So when screenwriters write characters that speak in this way, it sounds awkward and contrived.Human beings don’t usually say exactly what they’re thinking. On the nose dialogue is so unconvincing because people don’t speak like this in real life. But most interesting people, and certainly most interesting characters, don’t do this.’ The character is speaking the subtext there is no hidden meaning behind the words, no secret want, because everything is spelled out. ‘When a character states exactly what he wants it’s called on-the-nose dialogue. Robin Russin and William Downs define it as follows in their book Screenplay: Writing the Picture: They say exactly what they are thinking or feeling in no uncertain terms.
On the nose dialogue is where a character speaks with no subtext. Let’s dive in to what actually constitutes OTN dialogue… What is ‘On the Nose Dialogue’? It can often mean they’ll stop reading your screenplay on. Ultimately on the nose dialogue can be a huge turn off to potential producers, managers and agents. Sometimes, what was originally effective back-in-the-day but is by now well-worn dialogue, is even referred to as being ‘on the nose’. But it’s often the quickest way for a screenplay reader to view your work as unprofessional and, frankly, amateur. Granted, writing on the nose dialogue might not be the greatest sin in screenwriting terms.
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On the Nose Dialogue: How to Lose It or Use It in Screenwriting
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