Cut Greetings and Goodbyes
Real conversations start with hellos and end with see-you-laters. Fiction doesn’t need them unless they reveal something essential.
- Why it worksReaders assume basic social niceties happened. Showing them wastes space. In The Hunger Games, Suzanne Collins rarely shows Katniss saying hello or goodbye. Conversations start mid-thought and end when the tension peaks. The missing pleasantries don’t register because the dialogue moves too fast.
- How to do itStart conversations after the greeting. End them before the goodbye. In Six of Crows, Leigh Bardugo drops readers into arguments and negotiations without preamble. Characters don’t waste time on “Hey, can we talk?”—they just talk.
Do
Begin dialogue when something meaningful starts.
Avoid
Opening scenes with characters saying each other’s names or asking permission to speak.
From My Work
In The Death of Me, Katie and Sherry’s conversation skips straight to what matters:
“Look, in summer, you can come out and visit. I’m sure my mom and dad will pay for it. Maybe you can even move in for a while. I know it sounds like a long time, but…it’ll go fast, I promise.”
“This is so not fair,” she whined. “What am I supposed to do for friends?”
No hello. No “Can I talk to you?” They’re already mid-conversation when the scene opens.
Eliminate Repetition
Characters who repeat information readers already know can slow the story.
- Why it worksRepetition for emphasis is a tool. Repetition for no reason is filler. In Gone Girl, Gillian Flynn never has characters recap plot points unnecessarily. If readers saw it happen, characters don’t re-explain it to each other.
- How to do itTrust readers to remember. If a character asks “What happened?” and readers already know, skip the explanation or summarize it in narrative. In The Silent Patient, Alex Michaelides uses “I told her everything” rather than repeating dialogue readers already heard.
Do
Assume readers are paying attention.
Avoid
Having characters explain things to each other that both already know.
Remove Obvious Responses
“Really?” “Seriously?” “Are you sure?” These reactions feel natural but rarely add value.
- Why it worksObvious responses pad word count without adding meaning. In Red Rising, Pierce Brown cuts straight to substantive replies. Characters don’t waste breath confirming they heard something—they respond with action or meaningful reaction.
- How to do itReplace obvious questions with stronger reactions. Instead of “Are you sure?” show hesitation, doubt, or immediate pushback. In An Ember in the Ashes, Sabaa Tahir lets body language carry light reactions while dialogue handles weight.
Do
Use physical reactions for small beats.
Avoid
Filling space with “What?” “Huh?” and “Really?”
From My Work
In Salt & Bone, Jack and Lisa’s dialogue skips filler responses during crisis:
“Do you think there are any of them inside?”
“Then where’s the other exit?”
No “Are you sure?” No “Really?” Just rapid-fire questions and answers because urgency demands efficiency.
Cut Setup That Delays the Point
“I need to tell you something” is filler. “We need to talk” is filler. Characters who announce they’re about to speak waste time.
- Why it worksSetup creates false tension. Real tension comes from what’s being said, not the preamble. In The Hate U Give, Angie Thomas has Starr speak directly. She doesn’t announce important conversations—she starts them.
- How to do itDelete lines where characters ask permission to speak or warn that something’s coming. Start with the actual information. In Children of Blood and Bone, Tomi Adeyemi’s characters don’t hedge—they confront, confess, and accuse without warning.
Do
Trust the content to create tension.
Avoid
Having characters announce “I have something to say” before saying it.
Remove Filler Connectors
“Well,” “So,” “I mean,” “You know”—these verbal tics feel natural but clutter the page.
- Why it worksA few tics create voice. Too many create noise. In The Poppy War, R.F. Kuang uses verbal patterns sparingly to differentiate characters. Rin speaks directly; others hedge. The contrast matters because it’s selective.
- How to do itRead dialogue aloud. Mark every “well” and “so.” Keep one in ten. In Mexican Gothic, Silvia Moreno-Garcia uses formal speech patterns for some characters and casual for others, but neither group over-relies on filler words.
Do
Use verbal tics to establish character voice, then cut most of them.
Avoid
Starting every line with “Well,” or “So,”.
From My Work
In The Death of Me, Sherry’s dialogue shows personality without excessive filler:
“Yeah, well no one asked you.” She shot him a sideways glare.
“People don’t have to ask for my opinion.” He snorted.
“That’s right. It just shoots out like pea soup from the mouth of the devil.”
The “Yeah, well” establishes Sherry’s attitude, but the rest of the exchange stays sharp.
Cut Dialogue That Just Moves Characters
“Let’s go to the kitchen” is filler unless the location matters. “Should we sit?” rarely needs to be said.
- Why it worksReaders assume characters move between locations. Stating it explicitly slows pacing. In The Martian, Andy Weir transitions between locations in narrative, not dialogue. Mark doesn’t announce “I’m going to the rover”—he just goes.
- How to do itUse action beats to show movement. Instead of a character saying “Let’s go inside,” write “She opened the door.” In Gideon the Ninth, Tamsyn Muir moves characters through the Locked Tomb without them narrating their steps.
Do
Show movement through action, not announcement.
Avoid
Having characters state where they’re going unless it’s contested or significant.
Keep Dialogue That Does Double Duty
Every line should serve multiple purposes. The best dialogue reveals character while advancing plot while building tension.
- Why it worksEfficient dialogue feels natural and purposeful. In The Fifth Season, N.K. Jemisin’s dialogue establishes relationships, reveals worldbuilding, and drives emotional stakes simultaneously. Nothing is wasted.
- How to do itBefore finalizing any exchange, ask: does this line do two things? If it only accomplishes one purpose, can it be cut or combined with another line? In Throne of Glass, Sarah J. Maas layers banter with information reveals and emotional subtext.
Do
Make every line work overtime.
Avoid
Keeping dialogue that only serves one minor function.
From My Work
In Salt & Bone, dialogue during crisis does multiple jobs at once:
“Jack.” My voice rose—calm, but firm.
Calvin clapped and squealed again. “Peek-boo!”
The man outside slammed his fist into the glass.
Jack jolted awake. “What the fuck?”
“We have a problem,” I said.
Lisa’s repetition of Jack’s name shows urgency. Jack’s response shows his personality. “We have a problem” states the situation while revealing Lisa’s controlled demeanor under pressure. Nothing is wasted.
Test Every Line
When editing dialogue, ask: what happens if I delete this? If nothing changes, cut it.
- Why it worksRuthless editing creates momentum. In Catching Fire, Suzanne Collins cuts conversations to essentials. Exchanges that don’t shift dynamics or reveal information disappear.
- How to do itHighlight dialogue in a different color. Read only the highlighted sections. Does the conversation work without the surrounding text? If dialogue feels complete on its own, it’s probably efficient. In A Court of Mist and Fury, Sarah J. Maas structures dialogue so each exchange has clear purpose.
Do
Question every exchange during revision.
Avoid
Keeping lines because they “feel realistic” if they don’t serve the story.
Final Thoughts
Cutting filler dialogue means eliminating greetings, removing repetition, deleting obvious responses, removing setup that delays the point, trimming verbal connectors, cutting movement announcements, ensuring dialogue does double duty, and testing every line’s necessity.
Readers stop feeling like they’re wading through conversation. Dialogue becomes a tool that reveals character while advancing plot while building tension. Every word earns its place, and the pace accelerates because nothing slows it down.
That’s when dialogue stops feeling like filler—and that’s when it becomes the sharpest tool in your narrative arsenal.
Extras
- Read about Salt & Bone
- Read about The Death of Me
- Sign up for the newsletter to get weekly tips
- The Hunger Games by Suzanne Collins
- Six of Crows by Leigh Bardugo
- Gone Girl by Gillian Flynn
- The Silent Patient by Alex Michaelides
- Red Rising by Pierce Brown
- An Ember in the Ashes by Sabaa Tahir
- The Hate U Give by Angie Thomas
- Children of Blood and Bone by Tomi Adeyemi
- The Poppy War by R.F. Kuang
- Mexican Gothic by Silvia Moreno-Garcia
- The Martian by Andy Weir
- Gideon the Ninth by Tamsyn Muir
- The Fifth Season by N.K. Jemisin
- Throne of Glass by Sarah J. Maas
- Catching Fire by Suzanne Collins
- A Court of Mist and Fury by Sarah J. Maas