Young writers often confuse dialogue with conversation, under the assumption that the closer you get to reality, the more convincing you sound. But dialogue is not conversation. Dialogue is a construct; it is artificial; it is much more efficient and believable than real conversation. Just as fiction itself distorts reality in order to achieve a larger truth, so dialogue eliminates all the false starts and irrelevant intrusions of real life in order to reveal character and move the encounter toward a dramatic conclusion.
"To crave and to have are as like as a thing and its shadow."

At the heart of all great poetry is cadence—the way sounds chime off one another—and it is one of the most seductive aspects of any sort of writing. Writing prose without thinking about cadence is like trying to seduce a man by handing him your résumé. The facts are there, but the electric charge isn’t.

Meghan O’Rourke in her wonderful essay on cadence in prose, which highlights the work of Melville, Hemingway, and Robinson (from whom I borrowed the title of this post).