“How are you?”
“How’s your mother?”
“She’s just peachy.”
“My dad arrived.”
“How’s he doing?”
Aside from the fact this dialogue as absolutely NO CONFLICT, the sentence structure is unvarying. Here’s another example.
“I talked with the director yesterday.” He jerked his thumb toward the office door.
“I hope that it went well.” Her eyebrows rose.
“We got a lot accomplished.” He nodded enthusiastically.
“Did you make a decision?” She raised her pen to take notes.
“We decided to table it for now.” He shrugged and sighed.
“Who will you hire?” She scanned her list of candidates.
“It’s down to two people.” He raised two fingers.
Here again (aside from NO CONFLICT), the sentences are all about the same lengths, and each dialogue line ends with an action tag. The dialogue cadence is the same for the entire example.
“This is Felicia.” She adjusted the headset’s microphone closer to her mouth.
“Uh, yeah. I don’t know if you’ll remember me. This is, uh, Winnie.” The woman’s voice came out squeakier than Felicia recalled.
“Hello, Winnie. Of course, I remember you. I’m so glad you called me back. I’ve been praying for you.”
“How’re you doing?”
“I’m not so mad at that hussy anymore.”
“Really? That’s great, Winnie. Much healthier for you.”
“Okay. If you say so. Anyways, it wasn’t her fault. Not really. But my ex . . . well, now, he’s a totally different story.”
“I’m glad to hear you’ve let go of your anger toward the woman.”
“Yeah. She may have enticed him, but he didn’t have to chase after her like a dog to a bone. But that’s okay. He’ll get his.”
“Now, Winnie, that doesn’t sound good. Surely you can see that plotting revenge isn’t good for you.”
The woman laughed. “Maybe not, but it sure feels good. Oh, he’s getting his all right.”
--From Bayou Judgment by Robin Caroll
Here, the sentences vary in terms of length, and each character speaks for different lengths of time, sometimes shorter, sometimes longer. The varying length makes for more compelling reading.