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I don't know what I'm doing.
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Have no fear, my dear. We're here, we're here to steer you clear.
By totally confusing you until you don't know which end is up.
Let me start out with a possibility you need to keep in mind; sort of a baseline. It's very possible you just aren't very good with words and never will be and should develop other means of self-expression.
That said, let me warn you against trying to solve your problem by delving into books and tutorials and learning lame-o terminology. Looking up the word "subtext" will do nothing for you, and in fact it appears from your post that one of the things already crippling your dialog is having too MUCH inner activity get in the way of people talking.
Let me suggest that you try handling this by making the activity more natural, rather than more arcane. By getting to know your characters and walking them around.
The best place to write, especially when you have problems, is not at the keyboard. It's out walking around, bicycling, etc. Something about rhythm and motion gets things going. Showers and running water often help, as well.
More specifically, you're out strolling on the beach or wherever and what you're doing is thinking about your people talking to each other.
Don't you already do this with real life? Cruising around replaying conversations and what you should have said, etc?
You know how Wolverine reacts, how he feels about people. Or how Harry feels about Cho or whatever, so run down some skits. Just blithering around in your head.
You know how these people talk, not just what they say, from your reading. Try setting things up. Cho tells Hagrid Harry knocked her up: how's he going to react?
Etc.
This is helpful...I would say necessary...as a step towards making your own characters.
In fact, you might try doing that instead of fanfic. You might find out that characters based on your real-life friends, families, admired singers, etc would have more interesting things to say than your copies of other people's stuff. Give it a shot. If it works better for you, you win BIG.
Regarding dialog, you don't have to use the names all the time. Especially in one-on-one situations. If a man and woman are talking, "he" and "she" are all you need, right?
And you don't need to have "said" tags for everyspeech because it's often obvious who is talking.
"I don't think this all my fault," he said, but couldn't meet her eyes.
"So it's my fault?"
"Well, no, it's more like...circumstance"
"What does cutting off tips of penises have to do with this."
You know who is talking is my point. Read book dialog more carefully and watch how they do it.
Re inner psychology, etc. It's not that hard to get away from spieling it out. Try either popping into lines that serve other purposes
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"He wadded the wrapper and tossed it onto the lawn. Oh, ever the rebel, she thought."
See, if that was the first line of a story you'd know something about both characters and their relationship right there.
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Or stating from character's unspoken POV.
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He stood in his defensive pimp pose, looking around the mall. What a capitalistic piece of shit. Everybody trying to buy up a life for 20 percent off.
Again, no quotes, no narration. The character is telling you what he's seeing and who is seeing it very simply and economically.
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For that matter, dialog usage is a matter of style. I'm reading a Richard Condon book the guy next door left for me and the first chapter is 6 pages long. The first three pages have ONE line of dialog. The fourth page is almost entirely a dialog between a man and woman. There are TWO "said" lines in that dialog, the rest is unattributed speeches. The last two pages contain no dialog at all.
