I have concern about another part of the matter: the background. The didascalies. The description of the second plan.
Read anything from literary realism and you'll find a dozen pages just describing the surroundings before the dialogue begins. If you want something more contemporary magical realism and Gabriel García Márquez come to mind.
They usually ...
I've been told by professional critics my dialogue is excellent.
Within a single story, I try to never have a conversation in the same place twice. Sometimes this is truly unavoidable; but usually it is not.
I am extremely conscious of "talking heads" syndrome; in which the conversation becomes a half page or a page of just quoted text, to the ...
You are choosing natural places to talk. In order to move to more unusual ones, you need to give character motives to talk elsewhere -- or possibly create characters who would have motives to talk elsewhere. Two hikers talking on a mountain trail. The client and the employee while one is doing the other one's nails. Two people in a courtroom ...
A lot of fictional nations take their cue from real world nations and use them to build off the culture and governments of those nations. It might be helpful to look at your region of the world and see how example nations in that region got their name as well as look at geographical features in the area. For every real nation, Wikipedia opens with an "...
Conversations in repetitive settings isn't necessarily a problem. Although it is a television programme, think of 'Friends'.
Conversations about repetitive topics can be.
Maybe think about what you want a piece of dialogue to show a reader and then think where it might take place. Do you want to show Denise as a bully at work? Is the purpose to show Bill is ...
The technique I have heard of and sometimes used:
Write a description of the location
"School where they practice glyph magic."
Take the first letters and smush them into a word
Chop out stuff and alter letters if necessary to make a practical name