Fix fluffy dialogue with action verbs
TL;DR
Fluffy dialogue is when spoken lines stop carrying intent. Action-driven dialogue fixes this by starting with the character’s scene objective, choosing an action verb that serves that goal, and then writing a line (or replacing it with physical action) that performs the action. By thinking in action verbs (such as 'to dismiss', 'to challenge', 'to belittle' etc.) you create clear cause-and-effect between lines, trim filler words, and make dialogue actively move the scene forward rather than stalling it.
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Dialogue’s job is to provide verbal action
When this fails, the spoken words stall the scene instead of advancing it.
Sensing this, your unconscious makes you hide the problem with “creative” fluff and melodramatic conflict. You can feel the problem, but you can’t find it.
This is writer’s block in sheep’s clothing.
The Action Verb is the solution
An action verb describes the intention behind the spoken words; what the character is doing by saying.
When Darth Vader says “No, I am your father” is he really sharing a fact about paternal lineage? No, his verbal action is to shatter Luke’s world.
Look at the following breakdown of these phrases:
“Hello, Sarah.” → to greet
“Whatever.” → to dismiss
“Is that so?” → to challenge
“Sounds like you had a productive day.” → to belittle
Thinking in action verbs lets you control the moment-to-moment causality of a scene: one verbal action triggers a reaction, which forces the next move (just like with physical action).
This makes the spoken line a means to an end, as it should be.
Plotting out the dialogue’s action verbs sharpens the scene focus by forcing you to diagnose how they’re acting and reacting, rather than what they’re saying.
It also gives you more creative freedom because you already know what the line is meant to achieve in terms of character and conflict, freeing you up for creative expression of that goal.
Dialogue as action beats
You can sketch a scene entirely in action verbs before writing a single line of dialogue.
Action-verb version:
John greets Sarah.
Sarah dismisses John.
John challenges Sarah.
Spoken version:
John: “Hello, Sarah.”
Sarah: “Whatever.”
John: “Is that so?”
Planning or revising a scene in the abstract, using dramatic beats like this, lets you progress the story without getting stuck in exact phrasing too early. Action comes first, lines later. This is great for banging out a quick draft.
Knowing the action also frees you up to choose physical action over dialogue, which is often preferable.
Let’s demonstrate this by keeping Sarah’s ‘dismiss’ beat while replacing the verbal with a physical action.
John: “Hello, Sarah.”
Sarah reaches for her headphones.
John: “Is that so?”
Let’s do the same with John’s ‘challenge’ beat.
John: “Hello, Sarah.”
Sarah puts her headphones on.
John un-plugs them.
Context often determines the line’s action
The same words can perform different actions depending on placement.
See how “I love you too, honey” can convey opposite actions depending on the line that came before:
Scenario 1:
John: “Yet again you made me look like an idiot in front of my colleagues.”
Sarah: “I love you too, honey.” → to taunt
Scenario 2:
John: “I can’t imagine life without you.”
Sarah: “I love you too, honey.” → to reciprocate
Same line. Opposite intention.
Scene objective (goal) → Action verb (strategy) → Spoken line (tactic)
Defining a character’s scene objective helps you choose the right action verbs.
Those, in turn, guide you toward the most effective spoken lines.
Let’s examine the following scenarios.
Scenario 1️⃣
Sarah’s Scene objective: avoid the conflict
John: “I noticed you’d read my message an hour ago.” → to fish for information
Sarah: “Congrats, you have eyes.” → to reject him
Now keep the same scene objective, but change the action verb:
John: “I noticed you’d read my message an hour ago.” → to fish for information
Sarah: “Sounds like you had a productive day.” → to belittle him
Both responses avoid the conflict (goal), just through different actions (strategy), which in turn impact the word choice (tactic).
Scenario 2️⃣
Now flip Sarah’s scene objective and see how the available actions change.
Sarah’s new Scene objective: resolve the conflict
John: “I noticed you’d read my message an hour ago.” → to fish for information
Sarah: “I’m sensing a follow-up here?” → to give him some leash
Same confrontational personality. Same tone. But the new objective opens up different actions.
Now change the action again, while keeping the same objective:
John: “I noticed you’d read my message an hour ago.” → to fish for information
Sarah: “Yeah, was running for the bus and forgot to reply. Sorry.” → to explain her silence
Action verbs: a top-down approach
Dialogue becomes easier to write and easier to fix when you work top-down:
Decide what the character wants in the scene
Structure the scene with actions that serve that goal
Write lines that perform the action (or replace lines with physical action)
If the line isn’t working, you probably don’t need “better dialogue.” Rather, you need a clearer objective and better-defined action verbs.
For more dialogue tips, check out the Fix your dialogue guide [COMING SOON].