a story cannot be overstated. The words that characters speak act as windows into their psyches: we can learn lots about people by what they say, as well as what they omit.

Additionally, dialogue allows for the exchange of information, which will advance the story’s plot. Any story that involves conflict between two or more people must involve dialogue, or else the story will never reach its climax and resolution.

Inner dialogue is a form of communication in which a character speaks with themselves. This is, essentially, a form of monologue or soliloquy . Inner dialogue allows the reader to view the character’s thoughts as they happen, transcribing their doubts, ideas, and emotions onto the page.

Inner dialogue definition: a form of communication in which a character speaks with themselves.

Inner dialogue can also be a memory or reminiscence, even if the character is not consciously speaking to themselves. If the narrator shows us a memory that the character is currently thinking about, then that character is still offering something to the narrative by means of unspoken conversation.

It is not necessary for any story to have inner dialogue. However, if you plan to use dynamic characters in your writing, then it probably makes sense to show the reader what that character’s inner world looks like. Developing complex, three dimensional characters is essential to telling a good story, which requires us to have some sort of window into those characters’ minds.

Indirect dialogue is dialogue, summarized. It is not put in quotes or italics; rather, it neatly sums up what a character said, without going into detail.

Indirect dialogue definition: dialogued, summarized.

In other words, we don’t get to see  how the character said something , we are only told what they said. This is useful for when the information is better summarized than told in excruciating details, because the narrator wants to get to the important dialogue, the dialogue that introduces new information or reveals important aspects of the character’s personality.

Haruki Murakami gives us a great example in  Kafka on the Shore :

I tell her that I’m actually fifteen, in junior high, that I stole my father’s money and ran away from my home in Nakano Ward in Tokyo. That I’m staying in a hotel in Takamatsu and spending my days reading at a library. That all of a sudden I found myself collapsed outside a shrine, covered in blood. Everything. Well,  almost everything. Not the important stuff I can’t talk about.

How to Write Dialogue: The Elements of Good Dialogue Writing

Every story needs dialogue. Unless you’re writing highly experimental fiction , your story will have main characters, and those characters will interact with the world and its other people.

That said, there’s no “correct” way to write dialogue. It all depends on who your characters are, the decisions they make, and how they interact with one another.

Nonetheless, good dialogue writing should do the following:

Develop Your Characters

A close study in how to write dialogue requires a close study in characterization. Your characters reveal who they are through dialogue: by paying close attention to your characters’ word choice , you can clue your reader into their personality traits and hidden psyches.

Your characters will often reveal key aspects of their personality through dialogue.

One character who can’t stop characterizing himself is Holden Caulfield from The Catcher in the Rye . J. D. Salinger’s anti-hero could be psychoanalyzed for hours. Take, for example, this excerpt from Holden’s inner dialogue:

“Grand. There’s a word I really hate. It’s a phony. I could puke every time I hear it.”

What do we learn about Holden through this line? For starters, we learn that Holden is the type of person who analyzes and scrutinizes each word – just like writers do, perhaps. We also learn that Holden hates anything positive. Always a downer, Holden despises words of praise or grandeur, thinking the whole world is irresolvably flat, boring, and monotonous. He hates grandness almost as much as he hates phoniness, and both concepts are sure to make him sick.

Holden is a character who puts his entire personality on the page, and as readers, we can’t help but understand him – no matter how much we like him or hate him.

Set the Scene

Dialogue is a great way to explore the setting of your story. When the setting is explored through dialogue writing, both the characters and the reader experience the world of the story at the same time, making the writing feel more intimate and immediate.

When the setting is explored through dialogue writing, the writing feels more intimate and immediate.

You might have your character wander through the streets of New York, as Theo does in The Goldfinch by Donna Tartt. Here’s an excerpt of inner dialogue:

“It was rainy, trees leafing out, spring deepening into summer; and the forlorn cry of horns on the street, the dank smell of the wet pavement had an electricity about it, a sense of crowds and static, lonely secretaries and fat guys with bags of carry-out, everywhere the ungainly sadness of creatures pushing and struggling to live.”

Notice Theo’s attention to detail, and the vibrant imagery he uses to capture the city’s energy. Of course, you might set the scene more simply, as Dorothy does when she says:

“Toto, I’ve a feeling we’re not in Kansas anymore.”

In only a few words, this line of dialogue advances not only the setting but also Dorothy’s characterization. She is innocent and operating from a limited frame of reference, and the setting could not be more different from her homely Kansas background.

Both methods of scene setting help advance the world that the reader is exploring. However, don’t explore the setting exclusively through dialogue. Characters are not objective observers of their world, so some information is better explained through narration since the narrator is (often) a more reliable voice.

Advance the Plot

Dialogue doesn’t just tell us about the story and the people inside it; good dialogue writing also advances the plot . We often need dialogue to reveal important details to the protagonist , and sometimes, an emotionally tense conversation will lead to the next event in the story.

At times, dialogue will advance the plot by offering a twist or revealing sudden information. We can all agree that the following lines of dialogue advanced the plot of Star Wars :

“Obi-Wan never told you what happened to your father.”

“He told me enough! He told me you killed him!”

“No. I am your father.”

And the following bit of dialogue catalyzed the plot of the entire Harry Potter series:

“You’re a wizard, Harry.”

The exchange of information is often what accelerates (0r resolves) a story’s conflict. Paying attention to word choice and the strategic revelation of information is key to using dialogue in a story.

Just like in real life, your characters don’t always say what they mean. Characters can lie, hint, suggest, confuse, conceal, and deceive. But one of the most powerful uses of dialogue writing is to foreshadow future events.

In Shakespeare’s Romeo & Juliet , Romeo foreshadows the death of both lovers when he exclaims to Juliet:

“Life were better ended by their hate, / Than death prorogued, wanting of thy love.”

In saying he would rather die lovers than live in longing, Romeo unknowingly predicts what will soon happen in the play.

Foreshadowing is an important literary device that many fiction stories should utilize. Foreshadowing helps build suspense in the story, and it also underlines the important events that make your story worth reading. Don’t try to trick your readers, but definitely use foreshadowing to keep them reading.

Learn more about foreshadowing here:

Foreshadowing Definition: How to Use Foreshadowing in Your Fiction

We’ve talked about what dialogue writing should accomplish, but that doesn’t answer the question of how to write dialogue in a story. Let’s answer that question now—with some more dialogue writing examples in the mix.

1. How to Write Dialogue in a Story: Differentiate Each Character

Each character will have their own style of speaking, and will emphasize different things when they talk.

Your characters’ dialogue should be like thumbprints, because no two people are alike. Each character will have their own style of speaking, and will emphasize different things when they talk. You can make each character unique by altering the following elements of dialogue style:

• Sentence length: Some people are verbose and loquacious, others terse and stoic.
• Dialogue Punctuation: Do your characters let their sentences linger… or do they ask a lot of questions? Are they really excited all the time?! Or do they interrupt themselves frequently—always remembering something they forgot to mention—struggling to put their complex thoughts into words?
• Adjectives/adverbs: Characters that are expressive and verbose tend to use a lot of adjectives and adverbs, whereas characters that are quiet or less expressive might stick to their nouns and verbs.
• Spellings and pronunciation: Do your characters omit certain vowels? Do they lisp? The way you write a line of dialogue might reveal a character’s dialect, and adding consistent quirks to a character’s speech will certainly make them more memorable.
• Repetitions and emphasis:  Do your characters have any catchphrases? Do they use any words or phrases as crutches? Maybe they emphasize words periodically, or have a strange cadence as they speak. We tend to repeat certain words and phrases in our own everyday vocabularies; repetition is also a useful device for writing dialogue in a story.

You’ve already seen character differentiation from the previous quotes in this article. In this scene from The Catcher in the Rye , notice how differently Holden Caulfield speaks from the young woman he’s talking to—and just how much characterization is implied in their divergent voices:

“You don’t come from New York, do you?” I said finally. That’s all I could think of.

“Hollywood,” she said. Then she got up and went over to where she’d put her dress down, on the bed. “Ya got a hanger? I don’t want to get my dress all wrinkly. It’s brand-clean.”

“Sure,” I said right away. I was only too glad to get up and do something.

Aside from these two characters being different from one another, Holden speak differently than characters in other works of fiction. Can you imagine Holden Caulfield being Romeo in R&J ? He’d say something stupid, like “Juliet’s family are all phonies, but the funny thing is you can’t help but fall half in love with her.”

A more contemporary example comes from  White Teeth by Zadie Smith. Every character in this novel is exceptionally well differentiated, even the minor characters—like Brother Ibrahim ad-Din Shukrallah, who appears only briefly towards the novel’s end. Here’s an excerpt:

“Look around you. And what do you see? What is the result of this so-called democracy, this so-called freedom, this so-called liberty ? Oppression, persecution, slaughter . Brothers, you can see it on national television every day, every evening, every night ! Chaos, disorder, confusion . They are not ashamed or embarrassed or self-conscious ! They don’t try to hide, to conceal, to disguise . They know as we know: the entire world is in a turmoil!”

Pay attention to the dialogue. What do you notice? What’s odd about the way he speaks? If you don’t notice it, the novel’s narrator gives us a hint:

“No one in the hall was going to admit it, but Brother Ibrahim ad-Din Shukrallah was no great speaker, when you got down to it. Even if you overlooked his habit of using three words where one would do, of emphasizing the last word of such triplets with his see-saw Caribbean inflections, even if you ignored these as everybody tried to, he was still physically disappointing.”

For more advice on characterization, check out our article on character development.

https://writers.com/character-development-definition

2. How to Write Dialogue in a Story: Consider the Context

A common mistake writers often make when writing dialogue in a story: they use the same speaking style for that character throughout the entire story.

For example, if you have a character that tends to speak in wordy, roundabout sentences, you might think that every sentence of dialogue should be wordy and roundabout.

However, your character’s dialogue needs to take context into consideration. A wordy character probably won’t be so wordy if they’re being held at gunpoint, and their words might stammer or falter when talking to a crush. Or, in the case of Jane Eyre , the context might make your statement more powerful. Jane proclaims:

“Do you think, because I am poor, obscure, plain and little, I am soulless and heartless? You think wrong! I have as much soul as you—and full as much heart!”

As she lives in a society with strict gender roles, Jane’s statement—to a man, no less—is thrillingly bold and controversial for its time.

Your characters aren’t monotonous, they’re dynamic and fluid, so let them speak according to their surroundings.

3. How to Write Dialogue in a Story: Space Out Moments of Dialogue

If your characters just had a lengthy conversation, give them a page or two before they start speaking again. Dialogue is an important part of storytelling, but equally important is narration and description.

The following excerpt from Anna Karenina by Leo Tolstoy has a great balance of dialogue (underlined) and narration.

“Are there any papers from the office?” asked Stepan Arkadyevitch, taking the telegram and seating himself at the looking-glass.

“On the table,” replied Matvey, glancing with inquiring sympathy at his master; and, after a short pause, he added with a sly smile, “ They’ve sent from the carriage-jobbers.”

Stepan Arkadyevitch made no reply, he merely glanced at Matvey in the looking-glass. In the glance, in which their eyes met in the looking-glass, it was clear that they understood one another. Stepan Arkadyevitch’s eyes asked: “Why do you tell me that? don’t you know?”

Matvey put his hands in his jacket pockets, thrust out one leg, and gazed silently, good-humoredly, with a faint smile, at his master.

“I told them to come on Sunday, and till then not to trouble you or themselves for nothing,” he said. He had obviously prepared the sentence beforehand.

You can see, in the above text, that about 1/3 of the writing is dialogue. This allows the reader to see the full scene while still viewing the conversation, making this an excellent balance of narration and dialogue writing.

Simply put: balance dialogue with your narrator’s voice, or else the reader might lose their attention, or else miss out on key information.

4. How to Write Dialogue in a Story: Use Consistent Formatting

There are several different ways to format your dialogue, which we explain later in this article. For now, make sure you’re consistent with how you format your dialogue. If you choose to indent your characters’ speech, make sure every new exchange is indented. Inconsistent formatting will throw the reader out of the story, and it could also prevent your story from being published.

How to Write Dialogue in a Story: 4 DON’Ts of Dialogue Writing

Just as important as the DOs, the DON’Ts of dialogue writing are just as important to crafting an effective story. Let’s further our discussion of how to write dialogue in a story: we’ll dive into what you shouldn’t do when writing dialogue, alongside some more dialogue examples.

1. DON’T Include Every Verbal Interjection

When people talk, they don’t always talk linearly. People interrupt themselves, they change direction, they forget what they were talking about, they use pauses and “ums” and “ohs” and “ehs.” You can include a few of these verbal interjections from time to time, but don’t make your dialogue too true-to-life. Otherwise, the dialogue becomes hard to read, and the reader loses interest.

Let’s take a famous line from The Catcher in the Rye and fill it in with verbal interjections.

“I have a feeling that you are riding for some kind of a terrible, terrible fall. But I don’t honestly know what kind.”

With interjections:

Oh, man—I have a feeling, like, that you are riding for some kind of… a terrible, terrible fall. But, uh, I don’t honestly know what kind?

What do you think of the edited quote? The interjections make it much harder to read, much less personable, and honestly, they become kind of annoying. However, the quote with interjections is much more “true to life” than the original quote. Your characters don’t need to speak perfectly, but the dialogue needs to be enjoyable to read.

2. DON’T Overwrite Dialogue Tags

Dialogue tags are how your character expresses what they say. In the quote “‘You’re all phonies,’ Holden said,” the dialogue tag is “Holden said.”

Unique dialogue tags are fine to use on occasion. Your characters might yell, stammer, whisper, or even explode with words! However, don’t use these tags too frequently—the tag “said” is often perfectly fine. Notice how overused dialogue tags ruin the following conversation:

“How are you?” I stammered.

“Great! How are you?” she inquired.

“I’m hungry,” I announced.

“We should get lunch,” she blurted.

“I’m on a diet,” I cried.

“You poor thing,” she rejoined.

Sure, the conversation isn’t interesting to begin with, but the dialogue tags make this writing cringe-worthy. All of this dialogue can be described with “said” or “replied,” and many of these quotes don’t even need dialogue tags, because it’s clear who’s speaking each time.

This is doubly serious when dialogue tags are combined with adverbs : adjectives that modify the verbs themselves. Our intent with these adverbs is to intensify our writing, but what results is a strong case of diminishing returns. Let’s see an example:

“I don’t love you anymore,” she said.

“I don’t love you anymore,” she spat contemptuously.

Yikes! If your dialogue tags start distracting the reader, then your dialogue isn’t doing enough work on its own. The reader’s focus should be on the character’s statement, not on the way they delivered that statement. If she spoke those words with contempt, show the reader this in the dialogue itself, or even in the character’s body language.

Lastly: if you’re going to use a dialogue tag other than “said,” make sure the verb you use actually corresponds to dialogue. In other words, there needs to be a speaking verb before you describe some other sort of action.

Here’s an example of what NOT to do:

“I don’t love you anymore,” she stomped.

She might have stomped while saying that line, but “to stomp” is not a kind of communication.

The dialogue tag “said” is perfectly fine for most situations.

3. DON’T Stereotype

Everybody’s speech has a myriad of influences. Your characters’ way of speaking will be influenced by their parents, upbringing, schooling, socioeconomic status, race, gender, sexual orientation, and their own unique personality traits.

Of course, these personal backgrounds will influence your character’s dialogue. However, you shouldn’t let those traits overpower the character’s dialogue—otherwise, you’ll end up stereotyping.

Stereotyped characters are both glaringly obvious and embarrassing for the author. For example, J. K. Rowling didn’t do herself any favors by naming a character Cho Chang—both of which are Korean last names. Similarly, if all of your male characters are strong, charismatic, and loud, while all of your female characters are meek, helpless, and insecure, your writing will be both offensive and inaccurate to life.

Let’s explore this with two ways of writing a policeman.

“Don’t stand here,” said the policeman in front of the caution tape. “We need to keep this street clear.”

And here is lazy writing that takes no real interest in the character beyond one-dimensional surface traits:

“Move it along, folks, move it along,” said the policeman in front of the caution tape. “Nothing to see here.”

Neither policeman is going to win a dialogue award, but the second policeman doesn’t even seem like a real person . He’s written in unconsidered cliché: phrases we’ve all heard a thousand times, general ideas of what policemen tend to say.

Simply put, stereotyped dialogue is bad writing. Not only does it make your characters one-dimensional, it’s also offensive to whomever your characters resemble. If you’re going to be writing your characters from a careless, surface-level take, you might reconsider whether you want to write them at all.

What to do about this? The safest way to avoid stereotyping is to write using identities that you know both personally and intimately. If your writing takes you beyond those identities, then do your research: seek out, and truly work to internalize, a diverse array of input from people whose identities resemble those you’d like to write about.

4. DON’T Get Discouraged

For some writers, dialogue is the hardest part about writing fiction. It’s much easier to describe a character than to get in the character’s head, transcribing their thoughts into language.

If you feel like your characters aren’t saying the right things, or if the dialogue feels tricky to master, don’t get discouraged. Dialogue writing is difficult!

The following devices and exercises will help you master the art of writing dialogue in a story.

An important consideration for your characters is giving them distinct speech patterns. In real life, everyone talks differently; in fiction it’s much the same. The following devices will help you write dialogue in a story, as they offer ways to make your characters unique, compelling, and conversational.

Note: don’t try to use all nine of these devices for one character. Your dialogue should flow and feel consistent with the way people speak in real life, but if you overload your character’s speech with idioms, colloquialisms, proverbs, slang, and jargon, they won’t speak like anyone in the real world.

Use these devices as quirks for your characters. You can even use colloquialisms and vernacular to establish the setting, or use jargon to assign your character their occupation and social standing. Be wise, be strategic, and keep an ear for how people sound in real life.

Now, here’s how to write dialogue using 9 specific devices.

1. Colloquialism

A colloquialism is a word or phrase that’s specific to a language, geographical region, and/or historical period. Mostly used in informal speech, colloquialisms will rarely show up in the boardroom or the courtroom, but they pop up all the time in casual conversation.

We often use colloquialisms without realizing it. Take, for example, the shopping cart. Someone in the U.S. Northeast might call it a “cart,” while someone in the South might call it a “buggy.”

In fact, colloquialisms abound in the history of the English language. When it rains but the sun is out, a native Floridian might call it a sunshower. A Wisconsinite will call a water fountain a “bubbler.” In the 1950s, a small child might have been called an “ankle-biter.” Nowadays, a New Yorker might describe cold weather as being “brick outside.” (Yes, brick.)

Colloquialisms help define a character’s geographic background and historical time period. They also help signify when the character feels comfortable and informal, versus when they are speaking in an uncomfortable or professional situation.

2. Vernacular

Vernacular refers to language that is simple and commonplace. When a character’s speech is unadorned and everyday, they are speaking in vernacular, using words that can be understood by every person in that character’s time period. (A colloquialism is often an example of vernacular.) For dialogue in a story, your characters will likely use vernacular, unless they try to avoid it at all costs.

The opposite of vernacular would be dialect, which is speech that is tailored to a specific setting, and is therefore not commonplace or universally understood. An example of vernacular is contrasted with dialect below.

A dialect is a type of speech reserved for a particular time period, geographical location, social class, group of people, or other specific setting. It is language that the entire population might not comprehend, as it uses words, phrases, and grammatical decisions that aren’t universally understood.

Here’s an example of modern day vernacular. The same sentence has been rewritten as though it were spoken by someone with a Southern dialect.

Vernacular: I am craving some coleslaw and a soft drink.

Southern Dialect: I’m fixin’ for some slaw and soda pop.

An English speaker who doesn’t hail from the American South may be tripped up by “fixing” and “slaw,” as those terms aren’t universally understood.

Do note: the words “coleslaw” and “soft drink” can also be considered dialects of other regions in the United States. However, these words will likely be understood across the nation.

A slang is a word or phrase that is not part of conventional language usage, but which is still used in everyday speech. Generally, younger generations coin slang words, as well as queer communities and communities of color. (Some of the terms below started in AAVE , or African American Vernacular English.) Those words then become dictionary entries when the word has circulated long enough in popular usage. Slang is a form of colloquialism, as well as a form of dialect, because slang terms are not universally understood and are often associated with a specific age group in a specific region.

Some recent examples of slang words and phrases include:

• No cap—“no lie.”
• Boots—this is a sort of grammatical intensifier, placed  after the thing being intensified. “I’m hungry, boots” is basically the same as “I’m  so hungry.”
• Bop—a catchy or irresistible song.
• Drip—a particularly fashionable or interesting style of clothes.
• It’s sending me—“that’s hilarious.”
• Periodt—a more “final” use of the word “period” when a salient point has been made.
• Snatched—used when someone’s fashion is impeccable. In the case of someone’s waist size, snatched refers to an hourglass figure.
• Pressed—“stressed” or “annoyed.”
• Slaps—“exceptionally good.”
• Stan—stan is a portmanteau of “stalker fan,” but really what it means is that you enjoy something intensely or obsessively. You “stan” a song or a movie, for example.
• Werk—a term to describe something done exceedingly well. If you’re dancing tremendously, I might just yell “werk!”
• Wig—when something shocks, excites, or moves you, just say “wig.”

Jargon is a word or phrase that is specific to a profession or industry. Usually, a jargon word intentionally obfuscates the meaning of what it represents, as the word is meant to be understood solely by people within a certain profession.

Often, people let jargon slip from their tongues without realizing the word is inaccessible. For example, a doctor might tell their friend they have rhinitis, rather than a seasonal allergy. Or, someone well-versed in mid-century diner lingo might ask for “Adam and Eve on a raft” rather than “two poached eggs on toast.”

When it comes to dialogue in a story, the occasional use of jargon can help characterize someone through their profession. However, too much jargon usage will start to sound comical and inane, as most people don’t speak in jargon all the time.

An idiom is a phrase that is specifically understood by speakers of a certain language, and which has a figurative meaning that differs from its literal one. Idioms are incredibly hard to translate, because the meaning conveyed by the idiom does not appear within the words themselves.

For example, a common idiom in the United States is to say someone is “under the weather” when they’re feeling ill. No part of the phrase “under the weather” conveys a sense of sickness; at most, it might communicate that that person feels pushed down by the weather. But then, what weather? Could they be under “good” weather, too? These are questions that someone who doesn’t speak English natively will likely ask.

So, the literal meaning of “under the weather” is different from the figurative meaning, which is “ill.” Some other idioms in the English language include:

• Pulling your leg—just having fun with someone or messing with them.
• Bat a thousand—to be successful 100% of the time.
• The last straw—the final incident before something (usually negative) occurs.
• Big fish in a little sea—someone is famous or hugely successful, but in a very small corner of the world.
• Eat your heart out—be envious of something.

An idiom can also reveal regionality, as some idioms are only spoken in certain dialects. For example, when it rains while the sun is shining, a common idiom in the South is that “the devil is beating his wife.” This phrase is understood in other parts of the U.S. and might have its roots in folklore, but it is primarily spoken by people in the American South.

7. Euphemism

A euphemism is the substitution of one word for another, more innocuous word. We often use euphemisms in place of words and phrases that are sexual, uncomfortable, or otherwise taboo.

For example, when someone dies, you might hear their family member say “they kicked the bucket.” Or, if someone were unemployed but didn’t want to say it, they might say they are “between jobs” or “searching for better opportunities.”

Euphemisms present something psychologically interesting to a person’s dialogue. We often use language to mask that which upsets us most but which we are unwilling to confront or communicate. A euphemism for death is intended to mask the pain of death; a euphemism about unemployment is intended to mask the shame of unemployment.

We might also use euphemisms to hide information from people we don’t trust. Let’s say you’re in an intimate relationship, and don’t want the person you’re conversing with to know about it. You might pull out your knowledge of Middle English and say you’re “giving a girl a green gown.” Or, you might simply say you’re rolling in the hay with someone, to communicate your relationship while also communicating you don’t want to talk about it.

Note: even “intimate relationship” is a bit of a euphemism!

In dialogue writing, use euphemisms as hints to your characters’ psyches. In speech, what is omitted often says more than what is included.

A proverb is a short, oft-repeated saying that bears a wise and powerful message. Proverbs are often based on common sense advice, but they use metaphors and symbols to convey that advice, prompting the listener to place themselves in the world of the proverb.

For example, a common English proverb is “a bird in the hand is worth two in the bush.” This means that it’s better to take away modest gains than to sacrifice those gains for something that may be unobtainable. Sacrificing the bird in your hand for two birds which may be impossible to own is a risky endeavor.

When it comes to writing dialogue in a story, proverbs educate both the protagonist and the audience. A proverb will often be spoken by an elder or someone with relevant experience to help guide the protagonist. The story’s events might also be a reaction to that proverb, either fulfilling or complicating it. Finally, a proverb might characterize the speaker themselves, cluing the reader into the speaker’s beliefs. Not all stories have proverbs, but stories with wise characters often do.

9. Neologism

A neologism is a coined word that describes something new. Some neologisms are coined by authors themselves—Shakespeare, for example, coined over 2,000 words, many of which we use today. “Baseless,” “footfall,” and “murkiest” come from The Tempest , just one of Shakespeare’s many plays and poems.

Nowadays, most neologisms describe advancements in technology, medicine, and society. “Doomscrolling,” for example, describes the act of consuming large quantities of negative news, often to the detriment of one’s mental health. The word was likely invented in 2018, due in part to the increased access to information that technology gives us.

Other modern day neologisms include:

• Google (as a verb: to google something)
• Crowdsourcing

Some neologisms are portmanteaus, which is a word made from two other words combined in both sound and meaning. For example, “smog” is a portmanteau of “smoke and fog,” and it’s a neologism only relevant to the Industrial Revolution and beyond.

Neologisms are not to be confused with grandiloquent words , which are invented words used for the sole purpose of sounding intelligent (and which have become enduring facets of modern English).

In dialogue writing, neologisms primarily help situate the reader in the story’s temporal setting. No one would use the word malware in the year 1920. Additionally, words like “crowdsourcing” are far more likely to be used by younger generations, and they signify a certain sense of tech savviness and modernity that not everyone has.

Finally, neologisms are fun! You might even invent some new words in your own writing, though a neologism should be elegant and relevant, without drawing too much attention to itself.

Of course, the best way to learn how to write dialogue in a story is to practice it yourself. Below are some dialogue writing exercises to try in your fiction.

Dialogue Writing Exercise: Write out a character’s “personal vocabulary.”

All of us have a personal vocabulary, meaning that we tend to choose the same set of words to describe something, even though our vocabularies are much larger. For example, I have a tendency to use the word “scandalous” when describing something. I often use it ironically or as a compliment, which is a trait of word-usage associated with Millennials and older Gen Z kids. This word is a part of my personal vocabulary, and though I don’t say it constantly, I often use it when I can’t think of a better word.

Your characters are the same way! Writing out a personal vocabulary for your characters might jumpstart your dialogue writing, and it also gives you something to fall back on in your dialogue while still providing depth and character.

Coming back—once again—to Holden Caulfield, his personal vocabulary might include words like: phony , prostitute , goddam , miserable , lousy , jerk . These words and phrases are rare overall, but they’re exceedingly common in his own personal way of verbalizing his experience of the world.

Dialogue Writing Exercise: Consider different settings.

Sometimes, you just need to generate dialogue until you come across the right line or turn-of-phrase. One way to do that is to write what your character would say in different situations.

On a separate document or piece of paper, write what would happen if your character was talking to different people or talking in different situations. For example, your character might:

• Talk to a grocery store clerk
• Be a hostage in a bank robbery
• Take the SAT
• Run into their crush
• Get pulled over for speeding

Explore what your character would say in each of these (and other) different scenarios, and you might just trick your brain into writing the next sentence of your story.

Dialogue Writing Exercise: Pretend you are your character.

Instead of writing your character in different settings, be your character in different settings. Think about what your character would think while you’re doing the laundry, driving to work, or paying the bills. This habit will help you approach this character’s dialogue, as you develop the ability to turn their personality on in your brain, like a switch!

(Hopefully, you’re never caught in a bank robbery. If you are, maybe your character can save you.)

We’ve covered how to write dialogue in a story, but not how to format dialogue. Dialogue formatting is a relatively minor concern for fiction writers, but it’s still important to format correctly. Otherwise, you’ll waste hours of your writing time trying to fix formatting errors, and you might prevent your stories from finding publication.

There are a few different ways to format dialogue; for each of these examples, we will reformat the sentence “You’re gonna need a bigger boat,” said Chief Brody.

Most writers and publishers use standard quotation marks at the beginning and end of the dialogue.

“You’re gonna need a bigger boat,” said Chief Brody.

A comma always separates the dialogue from the speaker. In this case, the comma goes inside of the quotation marks. Periods, semicolons, and em dashes also go inside the quotation marks. If you’re writing in British English, some conventions place the dialogue punctuation outside of the quotation, but both ways are acceptable.

Another way some people format their dialogue is by italicizing instead of using quotation marks.

You’re gonna need a bigger boat, said Chief Brody.

In this instance, you would fit the comma within the italicized text, as you would any other punctuation in the dialogue. Only the quote is italicized; the speaker remains unitalicized. The drawback of this formatting is that your dialogue might be confused with the character’s inner dialogue, which should also be italicized.

Finally, your dialogue formatting can eschew the use of quotation marks and italics. In this case, you would indent any part of the text that is dialogue, and leave narration un-indented.

Suddenly, the shark loomed behind the orca.

This way of formatting makes it easier to write without worrying about punctuation marks, but be warned that most publishers will change that formatting before publication.

If your sentence starts with the dialogue tag, put a comma before the quotation mark. Do capitalize the first letter inside the quotation marks, as this is, grammatically, the start of a sentence.

Chief Brody said, “You’re gonna need a bigger boat.”

And, if your dialogue spans multiple paragraphs, do not use the end-quote until the very end of the dialogue, but start each paragraph with a new start-quote.

“You’re gonna need a bigger boat. “A boat this size can’t handle a shark,” Chief Brody continued.

Looking for More Dialogue Writing Tips?

Great dialogue is the true test of whether you understand your characters or not. However, developing this skill takes a lot of time and practice. If you’re looking for more advice on how to write dialogue in a story, check out our online fiction writing courses for dialogue writing tips from the best instructors on the net!

Sean Glatch

10 comments.

This was very helpful: I’m a French Canadian, living here in the US for the past 28 years, very fluent in English and this article will help me to polish my stories telling. I love to write spending a lot of time doing so, whether it’s a story, an email, documentation in my field (I’m an IT guy) and I’m now more confident about my writing.

I’m so happy to hear that, Richard. Happy writing!

As an aspiring writer, this helped me a lot!

Great article! Nice job capturing so many elements and explaining things so well. I enjoyed it from beginning to end.

The only thing that puzzled me was in the following section (watch for the **):

If your sentence starts with the dialogue tag, put a comma before the quotation mark. **In this case, do not capitalize the first letter inside the quotation marks.**

Chief Brody said, “you’re gonna need a bigger boat.”

I’ve never seen that guidance before. I thought you were supposed to capitalize the first word of complete dialogue sentences regardless of speaker attribution placement. Might this be a mistake? Or a vestige from a previous edit?

You’re absolutely right–that bit of advice was written in error. The start of a new sentence of dialogue should always begin with a capital letter. I’ve updated the text accordingly. Many thanks for your comment!

[…] How to Write Dialogue in a Story […]

Thank you, Nicole! I’m so glad you found it helpful. Happy writing!

Directed here from somewhere else. A novice when it comes to fiction writing and the proper use of English. I fid dialogue my most difficult in writing. I am glad for this. I get most of the gist now.

I came across your website while doing some research for my writing students and I have to say this is one of the best resources I’ve found when it comes to writing dialogue. Thank you for taking the time to put together such a valuable resource and one which I’ll be passing on to my students.

Thank you again!

Really great advice. One thing I often do is get my students to ‘capture conversations’ so they can hear the cadence of real dialogue. Then we look at how to make it more powerful by taking out most if not all of the ‘um’s, ah’s’ and other interruptions or interjections. It has improved the quality of my students written dialogue immensely. 🙂

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10 Short Stories with Great Dialogue That Aren’t “Hills Like White Elephants”

Do you believe in life after hemingway.

Before you get excited: I have no problem with “Hills Like White Elephants.” In this classic story, Ernest Hemingway demonstrates a masterful, subtle use of dialogue—so much so that it has become, if not a totally clichéd, then at least a ubiquitous text in creative writing classrooms. I myself encountered it at least four times by the time I got to grad school—where I proceeded to teach it to my own Introduction to Creative Writing class. It’s the circle of life. This is only to say that I’m not immune—but I also know there are plenty of other stories with strong dialogue out there, and as another school year (such as it is, in 2021) gets going, they’re probably worth a look too. Just for fun, you know?

So I asked the Literary Hub staff to suggest some of their other favorite short stories that do cool things with dialogue, and I’ve collected a few of them here. Obviously this list is not exhaustive—among other things, we also shied away from some other tried-and-true dialogue-heavy classics, like “The Dead” and “What We Talk About When We Talk About Love,” and “Steady Hands at Seattle General”—and of course these stories are mostly not doing the same thing as “Hills Like White Elephants,” but they’re all doing something interesting. Just in case you want to mix it up a little this year.

Sam Lipsyte, “ The Dungeon Master ,” from The Fun Parts

Sample Dialogue:

The Dungeon Master has detention. We wait at his house by the county road. The Dungeon Master’s little brother Marco puts out corn chips and orange soda.

Marco is a paladin. He fights for the glory of Christ. Marco has been many paladins since winter break. They are all named Valentine, and the Dungeon Master makes certain they die with the least possible amount of dignity.

It’s painful enough when he rolls the dice, announces that a drunken orc has unspooled some Valentine’s guts for sport. Worse are the silly accidents. One Valentine tripped on a floor plank and cracked his head on a mead bucket. He died of trauma in the stable.

“Take it!” the Dungeon Master said that time. Spit sprayed over the top of his laminated screen. “Eat your fate,” he said. “Your thread just got the snippo!”

The Dungeon Master has a secret language that we don’t quite understand. They say he’s been treated for it.

Whenever the Dungeon Master kills another Valentine, Marco runs off and cries to their father. Dr. Varelli nudges his son back into the study, sticks his bushy head in the door, says, “Play nice, my beautiful puppies.”

“Father,” the Dungeon Master will say, “stay the fuck out of my mind realm.”

“I honor your wish, my beauty.”

Dr. Varelli says things like that. It’s not a secret language, just an embarrassing one. Maybe that’s why his wife left him, left Marco and the Dungeon Master, too. It’s not a decent reason to leave, but as the Dungeon Master hopes to teach us, the world is not a decent place to live.

Danielle Evans, “ Virgins ,” from  Before You Suffocate Your Own Fool Self

“Look what Eddie gave me,” said Cindy, all friendly. She pulled a pink teddy bear out of her purse and squeezed its belly. It sang “You Are My Sunshine” in a vibrating robot voice.

“That’s nice,” said Jasmine, her voice so high that she sounded almost like the teddy bear. Cindy smiled and walked off with Eddie, swinging her hips back and forth.

“I don’t have a teddy bear neither,” said Eddie’s friend Tre, putting an arm around Jasmine. She pushed him off. Tre was the kind of boy my mother would have said to stay away from, but she said to stay away from all men.

“C’mon, Jasmine,” Tre said. “I lost my teddy bear, can I sleep with you tonight?”

Jasmine looked at Tre like he was stupid. Michael put an arm around each of our shoulders and kissed us both on the cheek, me first, then Jasmine.

“You know these are my girls,” he said to Tre. “Leave ’em alone.”

His friends mostly left me alone anyway, because they knew I wasn’t good for anything but a little kissing. But I was glad he’d included me. Michael nodded good-bye as he and his friends walked toward their movie. Eddie and Cindy stayed there, kissing, like that’s what they had paid admission for. I grabbed Jasmine’s hand and pulled her toward the ticket counter.

“That’s nasty,” I said. “She looks nasty all up on him in public like that.”

“No one ever bought me a singing teddy bear,” said Jasmine. “Probably no one ever will buy me a singing teddy bear.”

“I’ll buy you a singing teddy bear, stupid,” I said.

“Shut up,” she said. She’d been sucking on her bottom lip so hard she’d sucked the lipstick off it, and her lips were two different colors. “Don’t you ever want to matter to somebody?”

“I matter to you. And Michael.”

Jasmine clicked her tongue. “Say Michael had to shoot either you or that Italian chick who’s letting him hit it right now. Who do you think he would save?”

“Why does he have to shoot somebody?” I said.

“He just does.”

“Well, he’d save me then. She’s just a girl who’s fucking him.”

“And you’re just a girl who isn’t,” Jasmine said. “That’s your problem, Erica. You don’t understand adult relationships.”

“Where are there adults?” I asked, turning in circles with my hand to my forehead like a sea captain looking for land.

“You’re right,” she said. “I’m tired of these little boys. Next weekend we’re going to the city. We’re gonna find some real niggas who know how to treat us.”

That was not the idea I meant for Jasmine to have.

Ottessa Moshfegh, “ The Beach Boy ,” from Homesick for Another World

The friends wanted to know what the prostitutes had looked like, how they’d dressed, what they’d said. They wanted details.

“They looked like normal people,” Marcia said, shrugging. “You know, just young, poor people, locals. But they were very complimentary. They kept saying, ‘Hello, nice people. Massage? Nice massage for nice people?’ ”

“Little did they know!” John joked, furrowing his eyebrows like a maniac. The friends laughed.

“We’d read about it in the guidebook,” Marcia said. “You’re not supposed to acknowledge them at all. You don’t even look them in the eye. If you do, they’ll never leave you alone. The beach boys. The male prostitutes, I mean. It’s sad,” she added. “Tragic. And, really, one wonders how anybody can starve in a place like that. There was food everywhere. Fruit on every tree. I just don’t understand it. And the city was rife with garbage. Rife! ” she proclaimed. She put down her fork. “Wouldn’t you say, hon?”

“I wouldn’t say ‘rife,’ ” John answered, wiping the corners of his mouth with his cloth napkin. “Fragrant, more like.”

The waiter collected the unfinished plates of pasta, then returned and took their orders of cheesecake and pie and decaffeinated coffee. John was quiet. He scrolled through photos on his cell phone, looking for a picture he’d taken of a monkey seated on the head of a Virgin Mary statue. The statue was painted in bright colors, and its nose was chipped, showing the white, chalky plaster under the paint. The monkey was black and skinny, with wide-spaced, neurotic eyes. Its tail curled under Mary’s chin. John turned the screen of his phone toward the table.

“This little guy,” he said.

“Aw!” the friends cried. They wanted to know, “Were the monkeys feral? Were they smelly? Are the people Catholic? Are they all very religious there?”

“Catholic,” Marcia said, nodding. “And the monkeys were everywhere. Cute but very sneaky. One of them stole John’s pen right out of his pocket.” She rattled off whatever facts she could remember from the nature tour they’d taken. “I think there are laws about eating the monkeys. I’m not so sure. They all spoke English,” she repeated, “but sometimes it was hard to understand them. The guides, I mean, not the monkeys.” She chuckled.

“The monkeys spoke Russian, naturally,” John said, and put away his phone.

Sarah Gerard, “ The Killer ,” from  Guernica

They paid the bill and left, gathering on the sidewalk.

Nathan said to them, “We live down the beach. Come over.”

Amy tried to decline. Benjamin held her by the elbow. She allowed him to lead her, and by the time they reached the sand behind the Pelican, she’d managed to free herself, and catch up with Carol.

They walked the waterline.

“There is another option if you don’t want to kill them yourself,” Carol told her. Then, turning to Nathan: “We can put them in touch with Chance.”

Nathan fell into step with them. He draped an arm around his wife’s waist.

“Is Chance an exterminator?” said Amy.

“I hesitate to tell you more about our relationship,” Nathan joked. “I don’t talk God or politics in mixed company.”

“I’m a registered Democrat,” said Benjamin.

“He comes out and shoots the iguanas, then disposes of the carcasses,” said Carol. “He charges a reasonable fee.”

Nathan smiled.

“He actually became somewhat notorious when he posted some pictures of one of his hunts on Facebook recently,” Carol continued. “He can guarantee up to one hundred iguanas in a single hunt. He had them all laid out in rows with their legs bound, and huge plastic bins of dead lizards, rooms and hallways full of them. Then these happy white men in t-shirts with the sleeves cut off, posing.”

“You can imagine,” said Nathan.

“Thousands of shares. People calling him a murderer.”

“He’s doing our community a service, really.”

They climbed a narrow path worn into the sea grass. It led to the screened-in pool of a stone lanai furnished in rattan. Nathan went behind the bar with his phone to his ear. He fixed their drinks out of earshot. Carol invited them to sit on a loveseat. She offered them each a cigarette. They declined.

“I suppose you know too much about the consequences of smoking.” She lit the cigarette and drew out the motion of removing it from her mouth. A slip of smoke hovered between her lips. “My father was a pack-a-day smoker until he died at ninety-two. I figure I’m immune.”

“I’m not sure that would stand up to peer review,” said Benjamin.

“You’re right. Too emotional.”

Kevin Barry, “ Fjord of Killary ,” from Dark Lies the Island

So I bought an old hotel on the fjord of Killary. It was set hard by the harbor wall, with Mweelrea Mountain across the water, and disgracefully gray skies above. It rained two hundred and eighty-seven days of the year, and the locals were given to magnificent mood swings. On the night in question, the rain was particularly violent—it came down like handfuls of nails flung hard and fast by a seriously riled sky god. I was at this point eight months in the place and about convinced that it would be the death of me.

“It’s end-of-the-fucking-world stuff out there,” I said.

The chorus of locals in the hotel’s lounge bar, as always, ignored me. I was a fretful blow-in, by their mark, and simply not cut out for tough, gnarly, West of Ireland living. They were listening, instead, to John Murphy, our alcoholic funeral director.

“I’ll bury anythin’ that fuckin’ moves,” he said.

“Bastards, suicides, tinkers,” he said.

“I couldn’t give a fuckin’ monkey’s,” he said.

Behind the bar: the Guinness tap, the Smithwicks tap, the lager taps, the line of optics, the neatly stacked rows of glasses, and a high stool that sat by a wee slit of window that had a view across the water toward Mweelrea. The iodine tang of kelp hung in the air always, and put me in mind of embalming fluid. Bill Knott looked vaguely from his Bushmills toward the water.

“Highish, all right,” he said. “But now what’d we be talkin’ about for Belmullet, would you say? Off a slow road?”

The primary interest of these people’s lives, it often seemed, was how far one place was from another, and how long it might take to complete the journey, given the state of the roads. Bill had been in haulage as a young man and considered himself expert.

“I don’t know, Bill,” I said.

“Would we say an hour twenty if you weren’t tailbacked out of Newport?”

“I said I really don’t fucking well know, Bill.”

“There are those’ll say you’d do it in an hour.” He sipped, delicately. “But you’d want to be grease fuckin’ lightnin’ coming up from Westport direction, wouldn’t you?”

“We could be swimming it yet, Bill.”

Toni Cade Bambara, “ The Lesson ,” from  Gorilla, My Love

“Will you look at this sailboat, please,” say Flyboy, cuttin her off and pointin to the thing like it was his. So once again we tumble all over each other to gaze at this magnificent thing in the toy store which is just big enough to maybe sail two kittens across the pond if you strap them to the posts tight. We all start reciting the price tag like we in assembly. “Hand-crafted sailboat of fiberglass at one thousand one hundred ninety-five dollars.”

“Unbelievable,” I hear myself say and am really stunned. I read it again for myself just in case the group recitation put me in a trance. Same thing. For some reason this pisses me off. We look at Miss Moore and she lookin at us, waiting for I dunno what.

“Who’d pay all that when you can buy a sailboat set for a quarter at Pop’s, a tube of glue for a dime, and a ball of string for eight cents? It must have a motor and a whole lot else besides,” I say. “My sailboat cost me about fifty cents.”

“But will it take water?” say Mercedes with her smart ass.

“Took mine to Alley Pond Park once,” say Flyboy. “String broke. Lost it. Pity.”

“Sailed mine in Central Park and it keeled over and sank. Had to ask my father for another dollar.”

“And you got the strap,” laugh Big Butt. “The jerk didn’t even have a string on it. My old man wailed on his behind.”

Little Q.T. was staring hard at the sailboat and you could see he wanted it bad. But he too little and somebody’d just take it from him. So what the hell.

“This boat for kids, Miss Moore?”

“Parents silly to buy something like that just to get all broke up,” say Rosie Giraffe.

“That much money it should last forever,” I figure.

“My father’d buy it for me if I wanted it.”

“Your father, my ass,” say Rosie Giraffe getting a chance to finally push Mercedes.

“Must be rich people shop here,” say Q.T.

“You are a very bright boy,” say Flyboy. “What was your first clue?” And he rap him on the head with the back of his knuckles, since Q.T. the only one he could get away with. Though Q.T. liable to come up behind you years later and get his licks in when you half expect it.

Ali Smith, “ The Child ,” from The First Person and Other Stories

You’re a really rubbish driver, a voice said from the back of the car. I could do better than that, and I can’t even drive. Are you for instance representative of all women drivers, or is it just you among all women who’s so rubbish at driving?

It was the child speaking. But it spoke with so surprisingly charming a little voice that it made me want to laugh, a voice as young and clear as a series of ringing bells arranged into a pretty melody. It said the complicated words, representative and for instance, with an innocence that sounded ancient, centuries old, and at the same time as if it had only just discovered their meaning and was trying out their usage and I was privileged to be present when it did.

I slewed the car over to the side of the motorway, switched the engine off and leaned over the front seat into the back. The child still lay there helpless, rolled up in the tartan blanket, held in place by it inside the seatbelt. It didn’t look old enough to be able to speak. It looked barely a year old.

It’s terrible. Asylum seekers come here and take all our jobs and all our benefits, it said preternaturally, sweetly. They should all be sent back to where they come from.

There was a slight endearing lisp on the “s” sounds in the words asylum and seekers and jobs and benefits and sent.

What? I said.

Can’t you hear? Cloth in your ears? it said. The real terrorists are people who aren’t properly English. They will sneak into football stadiums and blow up innocent Christian people supporting innocent English teams.

The words slipped out of its ruby-red mouth. I could just see the glint of its little coming-through teeth.

It said: The pound is our rightful heritage. We deserve our heritage. Women shouldn’t work if they’re going to have babies. Women shouldn’t work at all. It’s not the natural order of things. And as for gay weddings. Don’t make me laugh.

Then it laughed, blondly, beautifully, as if only for me. Its big blue eyes were open and looking straight up at me as if I were the most delightful thing it had ever seen.

I was enchanted. I laughed back.

ZZ Packer, “The Ant of the Self,” from Drinking Coffee Elsewhere

My father just got a DUI—again—though that didn’t stop him from asking for the keys. When I didn’t give them up, he sighed and shook his head as though I withheld keys from him daily. “C’mon, Spurge,” he’d said. “The pigs aren’t even looking.”

He’s the only person I know who still calls cops “pigs,” a holdover from what he refers to as his Black Panther days, when “the brothers” raked their globes of hair with black-fisted Afro picks, then left them stuck there like javelins. When, as he tells it, he and Huey P. Newton would meet in basements and wear leather jackets and stick it to whitey. Having given me investment advice, he now watches the world outside the Honda a little too jubilantly. I take the curve around the city, past the backsides of chain restaurants and malls, office parks and the shitty Louisville zoo.

“That’s your future,” he says winding down from his rant. “Sound investments.”

“Maybe you should ask the pigs for your bail money back,” I say. “We could invest that.”

“You keep getting money from debate, we could invest.”

When most people talk about investing, they mean stocks or bonds or mutual funds. What my father means is his friend Splo’s cockfighting arena, or some dude who goes door to door selling exercise equipment that does all the exercise for you. He’d invested in a woman who tried selling African cichlids to pet shops, but all she’d done was dye ordinary goldfish so they looked tropical. “Didn’t you just win some cash?” he asks. “From debate?”

“Bail,” I say. “I used it to pay your bail.”

He’s quiet for a while. I wait for him to stumble out a thanks. I wait for him to promise to pay me back with money he knows he’ll never have. Finally he sighs and says, “Most investors buy low and sell high. Know why they do that?” With my father there are not only trick questions, but trick answers. Before I can respond, I hear his voice, loud and naked. “I axed you, ‘Do you know why they do that?'” He’s shaking my arm as if trying to wake me. “You answer me when I ask you something.”

I twist my arm from his grasp to show I’m not afraid. We swerve out of our lane. Cars behind us swerve as well, then zoom around us and pull ahead as if we are a rock in a stream.

“Do you know who this is ?” he says. “Do you know who you’re talking to ?”

I haven’t been talking to anyone, but I keep this to myself.

Jhumpa Lahiri, “ A Temporary Matter ,” from Interpreter of Maladies

The microwave had just beeped when the lights went out, and the music disappeared.

“Perfect timing,” Shoba said.

“All I could find were birthday candles.” He lit up the ivy, keeping the rest of the candles and a book of matches by his plate.

“It doesn’t matter,” she said, running a finger along the stem of her wineglass. “It looks lovely.”

In the dimness, he knew how she sat, a bit forward in her chair, ankles crossed against the lowest rung, left elbow on the table. During his search for the candles, Shukumar had found a bottle of wine in a crate he had thought was empty. He clamped the bottle between his knees while he turned in the corkscrew. He worried about spilling, and so he picked up the glasses and held them close to his lap while he filled them. They served themselves, stirring the rice with their forks, squinting as they extracted bay leaves and cloves from the stew.

Every few minutes Shukumar lit a few more birthday candles and drove them into the soil of the pot.

“It’s like India,” Shoba said, watching him tend his makeshift candelabra. “Sometimes the current disappears for hours at a stretch. I once had to attend an entire rice ceremony in the dark. The baby just cried and cried. It must have been so hot.”

Their baby had never cried, Shukumar considered. Their baby would never have a rice ceremony, even though Shoba had already made the guest list, and decided on which of her three brothers she was going to ask to feed the child its first taste of solid food, at six months if it was a boy, seven if it was a girl.

“Are you hot?” he asked her. He pushed the blazing ivy pot to the other end of the table, closer to the piles of books and mail, making it even more difficult for them to see each other. He was suddenly irritated that he couldn’t go upstairs and sit in front of the computer.

“No. It’s delicious,” she said, tapping her plate with her fork. “It really is.”

He refilled the wine in her glass. She thanked him.

They weren’t like this before. Now he had to struggle to say something that interested her, something that made her look up from her plate, or from her proofreading files. Eventually he gave up trying to amuse her. He learned not to mind the silences.

“I remember during power failures at my grandmother’s house, we all had to say something,” Shoba continued. He could barely see her face, but from her tone he knew her eyes were narrowed, as if trying to focus on a distant object. It was a habit of hers.

“Like what?”

“I don’t know. A little poem. A joke. A fact about the world. For some reason my relatives always wanted me to tell them the names of my friends in America. I don’t know why the information was so interesting to them. The last time I saw my aunt she asked after four girls I went to elementary school with in Tucson. I barely remember them now.”

Shukumar hadn’t spent as much time in India as Shoba had. His parents, who settled in New Hampshire, used to go back without him. The first time he’d gone as an infant he’d nearly died of amoebic dysentery. His father, a nervous type, was afraid to take him again, in case something were to happen, and left him with his aunt and uncle in Concord. As a teenager he preferred sailing camp or scooping ice cream during the summers to going to Calcutta. It wasn’t until after his father died, in his last year of college, that the country began to interest him, and he studied its history from course books as if it were any other subject. He wished now that he had his own childhood story of India.

“Let’s do that,” she said suddenly.

“Say something to each other in the dark.”

“Like what? I don’t know any jokes.”

“No, no jokes.” She thought for a minute. “How about telling each other something we’ve never told before.”

Grace Paley, “ My Father Addresses Me on the Facts of Old Age ,” from  Here and Somewhere Else

My father had decided to teach me how to grow old. I said O.K. My children didn’t think it was such a great idea. If I knew how, they thought, I might do so too easily. No, no, I said, it’s for later, years from now. And, besides, if I get it right it might be helpful to you kids in time to come.

They said, Really?

My father wanted to begin as soon as possible. For God’s sake, he said, you can talk to the kids later. Now, listen to me, send them out to play. You are so distractable.

We should probably begin at the beginning, he said. Change. First there is change, which nobody likes—even men. You’d be surprised. You can do little things—putting cream on the corners of your mouth, also the heels of your feet. But here is the main thing. Oh, I wish your mother was alive—not that she had time—

But Pa, I said, Mama never knew anything about cream. I did not say she was famous for not taking care.

Forget it, he said sadly. But I must mention squinting. don’t squint. Wear your glasses. Look at your aunt, so beautiful once. I know someone has said men don’t make passes at girls who wear glasses, but that’s an idea for a foolish person. There are many handsome women who are not exactly twenty-twenty.

Please sit down, he said. Be patient. The main thing is this—when you get up in the morning you must take your heart in your two hands. You must do this every morning.

That’s a metaphor, right?

Metaphor? No, no, you can do this. In the morning, do a few little exercises for the joints, not too much. Then put your hands like a cup over and under the heart. Under the breast. He said tactfully. It’s probably easier for a man. Then talk softly, don’t yell. Under your ribs, push a little. When you wake up, you must do this massage. I mean pat, stroke a little, don’t be ashamed. Very likely no one will be watching. Then you must talk to your heart.

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How to Format Dialogue in a Story

Last Updated: December 23, 2023 Fact Checked

This article was co-authored by Diya Chaudhuri, PhD . Diya Chaudhuri holds a PhD in Creative Writing (specializing in Poetry) from Georgia State University. She has over 5 years of experience as a writing tutor and instructor for both the University of Florida and Georgia State University. There are 10 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 453,714 times.

Whether you are writing fiction or nonfiction, satire or drama, writing the dialogue may have its challenges. The parts of a story where characters speak stand out from the other elements of a story, starting with the quotation marks that are nearly universally applied. Here are some of the most common and established steps for making sure that your story looks right when you have to figure out how to properly format dialogue.

Things You Should Know

• Break and indent paragraphs involving 2 or more speakers.
• Use quotation marks around all words spoken by a character.
• Break a long speech into multiple paragraphs.

Getting the Punctuation Right

• Even if a speaker only utters half a syllable before they’re interrupted by someone else, that half-syllable still gets its own indented paragraph.
• In English, dialogue is read from the left side of the page to the right, so the first thing readers notice when looking at a block of text is the white space on the left margin. [2] X Research source

• A single set of quotation marks can include multiple sentences, as long as they are spoken in the same portion of dialogue. For example: Evgeny argued, "But Laura didn’t have to finish her dinner! You always give her special treatment!"
• When a character quotes someone else, use double-quotes around what your character says, then single-quotes around the speech they’re quoting. For example: Evgeny argued, “But you never yell ‘Finish your dinner’ at Laura!”
• The reversal of roles for the single and double-quotation mark is common outside of American writing. Many European and Asian languages use angle brackets (<< >>) to mark dialogue instead.

• Use a comma to separate the dialogue tag from the dialogue.
• If the dialogue tag precedes the dialogue, the comma appears before the opening quotation mark: Evgeny argued, “But Laura didn’t have to finish her dinner!”
• If the dialogue tag comes after the dialogue, the comma appears before (inside) the closing quotation mark: “But Laura didn’t have to finish her dinner,” argued Evgeny.
• If the dialogue tag interrupts the flow of a sentence of dialogue, use a pair of commas that follows the previous two rules: “But Laura,” Evgeny argued, “never has to finish her dinner!”

• If the question or exclamation ends the dialogue, do not use commas to separate the dialogue from dialogue tags. For example: "Why did you order mac-and-cheese pizza for dinner?" Fatima asked in disbelief.

• For example, use a dash to indicate an abruptly ended speech: "What are y--" Joe began.
• You can also use dashes to indicate when one person's dialogue is interrupted by another's: "I just wanted to tell you--" "Don't say it!" "--that I prefer Rocky Road ice cream."
• Use ellipses when a character has lost her train of thought or can't figure out what to say: "Well, I guess I mean..."

• For example: Evgeny argued, "But Laura didn’t have to finish her dinner!" The “b” of “But” does not technically begin the sentence, but it begins a sentence in the world of the dialogue, so it is capitalized.
• However, if the first quoted word isn’t the first word of a sentence, don’t capitalize it: Evgeny argued that Laura “never has to finish her dinner!”

• Use an opening quotation mark where you normally would, but don’t place one at the end of the first paragraph of the character’s speech. The speech isn’t over yet, so you don’t punctuate it like it is!
• Do, however, place another opening quotation mark at the beginning of the next paragraph of speech. This indicates that this is a continuation of the speech from the previous paragraph.
• Place your closing quotation mark wherever the character’s speech ends, as you normally would.

Making Your Dialogue Flow Naturally

• When you have a long dialogue that’s clearly being held between only two people, you can choose to leave out the dialogue tags entirely. In this case, you would rely on your paragraph breaks and indentations to let the reader know which character is speaking.
• You should leave out the dialogue tags when more than two characters are speaking only if you intend for the reader to be potentially confused about who is speaking. For example, if four characters are arguing with one another, you may want the reader to get the sense that they’re just hearing snatches of argument without being able to tell who’s speaking. The confusion of leaving out dialogue tags could help accomplish this.

• Place dialogue tags in the middle of a sentence, interrupting the sentence, to change the pacing of your sentence. Because you have to use two commas to set the dialogue tag apart (see Step 3 in the previous section), your sentence will have two pauses in the middle of the spoken sentence: “And how exactly,” Laura muttered under her breath, “do you plan on accomplishing that?”

• Some examples of pronouns include I, me, he, she, herself, you, it, that, they, each, few, many, who, whoever, whose, someone, everybody, and so on.
• Pronouns must always agree with the number and gender of the nouns they’re referring to. [9] X Research source [10] X Research source
• For example, the only appropriate pronouns to replace “Laura” are singular, feminine ones: she, her, hers, herself.
• The only appropriate pronouns to replace “Laura and Evgeny” are plural, gender neutral ones (because English loses gender when pluralized): they, their, theirs, themselves, them.

Community Q&A

• Remember that less is often more. One common mistake that writers make when creating dialogue is to write things in longer sentences than people would actually say them. For example, most people use contractions and drop inessential words in everyday conversation. Thanks Helpful 0 Not Helpful 0
• Be very careful if you attempt to include an accent in your dialogue. Often, this will necessitate extra punctuation to show accent sounds ( danglin' instead of dangling , for example), and can end up visually overwhelming your reader. Thanks Helpful 0 Not Helpful 0

You Might Also Like

• ↑ http://edhelper.com/ReadingComprehension_33_85.html
• ↑ http://www.merriam-webster.com/dictionary/white%20space
• ↑ https://stlcc.edu/student-support/academic-success-and-tutoring/writing-center/writing-resources/quotation-marks-dialogue.aspx
• ↑ https://blog.reedsy.com/guide/how-to-write-dialogue/tags/
• ↑ http://learn.lexiconic.net/dialoguepunctuation.htm
• ↑ http://englishplus.com/grammar/00000106.htm
• ↑ http://www.chompchomp.com/terms/propernoun.htm
• ↑ http://www.grammarbook.com/grammar/pronoun.asp
• ↑ http://facweb.furman.edu/~moakes/Powerwrite/pronouns.htm
• ↑ https://www.sjsu.edu/writingcenter/docs/handouts/Pronouns.pdf

About This Article

To format dialogue in a story, insert a paragraph break and indent every time a new speaker starts talking. Then, put what they’re saying inside a set of double quotation marks. If you're using a dialogue tag, like "She said" or "He asked," follow it with a comma if it comes before the dialogue or a period if it comes after. Also, remember to put periods, question marks, and exclamation points inside the quotation marks. For more tips from our Creative Writing co-author, like how to write good, convincing dialogue, scroll down! Did this summary help you? Yes No

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Supreme Court Rejects Challenge to Biden Administration’s Contacts With Social Media Companies

The case, one of several this term on how the First Amendment applies to technology platforms, was dismissed on the ground that the plaintiffs lacked standing to sue.

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By Adam Liptak

Reporting from Washington

The Supreme Court handed the Biden administration a major practical victory on Wednesday, rejecting a Republican challenge that sought to prevent the government from contacting social media platforms to combat what it said was misinformation.

The court ruled that the states and users who had challenged those interactions had not suffered the sort of direct injury that gave them standing to sue.

The decision, by a 6-to-3 vote, left for another day fundamental questions about what limits the First Amendment imposes on the government’s power to influence the technology companies that are the main gatekeepers of information in the internet era.

The case arose from a barrage of communications from administration officials urging platforms to take down posts on topics like the coronavirus vaccine and claims of election fraud. The attorneys general of Missouri and Louisiana, both Republicans, sued, along with three doctors, the owner of a right-wing website that frequently traffics in conspiracy theories and an activist concerned that Facebook had suppressed her posts on the supposed side effects of the coronavirus vaccine.

“The plaintiffs, without any concrete link between their injuries and the defendants’ conduct, ask us to conduct a review of the yearslong communications between dozens of federal officials, across different agencies, with different social media platforms, about different topics,” Justice Amy Coney Barrett wrote for the majority. “This court’s standing doctrine prevents us from exercising such general legal oversight of the other branches of government.”

Justice Samuel A. Alito Jr., joined by Justices Clarence Thomas and Neil M. Gorsuch, dissented.

“For months,” Justice Alito wrote, “high-ranking government officials placed unrelenting pressure on Facebook to suppress Americans’ free speech. Because the court unjustifiably refuses to address this serious threat to the First Amendment, I respectfully dissent.”

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Newsom attacks ‘delusional California bashers’ in unorthodox speech

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Gov. Gavin Newsom took on “delusional California bashers” and lauded the state’s economic prowess and inclusive values in an unorthodox State of the State speech that he shared in a video Tuesday on social media.

Repeating familiar tropes of past political speeches, Newsom cast the state as a force of light against dark conservative forces. He boasted about California’s work to protect civil rights and attacked Republicans in other states for “telling a woman she’s not in charge of her own body.”

“Our values and our way of life are the antidote to the poisonous populism of the right, and to the fear and anxiety that so many people are feeling today,” Newsom said. “People across the globe, they look to California and see what’s possible, and how we can live together and advance together and prosper together across every conceivable and imaginable difference.”

The prerecorded address marks the fourth year in a row that Newsom has broken the California tradition of the governor delivering the annual address to lawmakers at the state Capitol.

His GOP foes said the decision to reject the conventional setting again is an example of Newsom’s lack of commitment to the job as he expands his national profile.

“The governor has no respect for this institution,” said Assemblymember James Gallagher (R-Yuba City). “This governor acts like he’s too busy to do things that he’s supposed to do. He’s obviously able to do it in person.”

Newsom’s aides defended the governor, pointing out that the California Constitution only requires him to submit a written letter to the Legislature. Newsom invited lawmakers to a private reception at the governor’s mansion in Sacramento on Monday evening.

Prior governors have used the speech, which has been historically delivered in January, to outline their policy agenda for the year to lawmakers from both houses and political parties in the Assembly chamber. The typical address offers an opportunity to show deference to lawmakers, by appearing in person on their floor, and to gather their support for the work ahead.

But critics of the address call it a tired ritual in an era of one-party rule and say the value of the speech has been usurped by the budget, which has become the governor’s main avenue to drive policy change.

Newsom proposes bond measure, sweeping mental health reform in California

Gov. Gavin Newsom calls for sweeping mental health reforms to generate billions for behavioral health facilities throughout California.

March 19, 2023

Newsom, who dislikes reading off teleprompters because of his dyslexia, has not delivered the State of the State in the Capitol since 2020. Newsom’s address was streamed the following year from an empty Dodger Stadium , a mass COVID-19 vaccination site where the number of seats offered a symbolic representation of the California lives lost in the pandemic at the time.

The governor in 2022 spoke from the headquarters of the California Natural Resources Agency in Sacramento, a 21-story environmentally friendly glass tower blocks from the Capitol, and promised gas rebates to taxpayers. Newsom declined to give a speech last year and instead opted for a statewide press tour, where he sprinkled policy announcements at stops from Sacramento to San Diego .

The governor’s office said Newsom wanted to deliver the speech in the chamber this year and struggled to find a date that worked with the Legislature.

The speech was initially slated for March 13. The address was rescheduled after Newsom’s bond measure to fund mental health services, Proposition 1, remained too close to call for two weeks after the March 5 primary election . His speech was rewritten with a plan to deliver it on March 18 and then delayed again.

Opposition concedes that Newsom likely to eke out a win on Proposition 1 in California

Despite the confidence he projected about Proposition 1, Gov. Gavin Newsom’s ballot measure on California’s mental health services is leading narrowly.

March 15, 2024

Debates over how to solve California’s $46.8-billion budget deficit heated up the following month and continued until last week. Now lawmakers and the governor are staring down an impending deadline to qualify measures on the November ballot and negotiating with interest groups to rescind the initiatives they oppose.

Democratic Sen. Steve Glazer of Orinda was unfazed by Newsom’s nontraditional approach to the speech, saying simply that “we are in changing times,” and he respects the governor’s choice in how he delivers his message.

For one member of an earlier generation of lawmakers, though, Newsom’s video message came off like a snub.

“I hope it’s the last time it ever happens,” said Rusty Areias, who was a Democratic assemblyman in the 1980s and ’90s.

“It’s one of the things that members always look forward to. I understand the governor is very busy. I understand that there are national and international issues that are probably more important, but it is a tradition that in my mind is worth maintaining.”

In his address, Newsom touted his administration’s work to lessen homelessness and crime, two policy areas in which he’s most politically vulnerable.

“When it comes to America’s homeless problem, California’s detractors have similarly offered nothing but rhetoric, moaning and casting blame,” Newsom said. “No state, by the way, has done as much as California in addressing this pernicious problem of homelessness plaguing cities and towns.”

He pushed back on a narrative that California is “defunding the police,” saying the state is recruiting 1,000 California Highway Patrol officers and passing retail theft reforms this year.

In a lighter moment, he described the state as a “weird, wild, free-spirited” creative haven, home to the heavy metal band Metallica and rapper Kendrick Lamar and a place that invented “the popsicle, blue jeans and Barbie.”

Newsom’s speech alluded to the November presidential election, which he referred to as “another extraordinary moment in history — for California, for the country, and for the world.” He compared the moment to an “anxious” time in 1939, when then-California Gov. Culbert Olson in his inaugural address warned about the “the destruction of democracy” as fascism spread throughout Europe.

“We are presented with a choice between a society that embraces our values and a world darkened by division and discrimination,” Newsom said. “The economic prosperity, health, safety and freedom that we enjoy are under assault. Forces are threatening the very foundation of California’s success — our pluralism, our innovative spirit, and our diversity.”

Newsom is expected to travel to Atlanta this week to attend the presidential debate on Thursday as a surrogate for President Biden. The governor, who has built a reputation as a Democrat unafraid of taking the fight to Republicans, was invited by the Biden campaign to participate in media interviews before and after the debate to support the president and the party.

The governor used the speech to attack conservatives nationally over reproductive rights, an issue Democrats have tried to capitalize on in the election.

“When it comes to reproductive rights, their lies are designed to control,” Newsom said. “Their draconian policies are driving women to flee across state lines, as fugitives from laws written by men more than a hundred years ago. Some even go so far as to force victims of assault to give birth to their rapist’s babies.”

Sacramento Bureau Chief Laurel Rosenhall and staff writer Anabel Sosa contributed to this report.

More to Read

Column: Why Newsom might not be cut out for Washington

June 26, 2024

Newsom urges California voters to protect same-sex marriage amid Supreme Court distrust

June 7, 2024

Newsom calls out Republican abortion policies in new ad running in Alabama

April 21, 2024

Start your day right

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Taryn Luna covers Gov. Gavin Newsom and California politics in Sacramento for the Los Angeles Times.

More From the Los Angeles Times

Gov. Newsom signs budget to close California’s $46.8-billion budget deficit

June 29, 2024

Column: After Biden’s debate fiasco, Harris or Newsom could be Plan B

‘A course correct’: How Biden resets his campaign since he’s likely not going anywhere

World & Nation

Biden rallies for LGBTQ+ rights as he looks to shake off debate performance

Jill Biden enthusiastically supports Joe after debate: 'You did such a great job'

First Lady Jill Biden gave President Joe Biden a warm welcome as he stepped on stage at an Atlanta hotel after Thursday night's debate − despite his performance sparking concerns about his candidacy .

"Didn't the president do a great job? Yes!" said Jill Biden to supporters who gathered at the hotel after Joe stepped on stage. After a brief pause, the crowd starting chanting "four more years!" before Jill joined in on the chant.

"Joe you did such a great job," she went on. "You answered every question, you knew all the facts." Then she turned to the crowd to ask, "And what did Trump do?"

"Lie!" they all shouted in unison.

Other reactions to the first debate were mostly negative. Here's a look at what people are saying.

Swing state voters react to Trump-Biden debate

Reporters for USA TODAY's network partners interviewed swing-state residents shortly after the debate ended to see how they thought each candidate fared.

A voter in Nevada compared  President Joe Biden’s performance  to elder abuse.

A voter in Georgia was so disgusted with  what he was hearing  from the Democratic incumbent and former President Donald Trump that he quit watching, walked to a liquor store and bought a six-pack of beer.

Another voter in Wisconsin called it “a painful experience.”

Debate reactions from morning television

Morning show anchors had a variety of reactions Friday morning to what happened on stage Thursday night.

"The president struggled with answers...Trump struggled with the truth," "Good Morning America" host George Stephanopoulos said Friday morning at the opening of the show.

Pres. Biden and former Pres. Trump go head-to-head and trade personal attacks in first debate. @rachelvscott reports. https://t.co/ld2zv1VO9B pic.twitter.com/USbMbiObPu — Good Morning America (@GMA) June 28, 2024

"Both presumptive nominees were hoping to shake off concerns about their age and their fitness for office, but President Biden failed to land any knockout blows, and his stumbling performance is raising a lot of alarm bells for many Democrats this morning," "CBS Mornings" host Gayle King said.

"His struggles drew attention away from a blizzard of false claims from Donald Trump," "CBS News" Chief White House Correspondent Nancy Cordes said in the post-debate report.

Both candidates are facing criticism after last night’s presidential debate, with Democratic lawmakers using words like “disappointing” and “painful” to describe President Biden’s performance. Some are now openly questioning whether it’s too late to replace him. pic.twitter.com/GgUkKtLAnM — CBS Mornings (@CBSMornings) June 28, 2024

"Today" kicked off their Friday morning show with reactions and analysis to the debate with anchors from "NBC Nightly News" and "Meet the Press."

"President Biden's struggles in some ways overshadowing the multiple lies and grievances from former President Trump as both candidates now look ahead to rallies today in states they hope to win," "Sunday NBC Nightly News" anchor Hallie Jackson told hosts Hoda Kotb and Savannah Guthrie.

Contributing: Michael Collins, Melissa Cruz, Christina Avery, Fernando Cervantes Jr., Sabine Martin, Kerria Weaver, Laura Schulte, Matthew Rink, Chris Ullery, Mark Robison, Emily DeLetter & Karissa Waddick; USA TODAY

Gabe Hauari is a national trending news reporter at USA TODAY. You can follow him on X  @GabeHauari  or email him at [email protected].