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2. Systematic Dialogus Dialogus

Open a little 'book (or maybe browse a bit' of your writing) and try to divide the dialogues into categories. To begin with we hypothesize three, but taking into account that any division admits all possible intermediate varieties or gradations (ever seen two birds are exactly alike?)

1.Dialogo instrumental or informant.
2.Dialogo staff or forming.
3.Dialogo play / screenplay

Regarding the first two categories, the distinction is given in relation to the function of dialogue in the text. Informant fulfills mainly to alert, inform the reader of events that took place off stage. It is not a dialogue according to the dictionary definition of rhetoric, but a narrative form where the characters have replaced the omniscient narrator in making the reader aware of the facts essential to reading. The more pedestrian version of the dialog informing you that adopted by many science fiction writers of the forties Technology:

- as I am sure you will recall, Professor Heinechen - Johnny Karlsberg intervened - the disassembler ellissocardanico was invented in 2030 to defeat the evil-Bau Wow. It works on the principle of molecular breakdown inducible in a field elliptical through an energy cannon mounted on a gimbal ...

Professor. Heinechen knows what the disassembler ellissocardanico, when it was invented and how it works (even if it had a bit 'of autonomy instead of being a dummy character, he would know also that the pistolotto Johnny Karlsberg is absurd). But the reader, Boeotian and ignorant, must be informed in detail on the weapon.

Today, thanks to the patron god of readers, this kind of dialogue is no longer used (or not?). But

are useful dialogues like the following:

- We, has begun. - Rob announces entering a precipice in the study of Magda. - People really can not anymore. He is gathering in front of supermarkets and shopping centers, just as Henry provided the other night.
- The other month, after yet another increase in gasoline she, did casino - Magda continues to decorate the leather bag lady commissioned by Biamonti, - but then swallowed it all, as usual.
- Yes, but this time is different. At SMS wide Savoy broke through the turnstiles e razziato gli scaffali.
– Gesto isolato di pochi facinorosi – Magda sorride storto e imita alla perfezione il tono saccente dello spaccianotizie della Mediamed.
– No, è proprio cominciata. Sono disordini di piazza, non gesti isolati, non è escluso che facciano intervenire l’esercito.
– E chi lo dice che è cominciata?
– Mah. – Nel tono allarmato di Rob s'infila una sottile soddisfazione. – I tuoi occhi, per esempio… – Indica la finestra con un cenno discreto della mano.
Magda si alza di scatto, raggiunge la finestra, scosta la veneziana. Il primo blindato lince svolta dal viale e subito viene circondato da decine di persone a svolto scoperto. Per un attimo tutto tace, come congelato nel tempo, poi parte la prima molotov.

Scegliendo la parte del narratore onnisciente potevo evitarmi il dialogo, naturalmente:

Nel primo pomeriggio la folla si radunò, ben decisa a sfondare le saracinesche del Mall. Impazienti e rabbiosi, non riuscendo a spuntarla contro le chiusure di sicurezza, percorsero il grande viale urlando slogan, poi si sparsero nelle vie intorno, giungendo proprio sotto il laboratorio di Magda. Era gente comune, impiegati, pensionati, piccoli esercenti condannati alla chiusura dalla crisi. La collera per l’ingiustizia patita li sorreggeva: non indietreggiarono nemmeno di fronte al blindato lince inviato in segno di avvertimento su richiesta the mayor.

But immediately jumps to the eye (and ear) that the description is boring and ideological, while the dialogue creates a growing tension, it makes things happen live.

The third category is largely spurious and intended to indicate the dialogue here in which the incisors do not reveal the thoughts of the characters but their actions and attitudes and then they could be replaced with instructions of the scene (walking back and forth - it wrings his hands - continues to play with the unlit cigarette - embraces his friend supporting him ...).
The theater is essentially forming and informing only episodically. In this case, the category applies to the form-dialogue rather than to its meaning nel testo.

Ma è la seconda categoria a rappresentare il dialogo per eccellenza, quello in cui due personaggi, mossi da scopi diversi, comunicano influenzandosi vicendevolmente. Al termine del dialogo formante si dovrebbe poter affermare che i due hanno maturato una visione del mondo leggermente diversa da quella che avevano all’inizio. Parlando i due personaggi si svelano all’altro e a se stessi (e a chi legge). Proprio come accade nella vita reale, può accadere loro di scoprire il proprio pensiero parlando. Il dialogo formante permette di definire appieno i loro caratteri; non solo, costituisce una forma di azione e mette il lettore di fronte alla possibilità di schierarsi (con uno dei due) o di maturare sua volta un punto hybrid view.

I remember that during a meeting agitated student in high school, a courageous and consistent (now I can recognize) a professor of philosophy said, "we dialogue to uncover the truth." Then I thought the typical shot of a maverick teacher. I was wrong. That sentence led me patience and taught many times, while discussing with my daughter or my students. And often I am reminded as I write and I read. That's the time to become merciless or dialogue that I wrote is merely informing or must leave the characters (and me) a bit 'different from the beginning.
Or is useless, only serves to fill a page. Better delete it.

Beyond the categories of convenience, often effective dialogues are placed straddling the three categories, but at the same time forming informants, describing the psychology of dialogue partners and full of action and movement.

Questionnaire With Scoring Sheet

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Dollar-offset-methode

1 - Who talks to whom? Recipe for writers

According to the sociologist Goffman any conversation has an inherent chance of failure, or may lack effective communication. The words, therefore, must be chosen carefully.

But we only have words.

First, on many occasions the words may be replaced by other signs (wink, five fingers raised, V for victory ...) as effective.

Secondly, in addition to the words and symbols used, numerous other elements (facial expressions, interjections, quotes, smiles, nods and denials) are the backbone of the box. We are so accustomed to use them (we primates are visual animals especially) to use continuously in SMS and e-mail to those pale imitations that are emoticons.

NB these essential elements of communication are an important part of so-called engraved narrative of the dialogue (but to be '! - Agata accompanied the invitation with a tongue.)

But what is the role of narrative dialogue?

aside for now what I will call the "dialogue of service," the only useful to outline actions and behaviors ("Pass me the hammer ',' Toh), the dialogue is a highly refined form of the narrative, in which two or most people use " an appropriate form to express different feelings and discuss opposing ideas." (Aa vv Dictionary of rhetoric and style, UTET)

Oversimplified, we stick with the first part of the definition, leaving the second in a more philosophical. Ma questo non è del tutto vero: pensiamo alla scena clou di un romanzo nel quale sia trattato un tema come la segregazione razziale. Il dialogo/confronto di idee, organizzate in ideologie, può costituire l’acme della vicenda e contemporaneamente svelare tantissimo dei vari personaggi; un dialogo del genere costituisce un elemento imprescindibile sia della descrizione sia dell’intreccio.

Ovviamente una simile scelta narrativa rischia di essere volta a convincere senza suscitare la reale partecipazione del lettore.

Trascuriamo il polpettone eroico/politico, almeno nella sua variante più ideologica e fermiamoci alla prima parte della definizione, quella sottolineata.

Il pregio delle definizioni very successful is to be vague in the right measure. Unquestionably, in a novel (and in most of the stories) the 'mixed feelings' are the basis for an effective and engaging narrative. This kind of comparison is called dialectic, at least for those who have put Marx (Hegel and his dad) in the attic ... I am here still attached. However

: conflicting views from which descend conducted divergent are the basis of everything. Try to write a novel in which everyone thinks the same way and make the same choices!

Perhaps it would be an interesting attempt by the experimental point of view, or perhaps it could stand up in a dystopian novel ... But in this case, the narrative should presupporre un qualche forma di dissidenza/ resistenza/zona oscura… Altrimenti perché scrivere una storia? Una distopia a cui nessuno, nemmeno un solo personaggio, vuole opporsi non è raccontabile.

A questo punto mi sembra sufficientemente assodato che:

1 – Un dialogo efficace si avvale di segnali anche non strettamente verbali che, non facendo teatro, devono essere resi (o sottintesi, o evocati, o suggeriti) nel corso del testo.

2 – Un dialogo efficace è fatto di forme sottostanti (ringrazio ancora Goffman), ovvero di parole non dette («Che ore sono?» – «[Sono] Le undici» e di interiezioni («Che ore sono?» – "Gee! [I] The eleven! ")

3 - An effective dialogue is based on actual or apparent differences of perception. The dialogue is an attempt to reach a common position, or alternatively, to establish an insane differences.

pause for a moment on the step 2.

Pirandello is one of the Italian authors who have made a more prudent and designed to evoke plenty of interjections, as far as possible, the language spoken. Warning: summon, not repeating. Enrico Testa (The simple style, Einaudi 1996) quotes from The Late Mattia Pascal

"Here, here! Look! Look! See! Sa. You know? Go 'way! Really. So. Go good! I do not know ... A bit '...' And

Pirandello had to be clear about the boundaries between gender and narrative theater ...

Reading Pirandello poses a big - very big - problem. What should be "natural" dialogue? That is, as you can make to perfection early dialogue between the caretaker and Mrs. Luis on the fourth floor which leads to walk the dog?

Certainly the words are not enough. You probably need to use only certain elements, ignoring the underlying shapes in the text ("[But since] you are beautiful? - Asked Luis to the dog ...", make facial expressions through the etched and administer I look forward with determination interjections. You probably need to be a great writer ...

Perec in an attempt to exhaust a Parisian site has consciously eliminated the filter of the narrator (proposing it to a different level, but that's another story ...) to illustrate and describe everything he saw. And Nicholson Baker, mentioned by Max in his hand, had more or less the same thing, describing everything, absolutely everything that passes by the head of a character who is not doing anything memorable.

For me these are two great, fascinating (and tenaciously pursued) flasks narrative.

change the subject (apparently).

the silence.

A dialogue is made more or less long silences, punctuated by words.

The music is made of silence and then waited. In the dialogues there are expectations. Not only: some gestures denoting anxious moods in relation to "what answer" and "What I respond." These moods are often described directly: "He was nervous while awaiting the response of XY," or hesitation: "..." (such as with the trains of dots much like a Baricco and imitators).

course the authors are not all equal: Cormac McCarthy addresses the expectations and silences in descriptions of nature, making it a mirror anxiety, confusion, suffering of the character.

short, a dialogue can (should) be enhanced by a number of descriptive elements, graphics and so on. Silence, expectations, inconsistency and slowness of understanding, misunderstandings are crucial. Then add it as a

4 - Effective dialogue is also made up of 'empty' silence, delay and hesitation.

silence and sound, needless to say, they form a musical structure.

What is the musicality of your (our) dialogue?

The narrative is not merely a life lived, but a simulacrum, and mimesis one copy is square, watercolor, sketch, graffiti and not instantaneous. Must have a form (hidden but noticeable) is scanned, a musical audible. Try listening to a dialogue in a language you do not understand ... Let the sounds and breaks through: After a bit 'you get the feeling of structures that are repeated, silences and pauses highly structured, process regular and "narrative." And think of as imitators and comedians pretending to speak different languages.

This trend must be reproduced in the narrative and dialogue.

But we must not settle for a repeat basic rhythm and predictable.

Here's an example (B = bar; I Recorded = P = thought)

B1 - I can not remember to buy the paper towel

B2 - not even me. I remember many things but the paper towel ... - I1 Lubna ran his fingers through his green hair and sighed. P1 is not the only thing I can not remember.

B3 - also towels, too. - I2 added, Tammy.

B4 - I do not need it, you know, are un'androide. - I3 It reminded Lubna P2 N remember ever on a cock quest'idiota.

Schematically: BBIPBIBIP

We can go on for half a page. Then just half a page of D (description) and the homework is done. But it is ugly.

What's wrong?

Apparently nothing. There is all that is needed and reasonable. To me, however, and many readers, the reason does not like. Because often borders on predictability. Other than that, musically, the song sucks. Sounds obvious routine. No music

After ten pages the reader already knows where they'll end the commas, the incisors, the faces and thoughts. By dint of BIP, DIB and PIP it goes nowhere. There are no schemini in good fiction.

homework: we reread our dialogues and try to rewrite them where there is an overabundance of BEEP-BEEP.

And we add a point to our list:

5 - Effective dialogue requires a perceptible rhythm to the reader (especially if read aloud).

say a stir in all ingredients and contemplate our dialogue of words, hesitations, interjections, nonverbal cues, silences, rhythms and characters, albeit subtly, do not share the same views on the world ...

Lubna and Tammy is an excellent example of this subtle discrepancy one of them is un'androide as perceive the world, such as arrays of thought will be?

Try to enrich dialogue and characters with more elements (thoughts, descriptions, allusions and contradictions), re-read it aloud and listen

What do you think?

Not bad. It is a dialogue from writers. Maybe not great writers, but discrete journeyman that are read with pleasure.

But it's over.

Everything is multiplied by the number of characters included in the box. Everyone has their own way of speaking, to stop and stop, to hesitate, to induce or dampen the aggression of the interlocutors. Each has characteristic gestures, tics, personal interjections (Giudabacco! will be effective only if ... Porca scoop! Should ...). Avoid the obvious (the extent ... Absolutely! I have a problem ...), but now, unfortunately, many people speak very well. On the written page, it only works as a parody, but I fear that even the most famous comedians sgalfi they have already consumed all.

Combine characters and characteristics and be mild: evoked, in short, with a few personality traits: key words and gestures, the right ones, it is here that the dialogue really grabs life by the tail.

Mathematically speaking, per definire il numero P di possibilità di dialogo nell’ambito di un romanzo dovremmo ricorrere al calcolo fattoriale, giungendo presto a numeri stratosferici:

P = n1 x n2 x n3 x n4 x n5 x Z x Y

Dove i numeri da 1 a 5 = ingredienti del dialogo, n = numero di possibilità in rapporto a ciascuno dei punti, Z = numero di personaggi e Y = numero delle loro presenza nel corso del romanzo.

Un PC proverebbe tutte le combinazioni…

Ma noi siamo infinitamente meglio di un PC, noi siamo umani e soprattutto siamo lettori. E sappiamo (o possiamo imparare a farlo) riconoscere le combinazioni efficaci dalle semplici possibilità matematiche.

Seguite la forza !

Vietnamese Movie S Flash

Ho letto pochi manuali di scrittura creativa veramente utili ma quei pochi sono stati preziosi. Erano stati scritti da grandi scrittori ed erano sia frutto di esperienze personali di scrittura, sia ricordo di grandi maestri che sapevano insegnare il mestiere. Ne ricordo due in particolare: quello di John Gardner ( Il mestiere dello scrittore , Marietti, purtroppo introvabile) e quello di Raymond Carver ( Il mestiere di scrivere , Einaudi, in catalogo). Vedi caso Raymond Carver was a student of Gardner ...

Other manuals have not been memorable, but they offered me some ideas discrete . Others were not worth more than the paper they were printed.
Speaking of fiction, I think there are recipes to write correctly, but not write well. Probably there is no writing "good", even if most readers can recognize a well written page. But there is the proper writing, able to deeply touch the reader and, simultaneously, so discreet as to be almost not noticed. As Max says: writing to say enough without saying too much. The
I know, is that asking so much. For this writer is a very ambitious goal, but why settle for less? Nobody forces us to write, writing is important if we try to do to the best of our ability.
writer sooner or later faces every kind of challenge: to describe effectively places never seen (and perhaps non-existent), how to make the most of stronzaggine a character without making a caricature ... A number of challenges, different for each of us, occur more often than others.
One of my "problems" are the dialogues.
It is incredibly difficult to find two people on the paper until all sounds contrived, scheduled at the table, boring: I write for an hour, I read and gestures are unlikely and clumsy, phrases, solemn words wrong. And it all takes place in a universe devoid of feeling: no colors, smells, noises. Horror.
So for years I have studied the issue, debated fiercely with anyone I could pull (Max first, of course), I took notes on what was being said in the glorious days of Koro. I filed a bit 'of short pages, and despite my confusion, I have found and preserved. Voila:
Recipe for writers series.

Cork Grease Ingredients

Rules Project: Let emotion


Il Progetto Lasciami un’emozione
UNO SPAZIO PER LA TUA CREATIVITA’
PER ESPRIMERE I TUOI PENSIERI, EMOZIONI, IMMAGINI
Perché l’idea di questa sezione del sito? Per prima cosa per il piacere di condividere la scrittura.
In secondo luogo perché sono persuasa che tutti possiamo lasciar andare i nostri “buoni e cattivi”pensieri, trasformandoli in atti creativi.
I nostri artefatti sono il riflesso di ciò che vive autonomamente dentro di noi e possono accendersi prepotentemente di carica emozionale e drammaturgica, mostrandoci una storia, prendendo “leggero” distacco dalla nostra mente , aiutandola a schiudersi.
Create or observing the beauty of creation is, too, can be shared, you know I can make my dream so how can I find my dream in another. We can freely give voice to our fears, and in the heart of the beast that we will perhaps be our best friend.

What to do to publish
FINALLY AN AREA TO PUBLISH YOUR EMOTIONS

Question: What types of files can I send? Answer: text files, image files, video files to audio and video. "Please send your contributions with a short description and some biographical notes.
Question: BIOM that position has on the intellectual property of the material provided? Answer: I'll give you an answer and a little articulated points.
1. Publication is at the discretion of our editors.
2. Part of the charges will be freely downloadable from any site visitor.
3. BIOM and its management, are not responsible to the law, with respect to any breach of copyright. BIOM welcomed but not necessarily share the artistic direction and content expressed in the materials that you send us just as it has the burden of verifying that each contribution is actually the artistic creation of the one who sent him.
4. BIOM destroy all the materials that will not be published.
Question: Well then do we start? Answer: Gladly! Send your contributions to spiritorev@gmail.com the month in which the issue relates (ie by July for the theme: CHANGES)

How Can You Tell A Scorpio Man Likes You

Project: LET EMOTION


The project will be a space for readers to sign up interested in reading, seeing, listening, creating, and above all to share the flavor and beauty evocative of the creative acts.

You can participate by sending your thoughts, words, images, or to propose any month, the title of a topic that is particularly dear to you and you want to share with the community and the spiritirev anyone come to your poetic whispers.

The most significant contributions will be published on the website and the authors will receive coupons for free admission or discounts to special events REV, courses and seminars in the humanities and natural therapies, and to take advantage of paths in collaboration with rebalancing study biomass Cagliari.
The theme for July is "CHANGE" . To get an idea on how to compose a look at the post "look beyond the illusion." What are you waiting, you too become an author and let emotion.


For full details on the initiative go to the post: Let Regulation project emotion.

Do Men Pleasure Themselves

A look beyond the illusion

Looking beyond

to get to "see"

how to

the ax out

anything

the n every moment

with a single

blink of an eye.