Abrief description of a specific instance used to illustrate features and benefits of a product. Preselling. Salespeople present their product/service to individual buyers before a major sales dialogue with a group of buyers. Proof providers. The use of statistics, testimonials, or case histories to support product claims. Workin pairs Create dialogues based on the following situations 1 You visit. Work in pairs create dialogues based on the following. School STMIK BANDUNG; Course Title ENGLISH MISC; Uploaded By devanfebrianti. Pages 232 This preview shows page 75 - 79 out of 232 pages. Adabanyak pertanyaan tentang how to create a dialogue box in word beserta jawabannya di sini atau Kamu bisa mencari soal/pertanyaan lain yang berkaitan dengan how to create a dialogue box in word menggunakan kolom pencarian di bawah ini. CheckIn Practice Dialogue. The following dialogue between a passenger service agent and a passenger is fairly typical of a discussion you might encounter at an airport. Take one of the roles, find a friend of fellow student to take the other role, practice the dialogue, and switch roles. Service agent: Good morning. Somecommon conversation for dialogue writing are: Greeting conversation starters are: Seeing off people. At school. Regarding Good. Miscellaneous. Dialogue writing Examples for class 6, 7, 8, 9, 10, 11, 12. Dialogue writing between teacher and student. Dialogue writing between father and Son. 2g517O3. Writing good dialogue is not just about quippy lines and dramatic pauses. It's about propelling the story forward, pulling the reader along, and fleshing out characters and their dynamics right in front of the readers. Well-written dialogue has the potential to take your story to a whole new level. Here's how to write great dialogue in 9 steps 1. Skip the greetings and small talk 2. Keep to three dialogue beats 3. Use action beats 4. Don’t be afraid to use said’ 5. Add variety to your dialogue scenes 6. Avoid excessive exposition 7. Use catchphrases or quirks in moderation 8. Know that characters don’t always mean what they say 9. Remember that less is more 👀 Which dialogue tag are YOU? Find out in just a minute. 1. Skip the greetings and small talk Alfred Hitchcock once said that “drama is life with all the boring bits cut out.” Similarly, we could say that good dialogue is like a real conversation without all the fluff. Think about it very few “classic” scenes start with characters saying “Hey buddy! How are you doing? Wow, long time no see. Parking was a nightmare.” These lines don’t add anything to the story, and they are said all the time. Are you willing to repeat this prelude for every scene where the characters meet? Probably not, nor do your readers want to sit through it. Readers can infer that all these civilities occur, so you can go ahead and skip forward to get to the meat of the conversation. For a more tangible example of this technique, check out the dialogue-driven opening to Barbara Kingsolver's novel, Unsheltered. 2. Keep to three dialogue beats Outlined by screenwriter Cynthia Whitcomb, the Three-Beat Rule advises writers to have a maximum of three dialogue beats at a time, after which you should insert a dialogue tag, action beat, or another character’s speech. Dialogue “beats” can be understood as the short phrases in speech that you can say without pausing for breath. Sometimes they correlate with actual sentences, sometimes they don’t. Here’s an example from Jane Gardam’s short story, “Dangers”, in which the boy Jake is shooting an imaginary gun at his grandmother Now, you may point out that classic books often don’t follow this rule — that’s because dialogue conventions have changed over time. Nowadays, a lengthy and unbroken monologue unless it’s been effectively built up to be an impassioned outburst or revelation tends to feel dated and awkward. Readers also lose their attention and interest easily in the face of long speeches, so the Three-Beat Rule is definitely one to follow! FREE COURSE How to Write Believable Dialogue Master the art of dialogue in 10 five-minute lessons. 3. Use action beats While we’re on the topic of beats, let’s take a look at another kind — action beats. These are descriptions of the expressions, movements, or even internal thoughts that accompany the speaker’s words. They’re included in the same paragraph as the dialogue, to indicate that the person acting is also the person speaking. Action beats can keep your writing varied, avoiding the need for a long list of lines ending in he said’ or she said’. They can also be used to manage the pace of a dialogue-heavy scene. Furthermore, they can illustrate and add context to the conversation, so that readers can gauge the significance of the scene beyond what was being said. These beats are a commonly used technique so you can find plenty of examples — here’s one from Never Let Me Go by Kazuo Ishiguro. 4. Don’t be afraid to use said’ Said’ gets a bad rap for being boring and overused as a dialogue tag, especially in school. But in the book-writing world, this simple tag is favored over more descriptive ones like exclaimed,’ declared,’ or the many other words used to replace said.’ Pro-tip While we cannot stress enough the importance of "said," sometimes you do need another dialogue tag. Download this free cheatsheet of 270+ other words for said to get yourself covered! FREE RESOURCE Get our Dialogue Tag Cheatsheet Upgrade your dialogue with our list of 270 alternatives to “said.” The thinking goes that most of the time, readers don’t notice words like said’ because their attention is rightfully on what’s actually being spoken. As writer Elmore Leonard puts it “Never use a verb other than said’ to carry dialogue. The line of dialogue belongs to the character; the verb is the writer sticking his nose in. But said’ is far less intrusive than grumbled,’ gasped,’ cautioned,’ lied.’” To never use other verbs might be a drastic measure, but you definitely do not want to overcrowd your dialogue with fancy tags and risk taking readers out of a scene for a brief display of verbal virtuosity. If bestsellers like Daphne du Maurier's Gothic novel, Rebecca, features said’ on a regular basis, then your book can, too. 5. Add variety to your dialogue scenes This tip is all about exceptions to some of the tips we’re sharing here. Learning how to write good dialogue isn’t about strictly following rules but rather learning what technique to use when, and emphasizing what's actually being said between characters. If you stick to one rule the whole time — if you only use said,’ or you finish every dialogue line with an action beat — you’ll quickly wear out readers. See how unnaturally it plays out in the example below with Sophie and Ethan The key, then, is to have variety in structure and use of dialogue tags or action beats throughout a scene — and by extension, throughout your book. Make said’ the default, but be flexible about changing it whenever a description of the characters or a more elaborate dialogue tag can add nuance to the scene! 🎵 Tell us about your book, and we'll give you a writing playlist It'll only take a minute! 6. Avoid excessive exposition Exposition is always a tough nut to crack when writing — finding an organic, timely, and digestible way to reveal important background information can be quite the challenge. It might seem natural to slot some exposition into dialogue in order to avoid overt narrative digressions, but it’s far from a sure-fire solution to your problem. This is mostly because speech-based explanations can quickly become unnatural. Characters might speak for too long, with too much detail on things that they really might not think about, remember, or comment on in the story’s context think “I’m just going to the well, mother — the well that my brother, your son, tragically fell down 5 years ago…”. Just because it’s a conversation doesn’t mean that info-dumps can’t happen. As such, be careful when carrying out dialogue-based exposition. It’s usually good to have at least one character who doesn’t fully understand what’s happening, so that you can offer explanations relatively naturally — rather than explaining things just for the sake of the readers. For instance, in The Godfather, readers get their first look at the Corleones through Michael's introduction of his family to his girlfriend. Kay Adams is Michael’s date at his sister’s wedding in this scene. Her interest in his family is natural enough that the expository conversation doesn’t feel shoehorned in. 7. Use catchphrases or quirks in moderation Giving a character a catchphrase or quirk — like Jay Gatsby’s “old sport” or Dolores Umbridge’s “hem hem” — can give them a distinctive, recognizable voice. But as with all character quirks, they work best when you don’t go overboard with them. Firstly, you don’t want your character to repeat this catchphrase too frequently, otherwise, readers might find it jarring. Remember what Elmore Leonard said about the writer intruding? If you inject the quirk too much, you might become visible on the page. Secondly, you also want to avoid giving too many characters their own quirks. Gatsby and Umbridge’s voices stand out because no one else has something as memorable about their speech. Moreover, each quirk reveals something about the character Gatsby impersonates a gentleman in his speech and lifestyle; Umbridge works to maintain her image of composure in contrast to the disarray of Hogwarts under the direction of Dumbledore. You therefore want to think carefully about your character’s voice, and use catchphrases and quirks only when they really have something to say about your character. 🖊️ Which famous author do you write like? Find out which literary luminary is your stylistic soulmate. Takes one minute! 8. Know that characters don’t always mean what they say Just as “I’m good” in response to a friendly “How are you?” might not actually mean that you’re good, characters can also say things that don’t reflect the truth. Creating dialogue that places emphasis on what’s not said the subtext can make your story that much more realistic and compelling. To do this, you can apply the classic rule of “show, don’t tell”. Use action beats and descriptions to provide clues that can be read between the lines. Let’s revisit Sophie and Ethan in this example While Sophie claims she hasn’t been obsessing over this project all night, the actions in between her words indicate that there’s nothing on her mind but work. In weaving personality traits into the conversation through action beats, rather than describing Sophie as hardworking or using a “she lied” dialogue tag, you give readers a chance to organically get to know the characters. FREE COURSE Show, Don't Tell Master the golden rule of writing in 10 five-minute lessons. 9. Remember that less is more Our final tip is more of a reminder than anything. With a “less is more” mentality, you can cut out unnecessary bits of dialogue the “boring bits” from tip 1 and focus on making sure the dialogue you do keep matters. Good writing is intentional and purposeful — it always strives to keep the story going and readers engaged — so the importance lies in quality rather than quantity. One particular point we haven’t really addressed is repetition. If used well with clear intentions, repetition is a literary device that can help you build motifs and flesh out themes in your writing. But when you’re writing dialogue and find yourself repeating well-established pieces of information, it might be a good time to step back and revise your work. For instance, here’s a scene with Sophie and Ethan later on in the story Having Sophie mention that they’ve been working together since the transfer feels repetitive without really adding anything to the conversation. Instead of rephrasing this bit of info, consider cutting Sophie’s line altogether or adding something else, like “I can’t believe we’re talking about this again”, to increase the tension between the characters. The point is, a good dialogue is often a place where character dynamics can play out. Including needless phrasings or repetitions may decrease the strength of that interaction, and waste valuable space in a scene. If you’re verging on repeating yourself, it’s better to write less and let the readers infer more. We know that writing dialogue can be intimidating, especially if you don’t have much experience with it. But that should never keep you from including it in your work! Just remember that the more you practice — especially with the help of these tips — the better you’ll get. And once you’re confident with the conversational content you can conjure up, follow along to the next part of our guide to see how you can punctuate and format your dialogue flawlessly. Teachers need ideas for creating dialogues in ESL classrooms to help their students to practice Dialogues in ESL Classrooms-Why?Dialogue writing is an activity where students collaborate to compose a dialogue, which can later be performed for the entire class. I have found dialogue writing to be extremely motivating with my university students, and I’m always very impressed with their benefit of this activity is that it is extremely student-centered, giving students the opportunity to create their own materials for speaking and listening. This allows them to create material is more personalized than a dialogue in a who are reluctant to speak out in class enjoy the progression from writing to speaking. Read here about some LEAD IN IDEAS for the ESL addition, this type of activity gives students a chance to be creative. They can make their dialogue dramatic, funny, serious or crazy. Students are always curious to hear what their classmates have following are a few ideas that can help creating dialogues in ESL classrooms. Several of these are based on the brilliant ideas found in the book Dialogue Activities by Nick Bilbrough Cambridge University Press, a highly recommended resource book about using dialogues in the and End- Creating Dialogues in ESL Classrooms Prepare a handout that has 10 lines, each marked “A” or B” on the left side. On the first and last line, add a simple sentence or phrase in English such as “Excuse me” or “Hello” for the first line or “I gotta go” or “Goodbye” for the last line. Prepare one copy of the handout for every two students in your class. Pass out the handouts. Tell students you want them to create a dialogue that begins and ends with the phrases on their handout. They are free to write whatever they want, but they cannot alter the beginning and end of the dialogue. Once students have finished writing, give them time to rehearse, then call on a few pairs to perform the dialogues for the class. Variation if you want to give this activity an additional twist, you can assign each pair a theme for their dialogue, such as THE ANGRY DIALOGUE, THE HIP-HOP DIALOGUE, THE OLD PEOPLE DIALOGUE, THE RUDE DIALOGUE, THE SUPERHERO DIALOGUE or THE NERD a Dialogue from Short PhrasesWrite on the board 7 expressions that you want students to practice. You can use expressions from your coursebook, or some that you want students to learn. Aim for expressions that students can use in their daily conversation, such as “I’ve been meaning to talk to you about…” or “I have no idea.” Drill them with the students, each time asking students to say them in a different way a whisper, in a drunken voice, very quickly, in an angry voice, in a nervous voice. Next, put students into pairs. Give each pair a sheet of paper. Ask them to write A and B vertically on the left side of the page 5 times each, creating a total of 10 blank lines. Tell each pair to choose three expressions from the board and write them on three different lines, anywhere on the page. Point out that each expression can be written at the beginning, middle or end of a line. Collect all papers and redistribute them. The pairs now must add words and sentences to the lines to create a complete dialogue. When students have finished writing, ask a few students to read their dialogues for the the HouseBring to class a photo of a house. Ask students to speculate how many people live in the house and what they are like. Give them a few moments to look at the picture and imagine. Ask them questions such as “How many people live in the house?” “Is it a man or a woman?” “How old is she?” “Is she tall or short?” “What does she do for a living?” Write their answers on the board to create a short description of all the people in the house. Put students in pairs. Assign them to create a dialogue between two people in the house. If the class decided that only one person lives in the house, tell them to imagine a visitor to the house. Ask each pair to perform their dialogues for the entire class. When each pair finishes, choose students to ask questions to the two characters about their lives, their relationship or the house. Acknowledgment I learned about this sort of interactive character building exercise from a presentation by Andrew Wright a few years ago at a British Council presentation in Hong a StrangerBring to class a random collection of pictures of people, making sure to include a wide variety of faces. Put students into pairs and give each pairs two pictures. Tell the class that the two people in their pictures are going to meet today, but they are both strangers. Ask them to decide who the two people are, where they will bump into each other, how they will meet, and what they will talk about. You can ask them to close their eyes and imagine the interaction, then jot down notes , and finally discuss their ideas. Next give them a sheet of paper. Ask them to write a 10 line dialogue between the two people. Give them a few minutes to practice performing their dialogues at their desks, once they’ve finished writing. Ask each pair to perform their dialogue for the from MusicPlay students a short piece of instrumental music. You might choose a bit of classical, jazz, or something from an old movie soundtrack. Tell students to close their eyes and imagine a scene from a film with two characters talking, as you play the music again. Put students into pairs and ask them to write 5 lines of dialogue, based on what they imagined. When everyone is finished, ask them to change partners, working with someone who is sitting in a different area of the room. Students now work with their new partners to write 5 more lines of dialogue, completing the conversation. When all pairs are finished writing, give students several minutes to practice reading their dialogues. Ask one student to stand up. Read out the names of two pairs and ask the standing student to choose one pair to perform their dialogue. Repeat this procedure until all pairs have read out their TalkAsk students to imagine what a baby must be thinking about. Call on students to tell you what is important to a baby. Write their ideas on the board. Next, tell them you are going to play a video that contains two babies talking, but not in any identifiable language. Play one of the two very famous Talking Twin Babies VideosTalking Twin Babies Part 1Uploaded by jayrandall22011Talking Twin Babies Part 2Uploaded by jayrandall22011Play it a second time and get your students to call out any items they see in the video. Play it once again and ask more questions, such as “Where are they?” “How old are they?” “Do they look happy or angry?” Again, write their answers on the students into pairs. Tell them you want them to write the English translation of the conversation. Encourage them to use the language that you wrote on the board students have finished writing, collect all their dialogues, and pass them out so that each pair now has a new dialogue. Tell the pairs to spend a few minutes reading over the dialogues written by their classmates. Give them some time to practice reading them. When they’re ready, ask the pairs to perform their dialogues for the This activity is inspired by “If cats could talk”, a charming lesson which appears on Jamie Keddie’s Lessonstream website Houston teaches at National Taipei University of Nursing and Health Science. His articles have been published in periodicals such as It’s for Teachers, Modern English Teacher and English Teaching Professional. He has written 5 books including Brainstorming and Creative Output, both available on Amazon.

create a dialogue based on one of the following situations