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. b Make sure that the students understand the prerequisite skills of the lesson. c. Prepare the students for the mastery test. d. Make learning interesting and enjoyable for students. 12) How our students learn is more important than what they learn. Which of the following situations best reflects this truism among students? a. Determine the Adabanyak pertanyaan tentang create a dialogue about booking a seat on a seminar beserta jawabannya di sini atau Kamu bisa mencari soal/pertanyaan lain yang berkaitan dengan create a dialogue about booking a seat on a seminar menggunakan kolom pencarian di bawah ini. Dialoguedefinition: Direct communication from one or more characters in the text. In works of Fantasy or Science Fiction, characters might communicate with each other telepathically or through non-human means. This would also count as dialogue examples. The importance of dialogue in a story cannot be overstated. . 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 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 ↑ Telephoning is an important function of doing business in English. Phone conversations, particularly business telephone conversations, follow certain patterns Someone answers the telephone and asks if they can assistance. The caller makes a asking—either to exist continued to someone or for information. The caller is connected, given information or told that they are non in the office at the moment. If the person who is requested is not in the office, the caller is asked to exit a message. The caller leaves a message or asks other questions. The telephone telephone call finishes. Of course, all business telephone conversations exercise non follow this rigid scheme. But this is the basic outline for near business telephone conversations, especially those fabricated to request information or ask for clarification. Example Business Telephone Chat Role-Play The following business organisation telephone chat can be used as a role-play in grade to introduce a number of standard phrases to do telephoning in English. Ms. Anderson sales representative Jewels and Things ring ring…band ring…ring band… Mr. Smith Secretary Hello, Diamonds Galore, this is Peter speaking. How may I be of assist to you today? Ms. Anderson Yep, this is Ms. Janice Anderson calling. May I speak to Mr. Franks, please? Mr. Smith I’m afraid Mr. Franks is out of the office at the moment. Would y’all similar me to take a message? Ms. Anderson Uhm…actually, this telephone call is rather urgent. Nosotros spoke yesterday nearly a delivery problem that Mr. Franks mentioned. Did he leave whatsoever information with you? Mr. Smith As a matter of fact, he did. He said that a representative from your company might be calling. He also asked me to ask y’all a few questions… Ms. Anderson Bully, I’d dear to meet this problem resolved equally quickly as possible. Mr. Smith Well, we still oasis’t received the shipment of earrings that was supposed to arrive concluding Tuesday. Ms. Anderson Yeah, I’one thousand terribly sorry about that. In the concurrently, I’ve spoken with our delivery department and they bodacious me that the earrings volition be delivered by tomorrow morn. Mr. Smith Fantabulous, I’1000 sure Mr. Franks will be pleased to hear that. Ms. Anderson Yes, the shipment was delayed from France. We weren’t able to send it along until this morn. Mr. Smith I see. Mr. Franks too wanted to schedule a meeting with yous later this week. Ms. AndersonCertainly, what is he doing on Thursday afternoon? Mr. Smith I’grand afraid he’s coming together with some clients out of town. How about Thursday morning? Ms. Anderson Unfortunately, I’thou seeing someone else on Thursday morning time. Is he doing anything on Friday morning? Mr. Smith No, it looks like he’s free then. Ms. Anderson Bang-up, should I come by at nine? Mr. Smith Well, he usually holds a staff meeting at 9. Information technology merely lasts a half-60 minutes or so. How about 10? Ms. Anderson Yes, x would be dandy. Mr. Smith OK, I’ll schedule that. Ms. Anderson at ten, Friday Morning…Is there annihilation else I can aid you with? Ms. Anderson No, I think that’s everything. Cheers for your assistance…Goodbye. Mr. Smith Goodbye. Brusk Summary of the Telephone Conversation Review your cognition past filling in the gaps with the words and phrases beneath to complete the summary of the chat. Ms. Anderson telephones Diamonds Galore to _____ with Mr. Franks. Mr. Franks is not in the office, but Henry Smith, the secretary, speaks to Ms. Anderson most a _____ problem with some earrings. The earrings have not yet _____ at Diamonds Galore. Ms. Anderson tells Peter that there was a problem with the _____ from France, just that the earrings should arrive tomorrow forenoon. Adjacent, they _____ a meeting betwixt Ms. Anderson and Mr. Franks. Mr. Franks is not able to _____ with Ms. Anderson on Th considering he is _____. They finally decide on Fri morning at 10 o’clock after a _____ that Mr. Owen normally holds on Friday mornings. Answers speak, delivery/shipment, arrived, shipment/delivery, schedule, meet, busy, staff meeting Key Phrases and Vocabulary How may I exist of help This is a formal phrase used to show politeness. It means “Can I help y’all?” calling telephoning out of the part not in the office take a message to write down a message from the caller urgent very important delivery the bringing of appurtenances to a client mentioned said resolved taken intendance of as quickly equally possible in the fastest manner, ASAP shipment delivery, the bringing of goods to a client assured a certainty that something is true or volition happen pleased happy delayed not be able to do something on time looks like seems staff meeting a coming together of employees lasts to take fourth dimension schedule brand a future engagement Practice Cues for Role-Plays Use these cues, roles, and scenarios to create exercise function-plays on your own to farther your telephoning skills to help with workplace advice. Role-Play Cue 1 John You’d like to speak to Kevin at FunStuff Brothers, a toy-making visitor. Yous’re returning his sales telephone call because you’re interested in the company’s products. Kate You’re the receptionist at FunStuff Brothers, effort to transfer the call to Kevin, but take a message when you detect out Kevin tin can’t accept the call. Role-Play Cue 2 Estelle Yous’re calling to schedule a meeting with the head of the personnel section. You’d similar to run into on Tuesday morning merely can come in on Thursday and Friday as well. Bob You’re able to schedule a meeting at the end of next calendar week, but y’all will be out of the role until Thursday morn. 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