I have some chapters planned for a fic that are mostly two characters talking.
Now, I know that most fics here go by the standard philosophy of creating conflict for the characters to solve and making them struggle and stuff, but this is something I wanted to try for a while.

Does dialogue driven chapters roll well here?

Is there any fanfic here that is mostly dialogue?

991277
Just from a general standpoint in all writing, solid lines of text become "phone calls" and can be somewhat boring. If the text has some action to it, however, it can spice it up, and even help get the dialog's message across.

My Fic is mostly dialogue and it's been doing fairly well so far. So long as your story can still be followed you should do fine.

Dialogue is a key part of and story and helps tell the story, but if you don't include stuff like describing the environment, movement, internal thought and feelings of a character, the story will feel dry and flat. I personally don't include that much dialogue when I write, but I've read some that are mainly dialogue and they were okay, but not as immersive as they could have been. Don't focus too much on dialogue or else a good idea might not be conveyed the best it could be. I know I only have one story up and it's incomplete, but I LOVE to read (except when I'm forced to) and I learn from those experiences.

It depends on the genre. My first fic has an upcoming chapter where Celestia and Twilight discuss philosophy in a room for a couple hundred words and there doesn't really need to have much expository dialogue.

If you're hesitant about it, ask your readers for feedback

991288
Well, the atmosphere would be described as well as the actions done by the characters as a way to convey body language, but I don't plan to add action as in actual events other than those concerning the conversation itself.

991277 There are.

I'm a dialogue guy. It's what I do! It's what I'm good at, making ponies talk to other ponies in ways that are engaging and entertaining to read. I say a lot with even small talk.

But.

You have to have narration. You have to have some narrative meat in there to balance out your sugary dialogue awesome. Non verbal communication, first off. Sighing, shuffling, etc. I guarantee you that you can mine what you have for more in terms of narrative stuff as opposed to dialogue.

It depends. Not often dialogue and the story becomes boring but too much dialogue and the story becomes hard to follow.

I once published a chapter with a big wall of text involving back stories. I deleted it because it didn't really serve a purpose.

991277
well, what matters is if its important.
its okay to "tell" sometimes if you have a section that sounds funny or you dont have good enough experience in it.

Since i love economics, ill give a little sample. instead of doing long drawn out and boring words about why keynesian economics fail, ill just tell what happens instead.

"Midnight Sparkle, even though it was against his manners, found himself rubbing his forehead with his hoof, 'Im sorry, Princess, but please come here and take a seat.'
Princess Celestia found herself caught in an awkward situation, it had been years since she had been asked to do anything like that, but judging from the reluctance in the community college economics teacher's tone and body language, he meant what he said with the upmost respect.

The Princess complied and made her way to the open desk in the front center of the empty classroom and sat, even though she was much too big for it.
Midnight Sparkle, grabing his binder and pointer in magi, returned to the podium and cleared hsi throut.
For the next half hour, the blue unicorn explained the why the Princess' current fisical policy was inneffecient, that by spending more and more taxpayer money now to pay for programs that were not needed. He admitted that while it did stimulate growth in the short run, it was canceled out in the long run, when the excess money was saved to pay off debts or saved rather than to buy products, and overall caused future taxes rates to increase.
At the end of the semi lecture, Midnight Sparkle closed his binder and asked, "Any questions?"
the white Charasmatic alicorn of the sun, currently his only student (besides the guards positioned around the room) raised her hoof and blushed, "Excuse me, Mr. Sparkle, but may i borrow a notebook?"

Don't be ridiculous. It's your story, write as much (or as little) dialog as you please. The trick is to write it well. The story in general, I mean. As long as your writing, in general, is good, the hell do you have to worry about?

The trick for me is to simply read my own story, after I've finished writing and editing it. You need to READ it, like you are a READER and not like you wrote it. You'll see any flaws or slow spots then.

991277 People tend to like dialogue. It let's them get a greater picture of the character speaking opposed to just descriptive narrative. Though be sure to put in several reactions, internal thoughts, realizations, etc etc. This is to stop just a massive paragraph long string of sentences of sed character talking.

991319

Describing the environment quickly becomes a waste of time for most readers. Folks like to delude themselves by saying, "good atmosphere building is important," but usually just turns into pointless filler that the reader forgets or skips. Unless there is something important about a particular tree in the forest you are describing, the reader won't care. Dialogue describes the characters personality, and tells us just want kind of person he is. You know, the character that we'll be following just about the entire story? Probably a bigger focus than the environmental detail that the reader won't care about two paragraphs after he finishes.

I've heard of hundreds of people quote lines from a story of something funny, or deeply meaningful that a character has said in dialogue, I've never once in my life heard someone say, "damn, that room was so well detailed that story." Unless it's a horror story, it's not that important. And even horror stories usually fail miserably because they spend all day trying to tell us how scary the background looks, and ends up just being a boring description of what might be a scary environment if it were a movie or game, but not a book.

To the OP, there is a big advantage to dialogue in that it's easier to tell if it's believable than with descriptions. Whenever you read your own stories, read the dialogue out. It's supposed to be read out loud because the characters are supposedly saying it. Even if you have zero acting talent it doesn't matter because it'll probably be easier to imagine in your own head. But if you read some lines out loud and have a hard time convincing yourself this is something that would be said in an actual conversation, you know you have to change something. Though that might depend on ones own level of self delusion.

991277
Brandon Sanderson wrote this as an exercise. Hopefully, it'll show you how a story can work with literally only dialogue, although this does take considerable skill to pull off.
I Hate Dragons:

"Master Johnston?"
"Yes, Skip?"
"I was wondering if maybe we might review my employment situation."
"What? Now? Lad, this isn’t the time."
"Er, I’m sorry, sir. But I believe this is exactly the time. And, I apologize, but I don’t intend to move until I’ve had my say."
"Fine. Fine. Be on with it then."
"Well, Master Johnston, you know how we’re here to kill this dragon, sir?"
"Yes. That’s our job. Dragon hunters. It says so on your bloomin’ jacket, lad!"
"Well, sir, technically you and the other boys are the hunters."
"You’re an important part, Skip. Without you, the dragon won’t never come!"
"I believe you mean 'will never come,' sir. And, well, this is about my part. I realize it’s important for you to have someone to draw the dragon."
"You can’t catch nothing without bait."
"‘Can’t catch anything,’ sir. And that is as you’ve said. However, I can’t help noticing one factor about my role in the hunt. I am, as you said, bait."
"Yes?"
"And it seems to me that eventually, if you put bait out often enough . . ."
"Yes?"
"Well, sir, eventually that bait is going to end up getting eaten. Sir."
"Ah."
"You see my trouble."
"You’ve been doing this for a year now, and you ain’t ever gotten ate."
"That sentence was deplorable, sir."
"What’s math have to do wi’ this?"
"You’re thinking ’devisable,’ sir. Anyway, yes, I’ve survived a year. Only, I’ve started thinking."
"A dangerous habit, that."
"It’s chronic, I’m afraid. I’ve started thinking about the number of near misses we’ve had. I’ve started thinking that, eventually, you and the boys aren’t going to get to the dragon quickly enough. I’m thinking about how many reptilian bicuspids I’ve seen in recent months."
"I’ve cussed more than twice myself."
"So . . ."
"All right, lad. I can see where you’re going. Two percent, and nothing more."
"A raise?"
"Sure. Two percent’s good money, son. Why, when I was your age, I’d have died to get a two-percent raise."
"I’d rather not die because of it, sir."
"Three percent, then."
"You pay me in food, sir. I don’t get paid any money."
"Ah. I forgot you was a smart one. All right. Four percent."
"Sir, you could double it, and it would be meaningless."
"Don’t get so uppity! Double? What, you think I’m maid of coins?"
"The word is 'made,' sir."
"Huh? That’s what I said. How—"
"Never mind. Sir, this isn’t about money, you see."
"You want more food?"
"No. You see, er . . ."
"Be on with it! That dragon ain’t going to kill himself!"
"Technically, dragons—being sentient beings—likely have a suicide rate similar to other intelligent creatures. So perhaps this one will kill himself. It’s statistically possible, anyway. That’s beside the point. You see, sir, I think I’d rather change my participation in the hunts."
"In what way?"
"I’d like to be a hunter, sir. You know. Hold a harpoon? Fire a crossbow? I wouldn’t mind just reloading for the other hunters until I get the hang of it."
"Don’t be silly. You couldn’t do that while out in the center of the field, being bait!"
"I wasn’t talking about doing that while being bait. I’d rather do it instead of being bait. Sir."
"But nobody else has yer special gift, son."
"I don’t think it’s all that great . . ."
"Why, sure it is! In all my years hunting dragons, I’ve never met someone who attracts them like you do. You’ve got a gift."
"The gift of smelling delicious to dragons? Sir, I never asked for this."
"Just ’cause a gift is unexpected doesn’t mean it ain’t a gift."
"A knife to the back can be unexpected. That doesn’t make it a gift either. Sir."
"Look, son. You’re special. The scent of you . . . it drives them mad with hunger. It’d be a shame to waste that. Do what you were created to do. Reach for the stars."
"Stars are giant balls of gas, burning far away."
"They are?"
"Yes. Reaching for them, even if it were possible, would likely burn your hand. Sir."
"Ain’t that something."
"Isn’t that something."
"That’s what I said. Either way, son, you need to explore your talents."
"My talent is getting eaten by dragons, sir. It seems that’s less something to explore, and more something to experience. Once. In a grisly, painful, and abruptly-ending sort of way."
". . ."
"Well?"
"I see that yer a smart one, son."
"Thank you."
"Five percent."
"I . . ."
"It’s here! It’s circlin’! Lad, we’ll have to talk about this later."
"Okay. You know what, fine. Once more. But that’s it."
"Good lad. Out there you go. You remember the script?"
"Of course I remember it. Ahem. I’m so very tired! Also, I hate sunlight. So I’m not going to look upward. I’m just going to stroll along across this . . . er . . . rocky place of rocks and find a place to lay down and take a nap.
"Gosh! I’m sad that I tripped and got dust in my eyes, so I couldn’t see anything for a few moments when that breeze passed me by. Just a breeze, and not the beating of nearby dragon wings. Not at all. Perhaps I will take my nap in this little dip in the ground. I hope no wild beasts are around to savage me."
"PSSST. Skip. Bite! The script says BITE me!"
"I’m extrapolating!"
"What’s the dragon’s skin have to do with this?"
"That’s exfoliate, Master Johnston. Look, he’s coming back around. Hush. Ahem. Yes, I’ll just be nodding off to sleep now!"
". . ."
"What’s the beast doing?"
"He landed up there. I think he’s suspicious. He’s craning his neck down and—"
"You’re a terrible actor."
"Er. Really? I actually thought I was getting better. I’ve been practicing in front of the mirror, you see."
"Terrible. I’ve seen pieces of soap that were better actors than you. You have an entire fleet of dragon hunters waiting, I assume."
"Um. No?"
"No, you don’t have them? Or no I don’t assume it? Because I really don’t think you’re capable of judging what I do and don’t assume. By the way, who wrote that script for you?"
"Master Johnston."
"He needs an editor."
"I’ve tried to explain that! Do you know how difficult it is to work with such awful lines?"
"That doesn’t excuse your bad acting."
"It at least gives some context, though, doesn’t it?"
"No."
"So, um, if you saw through the ploy . . . why are you still here? Shouldn’t you have fled?"
"I . . . there’s something about you, small human. Yes. Something . . . intoxicating. Why don’t you climb up here to me."
"Excuse me?"
"Climb on up here."
"You’ll eat me."
"That’s the idea."
"Then I think I’ll decline."
"Oh, come now. It won’t be so bad as you think. They’re will be hardly any pain at all."
"I don’t care if there’s pain or not. I’ll still be dead. And you used the wrong version of 'they’re.' You wanted 'there' instead."
"I did? How can you tell? They’res no difference in the sounds they make."
"Actually, I can hear apostrophes."
"What, really?"
"Yes. I can hear spelling too, actually."
"That’s . . . interesting, child. Very interesting. Well, time to get this over with. No use in delaying. Come on up and be eaten."
"You don’t make a very compelling argument."
"I’m a very busy dragon."
"Funny. I have lots of time. I could sit here all day, so long as it involves not being eaten."
"Oh, come now. Don’t be difficult. This is what you were created to do."
"What gives you that terrible idea?"
"It’s the circle of life, young human! The beauty of nature! Each creature in turn is consumed by a larger creature, round and around, until we reach the apex predators. Um . . . I’m one of those, by the way."
"I’d noticed."
"Well, the cows eat the grass, the wolves eat the cows, the men eat the wolves, the dragons eat the men. All very majestic in its simplicity."
"We don’t eat wolves, actually."
"You don’t?"
"No. Not unless we’re very hungry. Even then, they don’t taste very good, so I’m told. Too stringy."
"Yes, well, you’re supposed to. Men never do as they’re told. Case and point, this moment, where you have the startling rudeness to refuse being consumed. How can I persuade you?"
"Actually, you are persuading me."
"Really? This is working? Er, I mean . . . of course I am. I’m known as being a very compelling conversationalist, among my peers."
"You didn’t need that comma," Skip said, "but you should probably have put 'among my peers' after 'I’m known.' That’s beside the point. You see, I said you were persuading me because the definition of the word implies the act of trying to get someone to do something, whether or not you are successful. You persuade someone, then you either fail or succeed. Most people use it incorrectly. The word you wanted was convince. You need to convince me, not persuade me."
"You’re not very much fun at parties, are you, small human?"
"I . . . uh . . . don’t get invited to parties very often."
"I can’t imagine why. So, are you going to stop whining and come get eaten like a man?"
"No."
"You’re making mother nature cry."
"Good. We could use more rain. Why don’t you just go eat a cow?"
"Why don’t you go eat some grass?"
"Um . . . humans can’t digest grass."
"And dragons can’t digest cows."
"Really?"
"Really. Humans were designed and built to be eaten by dragons. It’s the nature of things."
"I find that rather unfair. Who eats you?"
"The worms, once we’re dead. It’s all very metaphysical."
"But you have to eat humans?"
"If we don’t, we die."
"How are there any humans left?"
"We don’t need to eat very often, little human. Once every few months. There’s more than large enough a population of you to sustain us. You don’t run out of . . . what is it you eat, again?"
"Cows. Pigs. Carrots. Very few wolves."
"Yes, well, this is much like you eating those things."
"Except for the part about me dying."
"Think of the good you’ll be doing."
"Good? By keeping a dragon alive to continue terrorizing?"
"No, by sacrificing youself for another. If I don’t eat you, I’ll just end up going off and finding someone else. Probably a fair young virgin. Poor child. If you think about it, getting eaten right now would be a very brave thing of you. Noble, heroic."
"Well, when you put it that way . . ."
"That’s it, come closer."
". . . maybe I’ll come right up to the base of that ledge . . ."
"My . . . The scent of you . . . I . . . Why are you stopping . . . ? Come closer! I can’t . . . I can’t . . . RAAAAAWR!"
"Have at ’im, lads!"
"Aaah!"
"RAWR!"
"HURK!"
"My arm!"
"Keep stabbin’!"
"Foolish little men! GAR! Gr . . . Blurk!"
"Is he down!"
"You know what I say, lads. There’s always room for more stabbin’! Keep at it. And you, you did well. Even if you did ruinate the script."
"Ruinate? Really? Did you just say that?"
"Well, you’re always using those big words and all. So I thought . . ."
"Never mind. I’m going to go wash off this dragon blood. Can’t believe that I put up with this . . ."
"He doesn’t look happy, Master Johnston."
"Oh don’t worry about Skip. He’ll be fine."
"I don’t know. He looks really mad this time."
"Don’t worry. I’ve got a secret weapon."
"Really?"
"Sure. Tonight, after we’re all fed and happy . . ."
"Yeah?"
"I’m going to give him a six-percent raise."

991374
Call this vanity if you wish but I just want to write an everyday conversation during a tea party between two ponies.
The kind of conversation that would normally be mentioned in hindsight rather than in detail, that doesn't make the plot move forward but shows the characters involved as much as it's possible.
Especially if those characters are of the kind that only have a meaningful interaction that way.

991533
I'm not that confident on my skill but I'm trying.
I really just wanted to know if there's a precedent for this idea since a lot of fics I've read here are very action oriented and descriptive.
Maybe you'll remember me from other threads I've made, Red. Even if one of my ideas is not met with great anticipation or is unpopular, I'm still doing it.

992104

I love these things.
Luis Pescetti, an author whom I recently found out about does this a lot and man, isn't he awesome?
Not only this kind of dialogue keeps me engaged but it also gives a detailed enough description of the setting and creates anticipation, a lot of it.
And the characters get their fair share of characterization, too.

992324
Yep! It's just all around awesome, and I have mad respect for anyone who can really pull it off.

A good lesson to learn from, I think, especially for those suffering from putting down too many tags on their dialogue.

992324 Yes, Ducky, I remember you from before. Consider this, if, as you say, most other fics are action and description, don't you think straying from that path would be a breath of fresh air for the readers here? Use your imagination. Actions speak louder than words, sure, but a cleverly written conversation can expose just as much story.

The one tricky thing about convos is making damn sure the reader knows who's talking. I know I have trouble following that in some stories, so when I write dialog, I try to subtly inform the reader who's talking. Because, you know, saying he said and she said after every sentence can get old fast.

991277
Talking head syndrome is certainly a thing to be mindful of.

And if I say a chapter consisting of just dialogue, I'd just move on. FiMFiction won't allow scripts to pass moderation for a reason. This is a site for stories, not scripts.

That being said, I love dialogue. I do. I don't really get tired of it quickly. But mind, that there has to be balance in all things. Put too much description or exposition and your reader cries out for dialogue. Put too much dialogue, and your readers will cry out for description or exposition. Make damned sure you'd adding that balance.

Can you tell a story using all, or nearly all dialogue? Sure. See that Sanderson post.
But honestly, keep the cute writing exercises where they belong. As, well, exercises. Don't put it into your fic. Especially as a new writer. Master the basics before you get exotic and weird.

I must confess to having KevinSmithitis. Usually I write lots of dialog, but nobody has complained about it yet. You've just got to make sure what they're saying is interesting and furthering the story.