Why does dialogue, especially in long conversations, need beats? Two reasons: 1) To anchor the reader in the scene so it doesn’t read like a ping-pong volley between talking heads, and 2) To add subtext, and 3) To add tension (I never was good at numbers.)
What are beats? They’re little actions or sometimes internal thoughts accompanying dialogue.
Anchor the Reader in the Scene
A couple working in a garden:
“Your mother called last night.” She took the tulip bulb from his extended hand.
A boss meeting an employee at a busy restaurant arrives fifteen minutes late:
“You did put our name in, didn’t you?”
She resisted glancing at her watch. “Yes.”
Action scenes in which characters talk depend heavily on beats. A patrolman stops a speeding motorist:
“Get out of the car.”
“Yes, sir.” Slamming the car into reverse, the driver backed up, stopped, and aimed the vehicle at the officer.
Internal thought can be a good way to add tension to dialogue. Here’s a teen leaving the house to go drinking with friends:
“‘Bye, Mom. I’m meeting Carol to study at Starbucks.”
“Take your key if you’ll be out late.”
“OK.” She’s such a pushover.
The tricky part about beats is to know when, where, and how often to use them. Renni Browne and Dave King cover the subject well in Self-Editing for Fiction Writers.
If you can tell stories, create characters, devise incidents, and have sincerity and passion, it doesn’t matter a damn how you write.