This week The New Yorker has an E.L. Doctorow story that is all dialogue and The Atlantic has a T.C. Boyle story that has (almost) no dialogue (the characters are on a vow of silence). Read both. Then take a story that you intended to write with the traditional mix of dialogue and not and write it first with all dialogue and then with no dialogue. Try to make both versions work. Now you have two stories instead of one. Who says that the style can't be the thing that makes them different stories? Nobody, that's who.