Certainly, Sorkin is known for his flowing dialogue (or monologues, as it were). And as for the substance of those words intended to be spoken, there's this: The New Yorker - Broken News: The artificial intelligence of “The Newsroom.” And yet, all sorts of experienced speechwriters could have written Will's dialogue. Indeed, standing alone, much of the dialogue that Sorkin crafts - especially the speeches like that one - is over-the-top, even comical, and any actor who can sell that dialogue as serious dialogue is earning his/her pay. The irony of Sorkin, "the master of dialogue", is that the make or break of his writing isn't the dialogue, it's the story, it's how he gets us to this moment and then the next one.

A similar critique I've read and heard about Sorkin's dialogue is it all sounds the same. I suppose one could counter-argue that the characters in his stories all pretty much inhabit the same set of backgrounds, live in the same subculture, so it would be natural for them to sound alike. To your last point, while most focused on the biting dialogue of The Social Network as its most prominent creative achievement, I think it was Sorkin's surfacing of the idea of using the dual depositions as a narrative device to be the smartest writing choice in the story because it enabled him to ping around from three points of attack: Deposition 1, Deposition 2, the Past. Similar to the narrative device of Citizen Kane if you think of the reporter interviewing all those characters, each as its own little 'deposition.' Thanks, No, Other Ira, for that link. "The Newsroom" does seem to be getting some mixed reviews. I look forward to checking it out firsthand.

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