Writing for the page and writing for the stage are considerably
different processes; what looks good in a book sometimes sound bogus
coming out of someone's mouth. Which is why it's so hard to translate
much of Bradbury's stuff to the screen; the language is lovely on the
page, but the second someone starts saying it, something goes wonky
and it sounds off.

The only real key that I've ever had is to try and make yourself
stop writing and start listening; create the characters, make them as
real to yourself as you can, then get out of your own way and try to
listen to what they say and do, rather than trying to force them to behave
the way you think they should.

jms