The phrase "dialogue between characters" is correct and can be used in written English.
This phrase can be used to emphasize that a conversation is occurring between two or more people or characters. For example, "The dialogue between characters provided a lot of insight into their relationship."
A favourite device of the playwright was to turn the lyrics of a popular song into a bantering dialogue between characters.
Exchanges of dialogue between characters take place in unusually fast and snappy ways: a machine-gun tango of bickering, cussing and talkin' jive.
Each story has a text message dialogue between characters and little readers can interact with the dialogue by clicking on the next chat bubble in the story's sequence.
It should be called "Juliet and Her Nurse", or "Romeo and Benvolio", if the title is meant to reflect the main relationship in the story, as measured by the dialogue between characters.
Created with what Enoch Brater calls a "peculiar verbal strategy", it is a dialogue between characters called Ear, Mouth, Eye, Nose, Neck, and Eyebrow.
Much of the back story is explained via dialogue between characters, who recount unreliable, often mutually contradictory, versions of their supposed histories.
Secondly, dialogue between character is so badly scripted that whether that's purposely done or not there's just no way for any atmosphere to build up before its torn down.
Probably the most exciting formal subtlety of the novel, carried off with such wit on Spark's part, is the way in which Caroline and the Typing Ghost pass beyond their loggerhead positions in a dialogue between character and form itself to an admittance of something much more fluid - to what you might call a compromise, even an interplay.
Blues (1987), a series of dialogues between characters identified only as Fisherman and Stranger, echoes Izaak Walton's The Compleat Angler (1653) in its exploration of the practice and philosophy of fishing.
Through much of the book, long blocks of exposition alternate with dense, repetitive dialogues between characters whose voices are so indistinguishable — all marked by an epigrammatic staccato — that their conversations seem more like thinly disguised authorial monologues.
The dialogue between the characters at the end of Chevalier is recounted by Schwartzman's character to his brothers at the close of the feature film, in the form of an excerpt from a short story he has composed.
