Createa dialogue based on the following situations. Your friend tells you that he/she has been promoted to a higher position in the company - 31139586 nuryasantiow66j8 nuryasantiow66j8 11.08.2020 B. inggris Sekolah Menengah Atas 1. Create a dialogue based on the following situations. Your friend tells you that he/she has been promoted to a

Situasi yang digambarkan oleh kalimat tersebut adalah salah satu teman kerjamu akan pergi ke kota lain dalam jangka waktu yang lama dan ini akan menjadi pertemuan terakhirmu. Ekspresi yang dapat digunakan untuk membentuk dialog berdasarkan situasi tersebut adalah expression of wish untuk mendoakan agar temanmu senang dengan hidup barunya di kota yang baru. Akhiri dialog dengan ucapan perpisahan karena ini akan menjadi pertemuan terakhirmu dengannya. Berikut contoh dialog yang dapat dibentuk. Jadi, jawaban yang benar adalah You John, I hear you'll be moving to Makassar for your next position Friend Yeah, that's right. I'll be spending at least three years there for my work. You I see. Well, have a safe trip and I wish you the best of luck in your future. Friend Thank you, Jimmy, See you later, then. You See you, John.

Developdialogues based on the given situations . - in the market. Use prepositions to make three phases with each of the following verbs. you may refer to a dictionary. frame a sentence with any one of the phrases th at you have made in each group. Example: take: take out, take away take on, take to I will take away your toys if you

Consider any complex, potentially volatile issue — Arab-Israeli relations; the problems between the Serbs, Croats, and Bosnians; the deficit, healthcare costs, or labor/management relations. At the root of such issues, you are likely to find communication failures and cultural misunderstandings that prevent the parties involved from framing the problem in a common way and dealing with it constructively. We clearly need ways of improving our thought processes, especially in groups where finding a solution depends on people first reaching a common formulation of the problem. Dialogue, a discipline for collective learning and inquiry, can provide a means for developing such shared understanding. Proponents of dialogue claim it can help groups reach higher levels of consciousness, and thus to become more creative and effective. The uninitiated, however, may view dialogue as just one more oversold communication technology. I believe that in addition to enhancing communication, dialogue holds considerable promise as a problem-formulation and problem-solving philosophy and technology. It is a necessary vehicle for understanding the cultures and subcultures in which we live and work, and organizational learning will ultimately depend upon such cultural understanding. Dialogue thus becomes a central element of any model of organizational transformation. If dialogue is to become helpful to organizational processes, it must be seen as accessible to everyone. In order to demystify dialogue, therefore, I’d like to focus on the process — how to get started, and how and why dialogue often breaks down — while exploring some of the issues that groups must address if they are to create an effective dialogue process. We clearly need ways of improving our thought processes, especially in groups where the solution depends on people reaching a common formulation of the problem. Dialogue vs. Discussion To understand the different phases of the dialogue process, I have found it helpful to draw a road map based on Bill Isaacs’ basic model see “Ways of Talking Together,” p. 2. The diagram maps different forms of conversation in terms of two basic paths — dialogue and discussion. One basic question that all groups must face before entering into dialogue is, “How do we know whether discussion and/or debate is more or less desirable then dialogue? Should we always go down the dialogue path?” I would argue that discussion/debate is a valid problem solving and decision-making process only if one can assume that the group members understand each other well enough to “talk the same language.” Such a state of shared understanding, however, probably cannot be achieved unless some form of dialogue has previously taken place. The danger in premature discussion is that the group may reach “false consensus” members assume they mean the same thing in using certain terms, but only later discover subtle differences in meaning that have major consequences for action. Dialogue, on the other hand, is a basic process for building common understanding. By letting go of disagreement, a group gradually builds a shared set of meanings that make much higher levels of mutual understanding and creative thinking possible. As we listen to ourselves and others, we begin to see the subtleties of how each member thinks and expresses meanings. In this process, we do not strive to convince each other, but instead try to build a common experience base that allows us to learn collectively. The more the group achieves such collective understanding, the easier it becomes to reach a decision, and the more likely it is that the decision will be implemented in the way the group meant it to be. Getting Started In the groups that I have observed, the facilitator started by arranging the setting and then describing the concept of dialogue. The goal is to give the group enough information to understand dialogue sufficiently to begin the conversation. Next, small group discussion and reflection is used to link dialogue to past experiences of “real communication” see “Role of the Facilitator Setting the Context,” p. 3. This introductory session has several objectives which frame the session and allow a more effective dialogue to occur Make the members feel as equal as possible. Having the group sit in a circle neutralizes rank or status differences in the group, and conveys the sense that each person’s unique contribution is of equal value. Give everyone a sense of guaranteed “air time” to establish their identity in the group. Asking everyone to comment ensures that all participants will have a turn. In larger groups, not everyone may choose to speak, but each person has the opportunity to do so, and the expectation is that the group will take whatever time is necessary for that to happen. Set the task for the group. The group should understand that they have come together to explore the dialogue process and gain some understanding of it, not to make a decision or solve an external problem. Legitimize personal experiences. Early in the group’s life, members will primarily be concerned about themselves and their own feelings; hence, legitimizing personal experiences and drawing on these experiences is a good way to begin. The length and frequency with which the group meets will depend upon the size of the group, the reason for getting together, and the constraints on members. The meetings that I participated in at MIT were generally one-and-a-half to two hours long and occurred at roughly two-to-three-week intervals. After watching various groups go through a first meeting, I often wondered how the second meeting of each group would get going. I found that the best method was to start by asking everyone to comment on “where they were at” and to go around the circle with the expectation that everyone would speak. Again, what seems to be important is to legitimize “air time” for everyone and to imply tacitly that everyone should make a contribution to starting the meeting, even though the content of that contribution can be virtually anything see “Check-In, Check-Out A Tool for Real’ Conversations,” May 1994. WAYS OF TALKING TOGETHER The facilitator has a choice about how much theoretical input to provide during a dialogue session. To determine what concepts to introduce when, I have drawn a road map of the dialogue process based on Bill Isaacs’ model, which describes conversation in terms of two basic paths — dialogue and discussion. Deeper Listening As a conversation develops in the group, there inevitably comes a point where we sense some form of disconfirmation. Our point is not understood, or we face disagreement, challenge, or attack. At that moment, we usually respond with anxiety and/or anger, though we may be barely aware of it. Our first choice, then, is whether to allow that feeling to surface and trust that it is legitimate. As we become more aware of these choices, we also become aware of the possibility that the feeling might have been triggered by our perception of what the others in the group did, and that these perceptions could be incorrect. Before we give in to anxiety and/or anger, therefore, we must determine whether we accurately interpreted the data. Were we, in fact, being challenged or attacked? This moment is critical. As we become more reflective, we begin to realize how much our initial perceptions can be colored by expectations based on our cultural learning and past experiences. We do not always accurately perceive what is “out there.” What we perceive is often based on our needs, expectations, projections, and, most of all, our culturally learned assumptions and categories of thought. Thus the first challenge of really listening to others is to identify the distortions and bias that filter our own cognitive processes. We have to learn to listen to ourselves before we can really understand others. Such internal listening is, of course, especially difficult if one is in the midst of an active, task-oriented discussion. Dialogue, however, opens up the space for such reflection to occur. Once we realize that our perception itself may not be accurate, we face a second, more fundamental choice — whether actively to explore our perception by asking what the person really meant, explaining ourselves further, or in some other way focusing specifically on the person who produced the disconfirming event. As we have all experienced, choosing to confront the situation immediately can quickly polarize the conversation around a few people and a few issues. An alternative choice is to “suspend” our feelings to see what more will come up from ourselves and from others. What this means in the group is that when I am upset by what someone else says, I have a genuine choice between 1 voicing my reaction and 2 letting the matter go by suspending my own reaction. Suspending assumptions is particularly difficult if we perceive that our point has been misunderstood or misinterpreted. Nevertheless, I have found repeatedly that if I suspend my assumption, I find that further conversation clarifies the issue and that my own interpretation of what was going on is validated or changed without my having actively to intervene. When a number of members of the group begin to suspend their own reactions, the group begins to go down the left-hand path toward dialogue. In contrast, when a number of members choose to react by immediately disagreeing, elaborating, questioning, or otherwise focusing on a particular trigger that set them off, the group goes down the path of discussion and eventually gets mired in unproductive debate. Suspending assumptions allows for reflection, which is very similar to the emphasis in group dynamics training on observing the “here and now.” Bill Isaacs suggests that what we need is proprioception — attention to and living in the moment. Ultimately, dialogue helps us achieve a state in which we know our thoughts at the moment we have them. Whether proprioception is psychologically possible is debatable, but the basic idea is to shorten the internal feedback loop as much as possible. As a result, we can become conscious of how much our thoughts and perceptions are a function of both our past learning and the immediate events that trigger it. This learning is difficult at best, yet it lies at the heart of the ability to enter dialogue. ROLE OF THE FACILITATOR SETTING THE CONTEXT The role of the facilitator can include the following activities Organize the physical space to be as close to a circle as possible. Whether or not people are seated at a table or tables is not as important as the sense of equality that comes from sitting in a circle. Introduce the general concept of dialogue, then ask everyone to think about a past experience of dialogue in the sense of “good communication”. Ask people to share with their neighbor what the experience was and to think about the characteristics of that experience. Ask group members to share what aspects of such past experiences made for good communication and write these characteristics on a flip chart. Ask the group to reflect on these characteristics by having each person in turn talk about his/her reactions. Let the conversation flow naturally once everyone has commented this requires one-and-a-half to two hours or more. Intervene as necessary to clarify, using concepts and data that illustrate the problems of communication. Close the session by asking everyone to comment in whatever way they choose. Group Dynamics The dynamics of “building the group” occur parallel to the process of conducting the dialogue. Issues of identity, role, influence, group goals, norms of openness and intimacy, and questions of authority all have to be addressed, though much of this occurs implicitly rather than explicitly. The group usually displays all of the classical issues that occur around authority vis-à-vis the facilitator Will the facilitator tell us what to do? Will we do what we are told? Does the facilitator have the answers and is withholding them, or is he or she exploring along with the rest of us? At what point can we function without the facilitator? Issues of group growth and development have to be dealt with if they interfere with or confuse the dialogue process. The facilitator should therefore be skilled in group facilitation, so that the issues can be properly sorted into two categories those that have to do with the development of the dialogue, and those that have to do with the development of the group. In my own experience, the dialogue process speeds up the development of the group and should therefore be the primary driving process in each meeting. A major reason for this acceleration is that dialogue creates psychological safety and thus allows individual and group change to occur, assuming that some motivation to change is already present see “Containment”. The group may initially experience dialogue as a detour from or a slowing down of problem solving. But real change does not happen until people feel psychologically safe, and the implicit or explicit norms that are articulated in a dialogue session provide that safety by giving people both a sense of direction and a sense that the dangerous aspects of interaction will be contained. If the group can work on the task or problem using the dialogue format, it should be able to reach a valid level of communication much faster. Task vs. Process Once a group experiences dialogue, the process tends to feed on itself. In several cases, I have been in groups that chose to stay in a circle and continue in a dialogue mode even as they tackled concrete tasks with time limits. I would hypothesize, however, that unless a dialogue group is formed specifically for the purpose of learning about itself, it eventually needs some other larger purpose to sustain itself. Continuing to meet in a dialogue format probably does not work once members have mastered the basic core task or ultimate problem, then, is likely to be the reason the group met in the first place. Dialogue is, by definition, a process that has meaning only in a group. The best way to think about dialogue is as a group process that arises initially out of the individual participants’ personal skills or attitudes. Dialogue is, by definition, a process that has meaning only in a group. Several people have to collaborate with each other for dialogue to occur. But this collaboration rests on individual choice, based on a certain attitude toward how to get the most out of a conversation and on certain skills of reflection and suspension. Once the group has gained those attitudes and skills collectively, it is possible to have even highly time-sensitive problem solving meetings in a dialogue format. Most people have a general sense of what dialogue is about and have experienced versions of it in their past relationships. Therefore, even in a problem-solving meeting, a facilitator may suggest that the group experiment with dialogue. In my own experience, I have found it best to introduce early on in a meeting the idea that there are always assumptions behind our comments and perceptions, and that our problem-solving process will be improved if we get in touch with these assumptions. Consequently, if the conversation turns into too much of a discussion or debate, I can legitimately raise the question of whether or not the disagreement is based on different assumptions, and then explore those assumptions explicitly. Continually focusing the group on the cognitive categories and underlying assumptions of conversation is, from this point of view, the central role of the facilitator. One of the ultimate tests of the importance of dialogue will be whether or not difficult, conflict-ridden problems can be handled better in groups that have learned to function in a dialogue mode. Because severe conflicts are almost always the result of cultural or subcultural differences, I would assume that initial dialogue in some form will always be necessary. Dialogue cannot force the conflicting groups into the room together, but once they are there, it holds promise for finding the common ground needed to resolve the conflicts. Edgar H. Schein is Sloan Fellows professor of management emeritus and a senior lecturer at the Sloan School of Management. He chairs the board of the MIT Organizational Learning Center and is the author of numerous books on organization development, such as Process Consultation, Vol. 1 and 2 Addison-Wesley, 1987, 1988. This article is edited from “On Dialogue, Culture, and Organizational Learning” by Edgar H. Schein, which appeared in the Autumn 1993 issue of Organizational Dynamics. Reprinted with permission of the publisher, American Management Association, New York, NY. © rights reserved. CONTAINMENT Bill Isaacs describes the need to build a container for dialogue—to create a climate and a set of explicit or implicit norms that permit people to handle “hot issues” without getting burned see “Dialogue The Power of Collective Thinking,” April 1993. For example, steelworkers participating in a recent labor/management dialogue likened the dialogue process to a steel mill in which molten metal was poured from a container into various molds safely, while human operators were close by. Similarly, the dialogue container is jointly created, and then permits high levels of emotionality and tension without anyone getting “burned.” The facilitator contributes to this by modeling behavior—by being non-judgmental and displaying the ability to suspend his or her own categories and judgments. This skill becomes especially relevant in group situations where conflict heats up to the point where it threatens to spill out of the container. At that point, the facilitator can simply legitimize the situation by acknowledging the conflict as real and as something to be viewed by all the members, without judgment or recrimination or even a need to do anything about it.

Thispaper is based on data from two teaching sequences in primary school that are designed using principles from the theory of didactical situations (TDS). The following research question is addressed: "What opportunities can a teaching design based on TDS give a teacher to gain insight into pupils' language use, and to use this insight to establish shared, and mathematically acceptable

Create a dialogue on making an introduction based on the following situations1. You introduce your boyfriend/girlfriend to a long-time friend during a high school You are strolling at the mall with your mother when you suddenly bumped into your teacher in senior You were tasked to introduce the guest speaker of the seminar that your school organization your answer in handwritten format Definingdialogue; 1. Make your written dialogue cut to the chase; 2. Blend dialogue with descriptive narration well; 3. Use dialogue to reveal key character information; 4. Learn how to write dialogue that drives plot; 5. Avoid unnecessary, distracting or absurd dialogue tags; 6. Use specific dialogue to illustrate general relationships and situations; 7. ^{Career developmentHow To Write Dialogue With Formatting and ExamplesWriters use various tools like monologues, dialogues and narratives to tell stories that appeal to their audiences. Dialogue is one of the most important tools for written and scripted works with more than one character. You may be interested in learning more about dialogue if your job involves writing a novel, short story or script to share with an this article, we discuss why dialogue is important in written works and how to write dialogue that engages your audience, then offer examples to help you write quality is dialogue?Dialogue refers to written conversations between characters in novels, short stories and scripts. For dialogue to occur, two or more characters must talk with one another to further a story. Actors for commercials, movies and television shows use written dialogue to perform their characters. This makes dialogue useful for leisure activities like reading, informational training videos or marketing dialogue rulesThere are several rules you can follow when formatting your dialogueStart a new paragraph with each punctuation inside quotes for spoken long quotes that last several paragraphs, skip end quotes at the end of each single quotes for when a speaker quotes another How To Write a Monologue in 6 Steps With Definitions and TipsHow to write a dialogueConsider these steps that you can take for how to write a dialogue1. Determine the reason for the dialogueIt's often helpful to first determine why you're adding dialogue to a piece of writing. Think about whether the dialogue enhances the story by developing character relationships or backgrounds, advancing the action of the plot or revealing information to your audience. You may place your dialogue strategically throughout your piece to ensure an even flow from narration, action and character voice. Remember to only include dialogue if necessary and avoid dialogue that adds little to your written How To Write a Video Script in 7 Simple Steps2. Decide which characters are speakingThere must be at least two characters having a conversation for a dialogue to exist. Understanding the goal of the conversation can help you decide which characters are speaking, what they're saying and why they're saying it. Once you've decided on the characters in your dialogue, remember to think about their voice and how they might deliver information with their personality and style of speech. To keep your audience's attention, try to add only a few characters to a conversation to improve readability and make it clear which character is How To Become a Writer in 7 Steps3. Use quotation marks to start and end spoken dialogueQuotation marks are the standard punctuation for communicating written dialogue in novels and short stories. If you're writing one of these pieces, use quotation marks at the start and end of a character's speech to set their dialogue apart from the rest of the text. Using quotation marks effectively improves the clarity of a written piece by separating a character's speech from the narrative text and helping a reader keep their place in your of proper quotation mark usage "This is the best salad I've ever tasted," Charles How To Punctuate Dialogue With Examples4. Create a new paragraph for each speakerEvery time a different character speaks, it's important to start and indent a new paragraph. This helps you and your readers understand who is speaking and makes your story or script look more visually appealing and easy to read. Separating each character's speech may avoid confusion about what each character is saying, which can be useful in stories with characters who have conflicting values, roles or levels of of multiple speakers "I want to go on a picnic," Karla said, "but I don't want to go alone.""Why don't we go together?" Jenna said, "I'd like that."5. Write the dialogueWithin your quotation marks, you can write the dialogue between your characters. Consider the reason you're adding it to your story and which characters are speaking the words as you write. Since dialogue is a conversation, the style in which you write it may sound different from the narrative parts of your story or script. Adjust your style based on the setting, characters' personalities and your goal. For example, if your goal is to show two characters meeting for the first time, their conversation may be more formal than if they had been friends for a long The Writing Process Over 45 Tips on Writing6. Start with the actionIt's a good idea to give every piece of dialogue a purpose, and starting with the action or most important information of a conversation is an excellent way of achieving that purpose. Although real conversations may have small talk and filler words, dialogue conversations must often be more straightforward and direct for audiences to easily grasp their meaning and intention. To accomplish this, keep your dialogue concise and include only the information that moves your story forward, strengthens connections between characters or offers new knowledge to Use dialogue tags to show who's speakingDialogue tags are brief descriptions of who is speaking a piece of dialogue. These tags can come before or after the quotation marks of a character's speech and often include the name or pronoun of the speaking character and a verb describing that they spoke. You can use dialogue tags in many ways to increase the readability of your work and show readers which character is speaking. One way to add visual diversity to your piece is by including dialogue broken up by dialogue tags, which can increase suspense and reader of a dialogue tag before dialogue Ken said, "That sunset is incredible!"Example of a dialogue tag after dialogue "I prefer sunrises," Joe of a dialogue tag breaking up dialogue "If you want to see a sunrise," Ken said, "we can go hiking in the morning next time."8. Include action beatsAction beats are one way to enrich your dialogue by adding narrative descriptions of a character's movements and emotions. This can help readers better understand your dialogue, the setting of the conversation and how the characters feel. You can add action beats in dialogue tags, before or after dialogue and in the middle of dialogue to break up long conversations and make characters feel more of an action beat in a dialogue tag "I studied really hard for this test," Jimmy said with a of an action beat before dialogue Yolanda sipped her drink. "This is the best cafe I've been to in a while," she of an action beat after dialogue "After the power went out, I had to reset the clock," his mother said, and she shook her of an action beat breaking up dialogue "There used to be many species of birds here," the tour guide said as he waved his hands toward the trees, "but many have migrated to warmer climates."9. Remember the settingWhen writing dialogue, it's easy to focus on your characters and their conversation, so try to remember to add information about the setting where the dialogue takes place. This helps keep your story balanced and helps readers or viewers feel like the characters in your novel, short story or scripted production are really interacting with their world. You can include the setting in small ways, like having the characters mention how time has passed or noticing a branch fall from a tree nearby. Doing this may help keep your dialogue brief and grounded. 12C Create short dialogues based on the given situations. . You want to help an old man to visit a doctor but you're sick. You S 2 a friend carrying a lot of shopping. She looks in trouble. You go over to her but her stuff is very heavy. You want to help your little brother do his homework but it's almost midnight. You see your teacher trying to operate the computer and the LCD 1b but he has} This guide to writing dialogue is all about using speech and conversation in storytelling to make your characters’ voices drive plot, tension and drama. Use the links to jump to the dialogue-writing topic you want to learn more about right now. What is dialogue? Key terms Dialogue in writing is conversation between two or more people/animated voices animated voices because it could be speech between a person and an inanimate object they personify, for example, an imaginary or supernatural voice, and so forth. Dialogue can be compared to A tennis or fencing match Speakers may spar, score points, volley arguments or statements and rebuttals to them back and forth A dance One speaker says one line, the other replies, and sometimes one person may lead, at other times, the other leads Pieces in a puzzle coming together What different characters say may build up a gradual picture, for example an idea of the persona of a character who has not yet appeared in a story scene but has been spoken about by others Music sometimes there is harmony working together, other times discord strife, heated conversation or disagreement Key terms in writing dialogue There are several terms in dialogue worth knowing as they crop up often in discussing this element of writing craft Active listening Dialogue is usually responsive When somebody is engaged in active listening’, they aren’t just waiting for their turn to speak. In a true conversation, people hear one another, respond. There may be instances where your dialogue’s subtext or context more on these below calls for characters not to actively listen to one another, of course. There may be cause for them to interrupt, speak over, speak at cross purposes. In these cases, it should be contextually or otherwise clear why characters aren’t properly responding to each other’s speech the dialogue should not read or sound like random non sequiturs, each person’s utterances totally disconnected for no clear reason. Context for dialogue Effective dialogue involves its context. For example, in a frenzied car chase, the squeal of tires may drown out the exchange here or there. Speech and action in this context may reflect rapid decision-making, keeping pace. In the middle of a bank heist, people may be curt, decisive of course, inept thieves could wax lyrical and by talking too much make rookie mistakes. Either way, context will inform how readers make sense of your dialogue, and helps to fill dialogue with tone and mood. Nobody whispers to each other standing next to Niagara falls if they want to be heard. Subtext and dialogue Subtext in dialogue is the underlying meaning, motivation or feeling behind the words characters speak. For example, a boss starts a casual conversation with a new employee but the subtext is that they’re having regrets at hiring the person and trying to come to a decision on whether to terminate in the trial period. The subtext will inform what language they will use and this language would be different to someone ecstatic with their employee’s performance. Subtext adds depth and complexity to dialogue, strata of the said and unsaid. Purpose in dialogue Why is the information you are writing in a scene given as dialogue? Knowing the purpose of dialogue and writing dialogue that feels purpose-driven is useful to ensure that every spoken line counts. In a stage play, dialogue and action are the two drivers of story. In narrative fiction, you also get to use narration to convey meaning. A story where all character information is conveyed through narration may read oddly voiceless, impersonal. Dialogue makes your characters pause, take a breath, like real flesh and blood. Recommended reading Learn more about writing conversations that feel real and draw on cause and effect, call and response Context and subtext in dialogue Creating layered speech How to make dialogue in writing carry your story 7 dialogue rules for writing fantastic conversations To the top ↑ I write plays because writing dialogue is the only respectable way of contradicting yourself. I put a position, rebut it, refute the rebuttal, and rebut the Stoppard GET YOUR FREE GUIDE TO SCENE STRUCTURE Read a guide to writing scenes with purpose that move your story forward. Learn more Why dialogue matters Why do most stories benefit from liberal use of dialogue? 1. Dialogue brings characters and their differences to life In dialogue, you could show a character’s personality in a handful of words. Here, for example, Dostoyevsky creates the sense of a decisive doctor, used to dealing with uncertain, anxious patients in The Double Krestyan Ivanovich … I …’ Hm,’ interrupted the doctor, what I’m telling you is that you need to radically change your whole lifestyle and in a sense you must completely transform your character.’ Krestyan Ivanovich particularly emphasized the word transform’ and paused for a moment with an extremely significant look. Fyodor Dostoyevsky, The Double, trans. Ronald Wilks 1846, 2009, p. 11 There is an immediate sense of power dynamic and differential – the hesitating patient and his decisive doctor. 2. Dialogue splits up exposition into varied parts If all the revelation of your characters and world is in long, wall-of-text narration, it becomes slightly draining to read. Dialogue lifts us out of a this happened, then that’ sense of explanation and throws us into the immediate – sound striking the eardrum. Tweet This 3. Dialogue advances a story Characters may tell each other things that reveal – or shift – goals, motivations, conflicts. But first, I must tell you Mr Bond…’ A villain may say too much, a lover, too little or vice versa. 4. Conversation builds relationships Some of the most beautiful relationships or the most ugly emerge through what people say to one another. Ed’s note As an undergraduate in English Literature, I attended a lecture on Pride and Prejudice where the lecturer illustrated how Lizzie and Darcy’s love is established through the grammar of their language and how it shifts. At one point, Darcy says, You are loved by me’ – a different structure to the standard I love you’ that places the subject first, in a way that reads as full of care. We detect attraction and resentment in the language people use with one another. A conversation about the weather may imply feelings – it comes down to tone, address, mood, agreement and disagreement. 5. Dialogue brings humor, levity and persona to stories Dialogue is often a vehicle for comedy. It’s a crucial part of how to write a funny story. You can narrate that a character has grown wealthy and fallen out of touch with their humble origins. But in Dickens’ Great Expectations, when a character named Trabb’s boy’, the tailor’s son, follows the main character Pip down the street mimicking him and saying, Don’t know ya!’ after Pip is left wealth, it’s a brilliant and funny illustration of how people change and perceive and react to changes in others. Pip seems too good for’ others now that he has wealth, and three words convey Trabb’s boy’s contempt with sly humor. Three words paired with action, the following and mimicking convey complex social dynamics and feelings. Why else do you think dialogue matters? Tell us in the comments. Learn more about writing dialogue that drives stories 10 dialogue tips to hook readers Hook readers into your story with dialogue that catches their attention. Writing movement and action in dialogue 6 tips How can movement and action make your dialogue more immersive? Find out. To the top ↑ Dialogue is the place that books are most alive and forge the most direct connection with readers. It is also where we as writers discover our characters and allow them to become Taylor How to format dialogue Speech marks or quotation marks, and where do the line breaks go? Read on for how to format dialogue, common differences between UK and US formatting styles, and more Why do we format dialogue? Clarity, ease and flow Try to write an exchange in dialogue all as block paragraph text and it becomes a nightmare trying to keep track of who says what “You’re late,” she said. “But I didn’t say what time I was coming.” “I don’t care, I’ve been waiting half an hour.” There was an awkward silence for a few seconds. “Well don’t say anything, whatever.” It’s not clear from the above dialogue without line breaks and with no attribution for the last spoken sentence who says what at all times. This is much easier to read because line breaks signal when the speaker changes “You’re late,” she said.“But I didn’t say what time I was coming.”“I don’t care, I’ve been waiting half an hour.” There was an awkward silence for a few seconds. “Well don’t say anything, whatever.” It’s much easier to follow the back and forth and because only two characters are present, the dialogue does not need excess attribution of who says what thanks to the line breaks clarifying this. How to format dialogue in stories 8 tips To make sure it’s clear who’s speaking, when it changes, and when speech begins and ends and narration or description interrupts 1. Use quotation or speech marks to show when speech starts and stops If a character is still speaking, don’t close speech marks prematurely. 2. Start a new line each time the speaker changes Although it is common practice to use an indent for each change of speaker, make sure to use paragraph formatting in your word processor rather than the tab button as this can make indentation too large or wonky using paragraph-wide settings is most precise. Example Example of formatting changes of speaker with line indentation, from Colleen Hoover’s It Ends with Us 2016. 3. Decide how you’ll format dialogue and stick with it Speech marks with double quotations like the example from Colleen Hoover above “ are more commonly used in the US, single quotation marks in books published in the UK. Some contemporary novels don’t use speech marks at all, using an em dash at the start of a line or presenting dialogue another way. Whichever approach you use, consistency is key. Example Using single quotation marks to indicate speech Example of single quotation marks for speech from Zadie Smith’s On Beauty 2005 4. Always use a comma if there is an attributing tag If dialogue is attributed using a tag such as she said’ read more on dialogue tags below, use a comma and not a period/full stop. For example “Writing dialogue is harder than I thought.” She said. ❌“Writing dialogue is harder than I thought,” she said. ✔️ Remember the tag continues the sentence. 5. Split long monologue over multiple paragraphs What if the same character is speaking for a long time in dialogue? To format this, the convention is to open speech marks for each new paragraph without closing speech marks for the previous one, until the speaker is finished talking. Example Dialogue where one speaker continues over paragraphs “First I want to thank you all for being here on our special day. It does take a village but you can put down the pitchforks, take off the creepy masks, and relax a little, guys, it’s not that kind of village … Er eheh… OK I’m firing my joke writers. “But in all seriousness, I couldn’t have chosen a better bride…zilla.” 6. Use the appropriate dialogue punctuation If a speaker pauses, put it in with a comma or something longer such as a semicolon. This is where it helps to read dialogue out loud as you will hear where there is a natural pause that needs punctuating. Colons have an announcing effect. Example “OK, here’s the kicker The guard changes every forty-five minutes.” If there is a question or exclamation, use the appropriate speech mark that includes the occasional special effect, such as an interrobang !?. 7. Write interruption or other changes in dialogue’s flow clearly Ellipses are effective in showing a character trailing off or pausing to think for longer, mid-dialogue. Example “Oh yes, I remember, it was … whatshername.” There are several ways to show interruption. You could Use an em-dash just after cut-off speech. Example “If you’d just let me fini—” Use parentheses to show self-interruption. Example “If you’d just let me finish what I was actually, it’s fine, carry on.” 8. Format narration interrupting dialogue clearly If you want to describe a character’s manner, movement, expression mid-dialogue, remember to use a comma before and resume dialogue without capitalization unless the word is a proper noun Example “I can’t believe you said that,” John said, shaking his head, “and with absolutely zero remorse, too.” Read more on how to ensure your dialogue reads clearly, including how to write ensemble dialogue with multiple characters present Recommended reading Writing dialogue between multiple characters Writing movement and action in dialogue 6 tips To the top ↑ Nothing teaches you as much about dialogue as listening to Blume Effective vs weak dialogue Why does some dialogue scintillate, stir interest, while other dialogue reads like talking heads saying nothing of great impact in an inky void? There are several hallmarks of effective and less effective dialogue What makes dialogue effective An authentic sense of voice. Do characters sound like cipher’s for an author’s pretension this may be true to a specific stylistic choice, though or like real people talking? Purpose-driven dialogue. Each line of dialogue should have identifiable purpose, whether it’s establishing character, advancing the story, building tone and mood, or dialogue serves another purpose. Aptness for type or explicable against type’ voice. Avoid confusing your reader by having a five-year old speak like a fifty-year-old unless there’s a plot-given or other explicable reason for this anomaly. Varied structure. If every sentence is clipped or brusque, or every sentence is long and meandering, the eye and ear may tire. Switch it up if possible. Natural language. Contractions it’s’ for it is’ and other ways people naturally speak colloquial language or slang lend further authenticity to voice. Conflict and tension. As you know, Bob’ info dumps and happy people in happy land don’t make dialogue exciting but tension, disagreement, doubt – sparks of contradiction – do. Movement and gesture. A gesture may change the entire meaning of a spoken phrase a shrug, turn, sitting down, standing up, waving arms, and so on. Subtext and inference. What a character is truly thinking or feeling might not match up perfectly with what they’re saying. People lie, omit, embellish, and so forth. What can weaken dialogue in fiction? Dialogue in stories may feel bland or confusing or too over the top and melodramatic when It’s all one note. If every utterance is an exclamation with an exclamation mark, that gets old fast. Use special effects like salt – just enough to enhance the conversation. Connection is absent. Your reader may be confused if what characters reply to each other seems as though they’re having two different conversations unless there is contextual explanation, both are hard of hearing. The scenery stays outside. If your characters are having an argument in the kitchen, does someone bang a pot, slam a drawer? Bring in surrounds. There is no differentiation. If everyone has the exact same vocabulary, mannerisms, and pattern of speech, characters start to become clone-like, like so many Agent Smiths. Excessive or bizarre tags. Characters shouldn’t honk or trumpet speech too often. Favor tags that you can say or express no, “What!” she flabbergasted’. Leave out tags entirely if context tells your reader who speaks and content of speech gives tone/mood. Excessive dialect or accent. At best excessive dialect or accent may read distracting, at worst, like hurtful stereotype or caricature. Adverbs clutter speech. Instead of overusing she says softly’, leave space for the silence to come through. Dialogue dumps information. As you know, Bob’ is a phrase used for dialogue where characters tell each other things both already know solely for the reader’s benefit. Find ways to make the retelling new/fresh, find what Bob doesn’t yet know and needs to be told. Recommended reading Keep reading about ways to make dialogue characterful and engaging Dialogue words Other words for said’ and what to avoid How to write accents and dialects 6 tips Realistic dialogue Creating characters’ speech patterns To the top ↑ Pay $0 for writing insights and how to’s Be first to know whenever we publish and get bonus videos and the latest Now Novel news. Dialogue devices for characterful speech There are several dialogue devices that help to advance stories and create a sense of movement, tension and change Dialogue tags and action tags What are dialogue tags and action tags? Dialogue tag The words added after dialogue that attribute who has spoken and often the mood, emotion, or volume of speech. Examples “You might want that tattoo, but I know all your secrets and your twenty-first is coming up and don’t think for a second I’m above making an awkward speech,” mom warned. “Shh!” he hissed in a half-whisper. “This freaking place is haunted.” Action tag Indicates the speaker’s movements or gestures in dialogue. This can be used to attribute speech and make dialogue livelier. Example “You might want that tattoo, but …” Mom leaned over theatrically as though to confide something important. “I know all your secrets and […]’ Movement and gesture Movement and gesture may punctuate dialogue, immersing the reader in a scene further. Example Then go,’ said Mrs Williams, handing him the buckets and the coil of rope. Swim,’ she said maliciously. She knew he was afraid of the sea. He carried his fear coiled and tangled in him like other boys carry twine and string in their crumb-filled pockets. Peter Carey, Oscar and Lucinda 1988, p. 16 Interruption Interruption is a useful device in dialogue for argument, dramatic scenes with high stakes where characters are speaking over one another, and so forth. Example “I could have killed you.”“Or I could have killed you,” Percy shrugged. “If there’d been an ocean in Kansas, maybe.”“I don’t need an ocean—”“Boys,” Annabeth interrupted, “I’m sure you both would’ve been wonderful at killing each other. But right now, you need some rest.” Rick Riordan, The Mark of Athena 2012. Conflict and suspense Conflict and suspense in dialogue keep the reader intrigued. Characters may argue, refuse to speak, tell a fib the reader may know to be untrue, or otherwise stir tension. Example “What’s this for?” Tessie asked suspiciously.“What do you mean, what is it for?”“It’s not my birthday. It’s not our anniversary. So why are you giving me a present?”“Do I have to have a reason to give you a present? Go on, open it.”Tessie crumpled up one corner of her mouth, unconvinced. Jeffrey Eugenides, Middlesex 2002, p. 10. Recommended reading Read more on devices in dialogue, including dialogue tags vs action tags and how to create tension 421 ways to say said? Simplify dialogue instead Dialogue 101 Using dialogue tags vs action tags Writing tense dialogue 5 ways to add arresting tension To the top ↑ I never say She says softly.’ If it’s not already soft, you know, I have to leave a lot of space around it so a reader can hear that it’s Morrison Dialogue examples that work Read examples of dialogue that works from a cross-selection of genres including fantasy, romance, science fiction, thriller, historical, contemporary and more 1. Fantasy dialogue example A Game of Thrones Note how George R. R. Martin weaves in setting to create mood between utterances in this exchange from the prologue to A Game of Thrones “We should start back,” Gared urged as the woods began to grow dark around them. “The wildlings are dead.”“Do the dead frighten you?” Ser Waymar Royce asked with just the hint of a did not rise to the bait. He was an old man, past fifty, and he had seen the lordlings come and go. “Dead is dead,” he said. “We have no business with the dead.” George R. R. Martin, A Game of Thrones 1996. 2. Historical romance dialogue example The Duke and I Julia Quinn begins the first chapter in the first of her popular Regency-set romance novels with a typical Regency setting – a drawing room and drama in letters “Oooooooooohhhhhhhhhh!” Violet Bridgerton crumped the single-page newspaper into a ball and hurled it across the elegant drawing daughter Daphne wisely made no comment and pretended to be engrossed in her embroidery.“Did you read what she said?” Violet demanded. “Did you?” Julia Quinn, The Duke and I 2000. 3. Mystery dialogue example The Murder of Roger Ackroyd Dame Agatha Christie’s The Murder of Roger Ackroyd is often voted one of her best detective novels. In the first chapter already, conversation turns to death and the topic of who knows what about whom and how My sister’s nose, which is long and thin, quivered a little at the tip, as it always does when she is interested or excited over anything.“Well?” she demanded.“A bad business. Nothing to be done. Must have died in her sleep.”“I know, said my sister time I was annoyed.“You can’t know,” I snapped. “I didn’t know myself until I got there and I haven’t mentioned it to a soul yet. If that girl Annie knows, she must be a clairvoyant.” Agatha Christie, The Murder of Roger Ackroyd 1926 4. Science fiction dialogue example Hyperion Dan Simmons’ Hyperion which won a Hugo Award was hailed as The book that reinvented Space Opera’. Note the weaving in of dialogue between human and machine in the prologue We need your help,’ said Meina Gladstone. It is essential that the secrets of the Time Tombs and Shrike be uncovered. This pilgrimage may be our last chance. If the Ousters conquer Hyperion, their agent must be eliminated and the Time Tombs sealed at all cost. The fate of the Hegemony may depend upon it.’ The transmission ended except for the pulse of rendezvous coordinates. Response?’ asked the ship’s computer. Dan Simmons, Hyperion 1989. 5. Psychological thriller dialogue example Sharp Objects Notice how in Gillian Flynn’s debut Sharp Objects how even a simple conversation between reporter Camille Preaker and her editor at the St. Louis Chronicle who sends her back to her hometown on assignment is laced with a sense of tension and avoidance “Tell me about Wind Gap.” Curry held the tip of a ballpoint pen at his grizzled chin. I could picture the tiny prick of blue it would leave among the stubble.“It’s at the very bottom of Missouri, in the boot heel. Spitting distance from Tennessee and Arkansas,” I said, hustling for my facts. Curry loved to drill reporters on any topics he deemed pertinent – the number of murders in Chicago last year, the demographics for Cook County, or, for some reason, the story of my hometown, a topic I preferred to avoid. Gillian Flynn, Sharp Objects 2006. 6. Humor dialogue example Lessons in Chemistry See here how Bonnie Garmus weaves together humorous dialogue and character description to create the portrait of a man who does not have much luck in love “I can’t believe you’re having trouble,” his Cambridge teammates would tell him. “Girls love rowers.” Which wasn’t true. “And even though you’re an American, you’re not bad looking.” Which was also not true. Part of the problem was Calvin’s posture. He was six feet four inches tall, lanky and long, but he slouched to the right – probably a by-product of always rowing stroke side. Bonnie Garmus, Lessons in Chemistry 2022. 7. Historical/fantasy dialogue example The Invisible Life of Addie LaRue Schwab creates a sense of early, 17th Century times in this conversation about prayer and witches’ fates in her historical fantasy novel that involves immortality and contemporary romance “How do you talk to them?” she asks. “The old gods. Do you call them by name?”Estele straightens, joints cracking like dry sticks. If she’s surprised by the question, it doesn’t show. “They have no names.”“Is there a spell?”Estele gives her a pointed look. “Spells are for witches, and witches are too often burned.” Schwab, The Invisible Life of Addie LaRue 2020. 8. Literary fiction dialogue example Home Toni Morrison is a master of capturing the authentic ring of a real human voice. See the difference between the Reverend and his wife who dismisses his jaundiced view of the world as foolishness’ in this dialogue example “You from down the street? At that hospital?”Frank nodded while stamping his feet and trying to rub life back into his Locke grunted. “Have a seat,” he said, then, shaking his head, added, “You lucky, Mr. Money. They sell a lot of bodies out of there.”“Bodies?” Frank sank down on the sofa, only vaguely caring or wondering what the man was talking about.“Uh-huh. To the medical school.”“They sell dead bodies? What for?”“Well, you know, doctors need to work on the dead poor so they can help the live rich.”“John, stop.” Jean Locke came down the stairs, tightening the belt of her robe. “That’s just foolishness.” Toni Morrison, Home 2012. What is a favorite section of dialogue from a book in your favorite genre? Share in the comments below. Join The Process for weekly feedback on dialogue and other writing, webinars on dialogue writing and other writing craft topic, and structured writing tools to brainstorm and develop your story. “ Now Novel has been invaluable in helping me learn about the craft of novel writing. The feedback has been encouraging, insightful and useful. I’m sure I wouldn’t have got as far as I have without the support of Jordan and the writers in the groups. Highly recommend to anyone seeking help, support or encouragement with their first or next novel. – Oliver ” Read more reviews on Recommended Reading Read further examples of effective dialogue Dialogue writing examples from top books vs AI 2023 Writing conversations using setting examples 5 types of dialogue your novel needs To the top ↑ ^{Usethe work to explore how acts of creative expression impact and are impacted by the people and situations that surround them. Consider the following: a. Consider the following: a. What contributions does the work selected make to continuing a dialogue about that culture and the importance of its works?}

1Examples of dialogue between two people. 1.1 Formal dialogue. 1.2 Friendly dialogue. 1.3 Courteous dialogue. 1.4 Dialogue between friends. 1.5 Dialogue between acquaintances. 1.6 Dialogue between friends. 1.7 Everyday dialogue. 1.8 Formal dialogue.

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create a dialogue based on one of the following situations