How to Write Dialogue That Sounds Natural Without Filler Words

Your character opens their mouth to speak and out comes: "I believe that we should perhaps consider the possibility of departing from this location in the immediate future."

Nobody talks like that.

Or maybe your dialogue sounds like this: "So, um, like, I was thinking, you know, that maybe we could, um, go to the, like, store or something? If you want. I mean, if you're not busy. You know."

People talk like that, but nobody wants to read it.

Good dialogue sits in the paradox: It needs to sound like real speech without actually being real speech. Real conversations are full of filler words, repetition, mundane pleasantries, and meandering topics. Fiction dialogue cuts all that while maintaining the rhythm and feel of natural talk.

This guide will teach you how to write dialogue that sounds authentic—how to identify and eliminate filler, when to use fragments and interruptions, how to create distinct character voices, how to add subtext, and how to make every line of dialogue serve your story while sounding like something a real person would say.

The Dialogue Paradox: Real Speech vs. Readable Speech

Here's what most writers discover eventually: Real speech, transcribed exactly, is terrible fiction dialogue.

What Real Speech Looks Like

Record and transcribe an actual conversation. You'll find:

Filler words everywhere: "Um", "uh", "like", "you know", "I mean", "so", "well", "basically"

Repetition: People say the same thing three ways to make sure they're understood. "I don't trust him. Like, I really don't trust him. You know? I just don't trust that guy at all."

Incomplete thoughts: Sentences trail off. "If we could just... I mean, maybe... yeah."

Redundant confirmation: "We should go." "Okay." "Yeah." "Sounds good." "Yep." "Let's do it."

Mundane small talk: "How are you?" "Good, you?" "Good, good. Nice weather." "Yeah, finally."

Meandering: No clear point, circles around topics, gets distracted, remembers other things mid-sentence.

If you transcribe this into fiction dialogue, readers will skim or skip. It's boring. It goes nowhere. It sounds too real.

What Fiction Dialogue Looks Like

Fiction dialogue is compressed reality:

Filler eliminated: Occasional "um" for character flavor, but mostly clean.

Repetition cut: Character says thing once, maybe twice for emphasis, not five times.

Fragments that communicate: "Where?" "The warehouse." "When?" "Tonight." Clear despite being incomplete.

Minimal confirmation: One "okay" or nod, then move on.

Small talk skipped: Unless it serves story (establishing normalcy before disruption, showing awkward silence), jump to relevant conversation.

Purposeful: Every line advances plot, reveals character, or creates tension. No wasted words.

Fiction dialogue creates the illusion of natural speech. It sounds real because it captures rhythm, contractions, interruptions, and subtext. But it's carefully constructed to be more interesting than actual talk.

Your Goal: Natural Without Boring

Think of dialogue as jazz. Jazz sounds improvised and natural, but it's actually structured and intentional. Good dialogue is the same—sounds spontaneous, is actually crafted.

Readers want dialogue that: - Sounds like something a person would say - Moves at good pace (not sluggish) - Has personality and voice - Reveals information or emotion - Creates or resolves tension - Doesn't waste their time

That's what we're building toward.

What to Cut: Eliminating Filler and Redundancy

First step to natural-sounding dialogue: Cut what real speech includes but fiction doesn't need.

Cut Filler Words

Common filler: um, uh, like, you know, I mean, well, so, basically, actually, literally, kind of, sort of

Before: "So, um, I was thinking, like, maybe we could, you know, check out that, uh, lead? If you want. I mean, if you think it's worth it." After: "I was thinking we could check out that lead. If you think it's worth it." Clean, clear, still sounds natural due to contractions and tentative structure.

Exception: Strategic filler for character trait. Nervous character might say "um" occasionally. But sparingly—once per scene, not every line.

Example: "Um, I need to tell you something." The "um" shows nervousness. But next line doesn't need another "um."

Cut Redundant Confirmations

Real people confirm understanding excessively:

Before: "We need to leave." "Okay." "Yeah." "Right." "Sounds good." "Let's go then." "Yep." After: "We need to leave." "Okay." They grabbed their coats and left. One confirmation, then action. Don't ping-pong agreements.

Cut Repetition (Mostly)

People repeat themselves in real speech. Fiction allows one statement, maybe two for emphasis.

Before: "I don't trust him. I just don't trust him at all. Like, I really, truly don't trust that guy. You know? I don't trust him." After: "I don't trust him. At all." Maybe add action: "I don't trust him." She crossed her arms, stepping back. Action reinforces without verbal repetition.

Exception: Deliberate repetition for emotional effect: "I didn't kill her. I didn't. I didn't." Shows desperation, breakdown. But used sparingly.

Cut Over-Explaining

Real people over-explain because they're uncertain listeners understand.

Before: "What I'm trying to say is, I mean, what I think is that basically we should probably maybe consider, you know, leaving. Now. Like, right now. That's what I'm saying." After: "We should leave. Now." Direct, clear, more urgent.

Cut Literal Greetings and Goodbyes

Unless greeting/goodbye is significant (awkward, hostile, intimate), skip it.

Before: "Hey." "Hey, how are you?" "Good, how are you?" "Good, good. What's up?" "Not much, you?" "Same. So..." After: She found him at the bar. "We need to talk." Or: They exchanged greetings. "We need to talk." Reader assumes normal pleasantries happened. Jump to relevant conversation.

Exception: Greeting IS the story. "Hey." Her voice was cold. He flinched. "Hey." Awkwardness is the point—keep it.

Cut Mundane Small Talk

Weather, traffic, generic "how's work?" unless it serves purpose.

Before: "Nice weather today." "Yeah, finally warming up." "About time. Terrible winter." "The worst. So much snow." "I know, right? Couldn't even drive some days." "Okay, so about the murder..." After: "About the murder..." Small talk served no purpose. Cut it.

Exception: Small talk as avoidance. They sat in awkward silence. He cleared his throat. "Nice weather." She stared at him. "My sister is dead and you're talking about the weather?" Here, small talk reveals character discomfort, creates tension. Keep it.

What to Keep: Elements That Sound Natural

After cutting filler, you need elements that maintain natural feel.

Keep Contractions

People use contractions in casual speech. Lack of contractions sounds stiff.

Stiff: "I am going to the store. Do you want to come with me? I do not think I will be long." Natural: "I'm going to the store. Want to come? I won't be long." Contraction = casual. No contraction = formal, robotic, or non-native speaker.

Exception: Character speaking formally (diplomat, royalty, ceremony), nervously (stressed people speak more carefully), or English isn't first language.

Keep Sentence Fragments

Real people don't speak in complete sentences. Fiction can mirror this.

Complete sentences (stilted): "Where are we going?" "We are going to the warehouse." "When are we going there?" "We are going tonight." Fragments (natural): "Where?" "The warehouse." "When?" "Tonight." Faster, sharper, sounds like real exchange.

Variation: "Where are we going?" "The warehouse." "When?" "Tonight." Mix complete and fragment based on rhythm and character.

Keep Interruptions

People interrupt each other. Shows conflict, urgency, relationship dynamic.

Format: Em dash for interruption.

"I think we should—" "No. We're not doing that." "If you'd just listen—" "I've been listening. You're wrong."

Interruption creates tension, shows power dynamics (who interrupts whom).

Self-interruption: Character cuts themselves off. "I didn't mean to—" He shook his head. "Forget it."

Keep Subtext

People don't always say what they mean. Dialogue layers work through implication.

On-the-nose (weak): "I'm angry at you for betraying me." Subtext (stronger): "Nice of you to show up." Her voice was flat. Implication: You're late/unreliable. I'm upset. No direct statement needed.

Another example: "Whatever you want." [means: I disagree but won't fight] "Fine." [means: not fine] "We're good." [means: we're not good] Reader reads between lines. More engaging than direct statement.

Keep Speech Patterns and Rhythm

How character speaks—short sentences vs. long, questions vs. statements, pauses—creates voice.

Character A (short, blunt): "I saw him. Last night. In the alley." Character B (flowing, detailed): "Last night I was walking through the alley behind the market, you know the one near the old theater? And I saw him standing there." Same information, different delivery. Rhythm reveals character.

Keep Character-Appropriate Vocabulary

Word choice creates authentic voice.

Educated character: "I disagree with your assessment." Casual character: "You're wrong." Street kid: "That's bullshit." Three characters, same meaning, different vocabulary based on background.

Time period: Contemporary: "That's crazy." Historical: "That's madness." Subtle differences maintain period while staying readable.

Techniques for Natural-Sounding Dialogue

Specific methods to improve dialogue authenticity.

Technique 1: Read Aloud

Single best test for natural dialogue: Read it out loud.

If you stumble, can't say it naturally, or it sounds awkward when spoken, readers will hear it as awkward when reading.

Process: 1. Read dialogue scene aloud 2. Notice where you stumble or pause unnaturally 3. Revise those spots 4. Read again 5. Repeat until it flows

Your ear catches what your eye misses.

Technique 2: The "Actually Talk" Test

Say what character wants to communicate as if you're talking to a friend. How would you ACTUALLY say it?

Written (stiff): "I believe we should depart from this establishment immediately." Actually talk: "We should get out of here. Now." Write what you'd actually say (then remove filler if it snuck in).

Technique 3: Action Beats Instead of More Words

Don't have characters narrate actions they're doing.

Weak: "I'm leaving now." He walked to the door. Better: He grabbed his keys and walked out. Action shows leaving. No need for character to announce it.

Exception: Announcement is significant. "I'm leaving. For good this time." Not just leaving—declaring permanent departure. Words add meaning.

Technique 4: Imply, Don't State

Show emotion through what's said and how, not direct statements.

Stated: "I'm angry at you." Implied: "Great. Just great." He slammed the door. Anger shown through tone and action, not announced.

Stated: "I'm nervous about this plan." Implied: "What if it doesn't work?" She twisted her ring. Nervousness shown through questions and gesture.

Technique 5: Let Context Do the Work

Reader infers meaning from context. Don't over-explain.

Over-explained: "Where were you? You were supposed to meet me at eight o'clock but you didn't show up and now it's nine-thirty so I'm asking where you were." Context-supported: "Where were you?" She gestured to her watch. "It's nine-thirty." Reader infers: Late for planned meeting. Frustration clear without spelling it all out.

Technique 6: Strategic Incompleteness

Real people trail off when overwhelmed or interrupted.

Emotional breakdown: "If you'd just—" She shook her head, unable to continue. Interruption: "Maybe we could—" "No." His voice was final. Loss for words: "I don't know how to..." He gestured helplessly. Incompleteness feels real, shows emotion.

Dialogue Tags and Beats

How you attribute dialogue affects naturalness.

Default to "Said"

"Said" is invisible. Readers' eyes skip over it. Use it 70% of the time.

"We need to leave," she said. "Why?" he said. "You'll see," she said.

Functional, doesn't distract from actual dialogue.

Occasional Specific Verbs

When manner of speaking matters: whispered, shouted, muttered, called, asked.

"Get down," he whispered. "Fire!" she shouted. "Whatever," he muttered.

These provide meaningful information about delivery.

Avoid: Fancy synonym inflation. "He ejaculated" (old-fashioned for "exclaimed", now unfortunate) "She hissed" (unless literally hissing) "He laughed" (can't speak while laughing) When in doubt, "said" works.

Action Beats Replace Tags

Instead of tag, show action. Makes clear who's speaking, adds context.

With tag: "We're leaving," she said. With beat: "We're leaving." She grabbed her coat. Action beat = no tag needed, scene feels more alive.

Pattern: Alternate between tags and beats for variety. "Where are we going?" he asked. She checked her phone. "The warehouse." "Why?" "You'll see." She started the car.

No Tag When Clear

In two-person conversation, alternating dialogue needs no tags after initial establishment.

"Where are we going?" "The warehouse." "Why?" "You'll see." "You're not going to tell me?" "Nope." "Fine." Clear from alternation. No tags needed.

Rule: Add tag/beat every 3-4 exchanges to reorient reader.

Avoid Adverbs

"Said angrily", "whispered softly", "shouted loudly"

Adverbs tell emotion. Show it through words themselves.

With adverb: "I hate you," she said angrily. Without: "I hate you." Her voice was ice. Or just: "I hate you." (The words themselves convey anger. No adverb needed.)

Creating Distinct Character Voices

Each character should sound different in dialogue.

The Cover Test

Cover up character names. Can you tell who's speaking by dialogue alone?

If not, voices need distinction.

Voice Elements to Vary

Sentence Length

Character A: "We need to leave." Character B: "I was thinking maybe we should probably start considering the possibility that we might need to leave soon, don't you think?" A is direct. B is verbose. Distinct.

Formality

Character A: "I disagree with your assessment." Character B: "You're wrong." A is formal. B is casual. Distinct.

Questions vs. Statements

Character A (confident): "We're going to the warehouse." Character B (uncertain): "Should we go to the warehouse? Is that safe?" A declares. B questions. Distinct.

Directness

Character A (blunt): "You screwed up." Character B (evasive): "Well, there might have been some aspects of the situation that didn't go exactly as planned..." A is direct. B dances around it. Distinct.

Cultural/Regional Expressions

Character A: "I'm fixing to leave." (Southern US) Character B: "I'm about to head out." (General American) Character C: "I'm off then." (British) Same meaning, different regional flavor.

Example: Same Information, Three Voices

All three characters need to say protagonist shouldn't trust the suspect.

Character A (educated, analytical): "I've reviewed his statement. The timeline doesn't align with the evidence. I recommend caution." Character B (street-smart, blunt): "That guy's lying. Don't trust him." Character C (anxious, verbose): "I don't know, I mean, something feels off about what he said? Like, I'm not saying he's definitely lying, but maybe we shouldn't, you know, trust him completely? Just to be safe?" Three distinct voices delivering same core message.

Subtext: What Characters Don't Say

Most powerful dialogue isn't about what's said—it's what's implied.

Surface vs. Subtext

Example 1: Surface: "Nice dress." Subtext (said warmly): Genuine compliment, friendly Subtext (said coldly): Criticism, disapproval, possibly jealousy Same words, different meaning based on delivery.

Example 2: Surface: "Whatever you want." Subtext: I disagree but won't argue / I'm too tired to fight / Your opinion doesn't matter to me Context determines meaning.

Creating Subtext

Say the Opposite

Character means one thing, says another.

"I'm fine." [clearly not fine] "It's no problem." [actually a huge problem] "Do what you want." [please don't] Reader picks up mismatch, engages more.

Deflection

Character avoids topic by changing subject.

"Did you love her?" "That was a long time ago." "That's not an answer." "It's the only one you're getting." Non-answer is answer. Reveals more than direct statement.

Loaded Pauses

What's not said matters.

"I need to tell you something." "Okay..." Silence. "You're scaring me." "I'm sick. It's bad." Pause builds tension, lets reader fill gap.

Subtext in Conflict

Characters fighting often don't say real issue.

Surface argument: "You're always late." "It was five minutes." "You never consider my time." "That's not fair." Real issue (unspoken): I don't feel valued in this relationship. Fight about lateness, but subtext is deeper emotional need. More interesting than if they stated real issue directly.

Common Dialogue Mistakes

Mistake 1: Info Dumps

Wrong: "As you know, John, your father was the CEO of this company for twenty years before he died in that tragic accident five years ago, leaving you to inherit his fortune." John knows this. Character wouldn't say it. Pure exposition for reader.

Fix: Find different delivery method. New character who doesn't know asks questions. Or protagonist reflects internally. Or show through action/context.

Mistake 2: All Characters Sound the Same

Every character uses same vocabulary, sentence structure, speech patterns.

Fix: Create voice profile for each major character. Define how they speak. Review dialogue to ensure distinction.

Mistake 3: Phonetic Dialect

Wrong: "Ah reckon ye'll be wantin' t' go t' th' market, won't ye?" Unreadable. Exhausting. Feels like work.

Fix: Suggest dialect through rhythm, word choice, and occasional dropped G's. Don't phonetically spell everything. "I reckon you'll want to go to the market, won't you?" Slight formality, word choice ("reckon"), different sentence structure = dialect suggested without painful reading.

Mistake 4: On-the-Nose Dialogue

Characters state exactly what they think and feel.

Wrong: "I'm angry at you because you betrayed my trust when you told Sarah my secret." Over-explained. Real people don't articulate this clearly in moment.

Fix: "You told Sarah." His voice was flat. "I didn't mean—" "Get out." Anger and betrayal clear without explanation.

Mistake 5: No Conflict

Characters agree, support, confirm each other constantly.

Boring: "We should go." "Good idea." "Let's take the car." "Sounds perfect." "I'll drive." "Great!" Better: "We should go." "I'm not going anywhere with you." "You don't have a choice." "Watch me." Conflict = tension = engaging.

Mistake 6: Explaining What Just Happened

[Character punches villain] "I just punched you!" Reader saw it. Don't narrate through dialogue.

Fix: [Character punches villain] Villain staggered back, blood on his lip. "You'll regret that." Reaction, not narration.

Genre-Specific Dialogue Guidelines

Different genres have different dialogue conventions.

Literary Fiction

Can be more meandering, philosophical. Subtext heavy. Conversations explore themes, character psyche. Longer exchanges okay. Less plot-driven.

Thriller

Sharp, fast, purposeful. Minimal fluff. Tension in every exchange. Short sentences, fragments common. Information traded efficiently. Action-oriented.

Romance

Banter, flirtation, emotional vulnerability. Subtext and surface both matter. Longer conversations okay (relationship building). Playful and intimate.

Fantasy/Sci-Fi

Can be slightly formal (different worlds/eras). But avoid "forsooth" clichés. Balance worldbuilding through dialogue (explaining magic/tech) with natural flow. Don't lecture.

Historical

Period-appropriate but readable. Slight formality okay. Avoid modern slang. Research common expressions of era. But prioritize clarity—readers are contemporary even if setting isn't.

Young Adult

Contemporary teen speech without dating it (avoid current slang that'll age). Emotional directness. Less censored language. Identity-focused themes.

Your Dialogue Revision Checklist

Filler and Redundancy: - [ ] Cut filler words (um, like, you know) except strategic character use - [ ] Eliminated redundant confirmations (multiple "okay"s) - [ ] Removed repetition (saying same thing multiple ways) - [ ] Cut over-explaining - [ ] Skipped mundane greetings/small talk unless significant Natural Elements: - [ ] Used contractions in casual speech - [ ] Included appropriate sentence fragments - [ ] Added interruptions where conflict/urgency exists - [ ] Incorporated subtext (characters don't say exactly what they mean) - [ ] Varied speech patterns and rhythm - [ ] Matched vocabulary to character background Technical: - [ ] Defaulted to "said" for most tags - [ ] Used action beats to replace some tags - [ ] Removed adverbs from dialogue tags - [ ] No tag when speaker is clear - [ ] Reoriented reader every 3-4 exchanges Character Voice: - [ ] Each character has distinct voice - [ ] Cover test: Can identify speakers without names - [ ] Vocabulary appropriate to character - [ ] Speech patterns consistent per character - [ ] Dialect suggested, not phonetically spelled Story Service: - [ ] Every line serves plot, character, or tension - [ ] No info dumps in dialogue - [ ] Conflict present in important exchanges - [ ] Characters don't narrate what reader just saw - [ ] Subtext present in key conversations Read Aloud Test: - [ ] Read every dialogue exchange aloud - [ ] No stumbling or awkward phasing - [ ] Sounds like something real person would say - [ ] Pacing feels right - [ ] Distinct voices audible Genre Appropriateness: - [ ] Dialogue style matches genre expectations - [ ] Formality level appropriate - [ ] Pacing fits genre (fast for thriller, etc.) - [ ] Balance of surface and subtext appropriate If you've checked these boxes, your dialogue is in good shape.

Final Thoughts: The Illusion of Natural

Natural-sounding dialogue is one of the hardest craft skills to master because it requires paradox: Write what sounds real without writing what actually is real.

Real speech transcribed is boring. Too formal writing sounds robotic. The sweet spot—dialogue that sounds authentic while serving story—comes from understanding what makes speech feel natural (rhythm, contractions, fragments, subtext) while cutting what makes real speech tedious (filler, repetition, meandering).

Every line of dialogue in your manuscript should pass two tests: 1. Does it sound like something this character would actually say? 2. Does it serve the story (advance plot, reveal character, create tension)? If it fails either test, revise or cut.

The best dialogue makes readers forget they're reading. They hear the characters speaking. They don't notice the craft because it's invisible—natural rhythm, distinct voices, purposeful exchanges that reveal and propel.

That invisibility is the goal. And it comes from technique: Cutting filler, maintaining rhythm, differentiating voices, adding subtext, and reading aloud until every exchange sounds like speech while functioning as story.

Your dialogue will never be perfect on first draft. That's fine. Dialogue is rewritten more than any other element for most authors. Write it rough, knowing you'll polish. Then in revision, apply these techniques systematically. Cut filler. Add character distinction. Incorporate subtext. Read aloud. Repeat.

Eventually, your dialogue will sound natural without any conscious effort. The techniques become instinct. You'll hear the filler as you type it and delete it immediately. You'll naturally write distinct character voices. Your ear will guide you.

Until then, use this guide. Study dialogue in books you love. Read published dialogue aloud and notice what techniques authors use. Practice. Your dialogue will improve.

And remember: Nobody talks perfectly. Your characters shouldn't either. But they should talk interestingly, purposefully, and believably. That's the craft of fictional dialogue.