The ability to conduct a dialogue correctly or, more simply, the ability to communicate is the key to all doors in our lives, Magic wand to fulfill all your desires. So let's now take the first step in this direction and consider the basic rules of successful dialogue and productive communication.
the site will tell you how to make a dialogue out of a monologue, what to do if the conversation doesn’t go well and how to improve your communication skills.
A good conversationalist
Many trainers in public speaking and dialogue say that mastering this art begins not with the technique of the conversation itself, but with a general attitude towards people and towards your interlocutor in particular.
A good conversationalist is a person who is interested in life in all its manifestations, so he can have an excellent conversation about development perpetual motion machine, and about formulas for infants. If you do not have a keen interest in life, curiosity in all areas, and a thirst for knowledge, then you will be able to master the art of dialogue only technically, and it will be difficult for you to derive pleasure from this process.
In general, all the rules can be summed up in one sentence: by trying to show your interlocutor your interest in the conversation and your disposition towards him, you create interest in him and good attitude to yourself.
Rules of a good conversationalist:
1. With any person, there is something to talk about
You just need to find what interests him! The percentage of people who are not interested in anything in life is negligible! At a minimum, you can always talk about the person himself. Therefore, instead of saying “There is nothing to talk about with her!”, It is better to say “We have no common topics to talk about!”
2. Use active listening techniques
Active listening is a way to show the other person that you are listening, hearing and understanding what they are saying. To do this, you can look at your interlocutor, nod, say words like “yeah” or “yes,” briefly comment on individual phrases of the story (“how great!”, “wow!”, “what about him?”), continue for your interlocutor thought (when everything is clear, you can say the ending together with your interlocutor), help find necessary phrases or words (when the interlocutor hesitates), ask questions.
With all your behavior, show your interlocutor that you are interested, this will inspire him to continue the story and communicate with you further.
3. The conversation should be interesting for you
Even if it happens that you are forced to carry on a conversation about a hunt that is infinitely distant from you, try to get into the topic and interest of your interlocutor. If a person talks about what is interesting to him, but does not feel feedback, then the conversation will not last long.
Reception “Knowledge Box”: after the conversation, instead of being angry with yourself and your interlocutor for a useless empty evening, tell yourself what knowledge goes into your piggy bank: how to fix the light at home, how to fish, or what the image of the average military man is.
4. If the interlocutor does not understand you, then you expressed yourself incorrectly
Accept this simple rule, and it will be easier for you to have a conversation: you will stop being angry with your interlocutor for lack of understanding or getting annoyed that the conversation is going in the wrong direction.
5. Smile!
With a smile you show your disposition and openness to a person - this is an excellent platform for dialogue. By the way, you can feel a smile even over the phone, verified!
6. Eliminate the pronoun “I” from dialogue!
All people are selfish by nature, and everyone is only interested in hearing about themselves, at least at first. If you are talking about yourself in the story, change the form of the statement: instead of “I’m surprised,” you can say “surprisingly,” instead of “I want,” you can say “I want.” Thus, the tone of the statement changes slightly.
From personal experience: “I run a dating club, I’ve been working in this field for more than 5 years. Initially, my clients communicate with men through correspondence over the Internet. Reading letters from clients to men, I notice endless “me, me, me, me, me.” It is not surprising that they receive no replies to their letter. During personal meetings, when talking on Skype, such ladies sit, thinking hard about what to answer. You have to be able to carry on a conversation not only when it’s about you.” Elena, head of the dating club
7. Call the person you're talking to by name
Scientists say what is more pleasant than sound own name, finding something is difficult. Use it!
8. Speak the other person's language
At acquaintance, choose easy topics, ask simple questions. Even if you are at a scientific meeting, do not start a conversation with difficult topics, start with something simple (“where are you from”, “how long have you been here”, etc.). Complex topics often make the interlocutor, especially someone you don’t know very well, tense up.
9. Speak simply and clearly
Respect your interlocutor, do not load your speech complicated words, terms, turns. Even if he has five higher education, it is unlikely that he will want to get into the essence of your proposal through the jungle of allegories and tricky words.
Even Einstein bequeathed to us to simplify everything we can. Remember, even on deep scientific topics you can speak in “human” language.
Do not try to give yourself status through conversation. Clever man in any case, he will understand what you are.
(usual friendly conversation): “Do you know what the most popular social elevator is that delivers to political elite, in addition to those given in the analyzed text, party activities and civil service? Translation - “Do you know how people most often get to the top of politics if they are not in the civil service or in the party?” From a conversation with a friend, Love.
10. Don't give unsolicited advice
If a person does not ask you for advice, then he does not need it, and he just needs to speak out. If you give unsolicited advice, your interlocutor will feel that you put yourself above him, consider yourself smarter, and this discourages communication.
11. Don't interrupt
Often we want to burst into the middle of a conversation with an exclamation: “Yes, yes, that happened to me too!” or something similar. Listen to your interlocutor, let him feel that his words are meaningful and interesting to you.
12. Respect boundaries
Pay attention to the acceptable limit of what you can talk about with this person and/or in this setting and/or at this time. For example, at a wedding it is not always appropriate to talk about yourself; at a meeting of a beer club you will not cause delight if you talk about the dangers of the drink, even if it is good-natured and scientifically based.
How to continue the conversation
Helpful techniques for continuing the conversation:
Development general rules and recommendations for dialogue will certainly take some time. To make your daily communication easier, we offer several very simple techniques that will help you find mutual language with the interlocutor and will save even the most hopeless conversation (communication from the series “there is absolutely nothing to talk about with him”).
So, if the conversation doesn’t go well, the interlocutor answers you in monosyllables, the topic doesn’t really interest you, then you can always use 3 simple techniques. Let's look at them using a simple example:
your interlocutor - boring man, he gives monosyllabic answers, is not interested in you. The conversation doesn’t go well, the interlocutor tells you that he works as a postal courier.
1. Receiving questions
How to become a pleasant conversationalist? The Art of Dialogue
If you are completely unable to comment on what your interlocutor is saying, arm yourself with the magic questions “how?, when?, who?, where?, what?, why?, where?” Just try to substitute each question word and think about what to catch in the question itself.
- “How do you like this kind of work, it must be hard?”
- “How long have you been working there?”
- "Where would you like to work?"
- “Which newspapers do you most often deliver?”
- “What do people prefer to prescribe now?”
2. Reception of the chain
It's good to use this technique after you've typed in the information to answer your questions. Having caught on to some information from your interlocutor, move the conversation to another topic. If there is not enough information, ask more questions. But don't turn this into an interrogation.
- “Yes, it’s hard, you’re on your feet all the time, and the bags are often heavy” - “That means you get very tired at work. How do you prefer to rest and relax? You're probably not a fan active rest ?»
- “I’ve been working since I was 20” - “Since I was 20? Is this your first job? They say that people often don’t stay long at their first job, what do you think?”
- “They subscribe to City News and various political newspapers” - “City News is an interesting newspaper. Speaking of city news, have you heard that there will be a big concert on Saturday in the main square? You will go?"
Further along this chain you can move the conversation to anything: where the interlocutor has been, is he married, what are his views on family and social life etc. In other words, this method can be called the “poke method”: by changing topics, you increase the likelihood of getting to the right one, with whom the conversation will finally turn into a normal dialogue.
3. Technique of paying attention to the reaction
If a person does not pay attention to your attempts to start a normal conversation, believes that you should interest him and amuse him, then you can always involve him in resolving this issue. When receiving direct questions, lazy interlocutors either join the conversation or retreat from it completely. Both options suit us. Pay attention to HOW he speaks, to his gestures. Questions can be asked with a smile.
- “Are you always so laconic? You look so thoughtfully into the distance when I ask you questions. Is it easier for you to concentrate or are you tired?”
- “Maybe something happened to you?”
- “You look at me with such interest, but you are so reluctant to carry on the conversation, I don’t even know how to behave.”
Or just pay attention to HOW the person speaks. If he talks loudly, ask him why what he's talking about is so important to him. we're talking about. If he speaks with sadness or embarrassment, comment on it.
Phrases that are best not to be used in dialogue
1. “Say something”, “Don’t be silent, please!”
It’s better to say something yourself, and if the conversation has reached a hopeless dead end, then maybe it makes sense to stop it. In any case, do not force the person to answer: “Something”, he may feel stupid and awkward.
2. “You’re wrong!”
Each person has his own truth, and it is not for you to evaluate and judge. Better take an interest in why the person came to this conclusion; perhaps his story will surprise you, and you may even decide to agree with him on something. The main thing is to be open to changes of opinion and new information.
3. “I told you so!”, “I warned you!”
Your interlocutor sees his mistake and, using such phrases, you hurt him more. Let everyone make their own mistakes, this time you guessed right, tomorrow perhaps he will guess right. Self-affirmation at the expense of other people's mistakes is teenage behavior.
4. “You got everything mixed up!”, “You’re late!” etc.
If you do not want to go into conflict, then pay attention to your feelings, who were born after the act of your interlocutor. In response to your emotions he will always be able to offer valid reasons that forced him to do this, and there will be an argument. But the interlocutor will no longer be able to challenge your attitude to the situation.
Replacement examples:
- “You got everything mixed up!” = “I’m upset that this happened”
- "You are late!" = “It’s a pity, but now we won’t have time to do everything we planned.”
Do you have communication difficulties?
One of my blog readers asked the following question.
Question: Are there rules for writing dialogue? And when I start writing and re-reading it, I’m horrified. I don’t go further than the 5th page, the dialogue spoils the whole picture, idea and feelings. Multiple attempts to change the style lead to an even greater dead end. Any advice on what to do in this situation?
Thank you in advance.
Answer: I will answer briefly, because... Unfortunately, I don’t have free time to write a detailed article. (I apologize to those readers who have not yet responded to the loglines. I will definitely answer, but a little later).
There is, in my opinion, one basic rule: while reading the dialogue, the editor should not fall asleep.
To prevent the reader or editor from getting bored or jumping from scene to scene, the screenwriter must be sure that the dialogue in his script does not fill the gaps between the action, but performs the following functions:
Conveys important information;
- Moves the action forward;
- Helps to reveal the characters’ characters, reflects desires, needs and goals;
- Helps clarify the characters' motivations, as well as their backgrounds;
- Helps create the style and atmosphere of the film.
Before writing this or that scene, first think about what is happening in it, what is its meaning? Where does it take place? What time of day? What characters are involved? What do they want? What is their motivation? What actions do they take? How does the dialogue reflect the characters' personalities?
Divide the scene into three acts - beginning, middle, end. What happens in each "act"? How do you think the scene should begin and end? How do the desires and goals of the characters change? What should their actions lead to? What do you want to emphasize? How will the ending relate to the next scene? How to convey what is happening visually, with minimal dialogue?
If the screenwriter can answer these questions and also knows his characters well, then usually their lines flow spontaneously, naturally from the ongoing action, which is subordinated to the goals of the characters. In other words, if the hero knows what he is doing in a given scene, then he usually has something to say.
However, if something doesn't work out, especially when writing the first draft of the script, you shouldn't linger on the dialogue. Write as it is, don't stop. Even if the characters’ lines and conversations turn out to be imperfect, clumsy, and boring. At this stage, it is important to put what is happening “on paper”, to throw out everything that has boiled over. You will rewrite it later. Then you will need to take them seriously, using the following rules:
1 Keep dialogue to a minimum. Less words, more action. (Remember: the play is based on dialogue, the script is based on action). Think about how the characters can say the same thing, but much more succinctly, without losing meaning? And even better - without words at all, only with action.
PS I wish my blog readers a Happy New Year and Merry Christmas! Happiness, health, love, brilliant ideas, fulfillment of hopes, implementation of plans, more money, and also everything that you wish for yourself.
Oscar winner for The Departed, William Monahan, talks about the art of writing good dialogue.
I don't want to be created environment. I want to create this environment myself. - Francis "Frank" Costello (actor Jack Nicholson), Renegades.
It happens that the American Film Academy gives an Oscar to the silent film "The Artist", but this is an exception to the rule - like one of Nasim Taleb's black swans. The importance of what the characters say cannot be overstated. Let's talk about this in more detail.
Dialogue is the essence of any film. And it is desirable that they be strong, because... you still have a lot of work to do. Dialogue must be believable, it must reveal characters (not directly, of course), and it must complement the plot. Ideally, the dialogue should be interesting, with memorable lines that sound better every time. Looks pretty difficult task, but that's something that writer/director William Monahan does well.
Monahan's screenplay for the 2006 film The Departed is a concert of profanity in E minor, a Molotov cocktail of tension that is peppered with quotable lines throughout the film. He helped the film's director Martin Scorsese win his first Oscar, and the screenwriter himself won another for Best Adaptive Screenplay. Since then, William has worked on scripts for the films Body of Lies, Retribution, Oblivion and The Gambler, and in the film Bodyguard he also took on the role of director for the first time. During a break between projects, William Monahan agreed to give us a lesson on writing dialogue.
Listen to everything around you
Listen to people very carefully. Listen with equal interest to what they say and what they don't say. A few weeks ago I overheard a very stupid man getting marriage counseling from a hippie who was an even bigger idiot. Their conversation is pure gold and I know I will definitely use it somewhere in my work. This is why you should live in the city. To listen.
Dialogue reveals what characters are hiding
I find it extremely interesting what characters hide, what people try to hide. Everyone is trying to hide something, and you can tell it through dialogue. It’s not just politicians, advertisers or lawyers who let in the fog and keep secret plans to themselves - this applies to absolutely everyone.
Fairly decent people often don't realize that their conversations are not about truth or sharing information, but about spreading their own "mythology." Take a close look at what people are trying to hide and you will understand it. You can often see a very funny situation: if you sit down in a restaurant, the couple sitting at the next table will probably have their first date after online dating, and neither of them will tell the truth, even if they wanted to.
Natural dialogues are boring
Your task is to create something fundamentally unnatural. Shakespeare has the most natural dialogue, but he is the best writer of dialogue who ever wrote it. No one has the desire to listen to everyday people talk. Listen to me now. I do not speak pompously or use the phrases of Augustine. I'm just muttering something. And that's how most people talk. Unless, of course, you're Christopher Hitchens, who speaks in paragraphs (God bless him). Most likely you are mumbling something under your breath. In dramatic writing you have to move away from this.
Writing dialogue is improvisation
There is no formula for combining certain character details to create a proven quality hero. The character is your own vinaigrette. You gradually become the character you are writing about. Every character is you. Either it was always you, or it was a part of you, as in my case, a part of my heroes is me. Like an actor who transforms into a character, you transform as a writer.
Those who are good at improvisation usually go on absorbing, absorbing, absorbing... and then suddenly stand up and amaze everyone. Absorb information from everywhere, because you never know where it might come in handy.
It's probably not a joke that Shakespeare was an actor, because actors are always writers. A writer in his head and in his work must play all his people. And he has to do it really well, otherwise the actors won't be involved, won't want to play these people, and the movie won't end up getting made. So essentially, in your room and in your head, you are performing a theatrical performance, but you are only projecting it in a text document into an imaginary movie, playing as each character.
Writing dialogues is at the subconscious level
So, you have lost the thread, you have reached a dead end. Like most creative people, sometimes your muse leaves you and your workflow doesn't work. Happens. Whatever the reason, whatever wall stands in your way, if you break through it, you are no longer able to look at things materially, and you do this subconsciously.
It's interesting to watch the musicians who have appeared on the covers of newspapers and whose songs you sing off-key. Or maybe you are in the mood, you sit down at your desk, and the Day of Illumination comes in your life. You don't even know how or why inspiration came to you. In the Middle Ages, an art or craft was called a “sacrament”, and for good reason.
In adaptations, write dialogue from scratch
The work "The Departed" originally came as 70-80 pages of extremely bad English translation, a kind of transcription. It’s interesting that at that time I was already thinking about some story from Boston, the Boston of my youth. About the duplicity of Boston bigwigs, about Boston as the only city in the United States in which there was a pronounced diaspora class system. Suddenly, what I wanted to do came in the form of an opportunity to create an adaptation.
The original story had terrible plotting. And in our film, people are real Bostonians, true inhabitants of their planet.
The people in your life are examples of spoken language.
My father has been dead for 20 years, but he appeared in my feature films twice. Main character The film "Retribution" brought a smile to everyone who knew my father. He is my connection to Boston. This city has its own culture, a peculiar way of speaking, and this is reflected in me when I communicate with them. A typical situation for Massachusetts - within an ordinary day walks, depending on who you communicate with, your accent changes. My father is a typical Boston Irish guy. If you hint at something, he is already against it: “I don’t want to deal with it.”
In The Departed, I tried to hide the biographical details of DiCaprio's character by calling him Billy. When I was 20, I was quite similar to this character.
On set the dialogue changes
Working with actors is one of the most fun things. You both essentially do the same things. For a year I was the same as what an actor should become. I'm curious to hear his thoughts on this, and hopefully he's interested in hearing from me, too. While working as a director, I constantly made some changes. I thought about the scene, stood up and said, “You better try this.” When you work in dynamics, you will have these thoughts.
Sometimes the dialogue on set also changes. In the movie "The Departed", pay attention to a couple of scenes with the participation of Jack Nicholson. There is one natural ending to the scene, and then something is added. In the bar scene, he stops and asks another, “How is your mother? - She's about to die. “We will all die someday.” According to the script, he simply leaves the frame and that’s it. But Jack wanted to bring something of his own. I, of course, wanted to see what he came up with (everyone would love to see it).
Reading scripts with actors will tell you a lot about both the actor and the character.
I sometimes see "Read the scripts out loud" in some crappy screenplay books. But I don't have to do this if I already know him. If you succeed, then you hear it in your head when you write. Better take the actors and read your script with them while sitting at the table. After this, make the necessary notes and adjust the text in accordance with the requirements for the actor or depending on the nature of the character.
Don't write for a specific actor unless necessary.
I doubt that any actor will approve of the fact that the script is being written for him. They always want to play someone else, that's why they are invited. In the old days, it was popular among stars to always play the same character in every film. But you remember Michael Caine, who could take any story, no matter who it was written by, no matter who it was written about, and he would turn it into a story with Michael Caine. He is a great example in terms of dialogue writing and the level of dialogue delivery. He is the first actor to break through the transatlantic curtain and solve the problem of pronunciation. Listen to him speak, he breaks sentences into 2-3 word chunks and pronounces them very slowly. He is probably the only Englishman who is understandable to the American audience.
Mix the abstruse and the unpretentious
Sometimes a film can be criticized at the script level, sometimes at the editing level. You don't understand what kind of cinema is sold in India. We need a single copy for the whole world. The digital copy is then distributed to different countries without any adjustments. That's why sometimes films get cleaned up. Some abstruse remarks are removed due to the mistaken belief that the viewer will not understand them, that this is not true. In my opinion, "The Departed" - good example mix of high and low levels, which gives a good effect for the main audience. And this is better than lowering the level of perception to a lower denominator, which is what most films do.
Do your homework. And work. Like damn
And most importantly, read real, great dialogue writers and set the bar high for yourself. You can't set the bar high for yourself if you don't know the most high standards in dramaturgy, which also means high level literacy. This means literary literacy, not film literacy.
I cannot say whether it is hereditary, or whether my natural interest led to my abilities, but I know that I worked as a coal miner for thirty odd years, and that I sacrificed a great deal. I had to completely give up my youth in order to become what I became by the age of 35 - a screenwriter. My commitment to screenwriting is similar to being an eye surgeon, without any public understanding that it can pay off. I know I had some knack, some ability, but I continued to work harder than anyone I knew, and I took a lot of risks.
Wandering around the Internet, I discovered a wonderful article.
The original source is here https://www.avtoram.com/kak_pisat_dialogi/
Main problem
Dialogues are one of the most problem areas in the manuscripts of beginning writers.
The most common type of error is redundancy: unnecessary attribution, unnecessary cues, unnecessary embellishments.
In dialogues, it is especially important to observe the principle “brevity is the sister of talent”: a few extra words can make the characters’ conversation sluggish or ridiculously pretentious.
Prolongation
Continuous dialogue should not be too long, otherwise it slows down the dynamics of the work. The conversation of the characters implies a real passage of time, while in general the plot develops much faster. If a lengthy dialogue is still necessary, then it should be diluted - for example, with a description of the actions, emotions of the hero, etc.
Do not litter the dialogue with phrases that do not provide useful information.
The girls said goodbye:
- Goodbye!
- Best wishes!
- I was very glad to see you!
- Come to visit us!
- We will definitely come. We really enjoyed your stay last time.
- Well, really, it’s not worth it. Well, goodbye!
We could limit ourselves to one phrase: The girls said goodbye.
A similar problem is repetitions of the same thought:
“Is that really what she said: go away?”
- Yes exactly.
- I can not believe.
- I swear! I gave you everything word for word. So she said: go away.
- I don't believe. You must have mixed something up.
Of course, there may be exceptions to this rule, but you should still remember that empty dialogue is boring, and the reader misses boring things.
Unnaturalness
Dialogue should sound natural. You should not use complex five-line sentences or expressions in conversation that are not used in real speech.
— You need to regularly water the sprouts, because otherwise they will have nowhere to get the moisture that is so necessary for their nutrition and full development.
This is not the way to say it. It's better to rephrase the sentence:
— Don’t forget to water the sprouts, otherwise they will dry out.
An exception to this rule: the hero deliberately tries to speak like a book, and it is clear that this is not stylistic error, but the author's idea.
- Thousand devils! - the office manager exclaimed, turning off the computer. - Oh, I'll be damned if I don't take revenge on these scoundrels!
To check if dialogue sounds natural, read it out loud. Extra words will hurt your ear.
Inconsistency of dialogue with the situation or character of the characters
In the novels of newcomers, there are often scenes in which villains, in the heat of battle, talk with heroes about Good and Evil - in long sentences with adverbial phrases.
If you think this is normal, try beating a pillow for five minutes while retelling the story about Kolobok.
Did you get something coherent? Taking off my hat.
A runner immediately after a marathon cannot give lengthy interviews, a fireman in a burning building will not ask: “Please, Vasily Ivanovich, give me a fire hose!”
Overkill with attribution
Ivan looked into Masha’s face.
“What a fine fellow you are,” he said.
“If it weren’t for you, I wouldn’t have succeeded,” she responded.
“Come on, it’s not worth it,” said Ivan.
We remove “he said”, “she responded”, “Ivan said” - and the meaning is not lost. The reader is absolutely clear who said what.
Extra adverbs and other clarifications
- This is unfair! — the girl sobbed tearfully.
IN in this case an adverb duplicates the meaning of a verb. The word “sobbed” is quite enough.
Stamps look even worse:
- Now I will deal with you! - The Emperor grinned ominously.
- I beg you, let me go! — the girl screamed heartbreakingly, wringing her hands.
Same type attribution
“Don’t forget to buy some sushi,” said the grandmother, counting out the money to her.
- And I’ll have some chocolates! - Dad said from behind the door.
You should not repeat the same attributive verbs over and over again, otherwise the reader’s attention will be fixed on these words. If it’s difficult for you to find an attributive verb, insert a phrase that will describe the hero’s action, and then his replica.
“I went to the store,” said Masha.
Grandmother counted out the money to her.
— Don’t forget to buy some sushi.
- And I’ll have some chocolates! - Dad’s voice was heard from behind the door.
Speaking verbs and shortcuts
If possible, try not to supply the characters’ lines with overly telling attributive verbs. Emotions should be conveyed by the essence of the scene, and not by pasted labels.
An example of such “steroid-pumped” attributive verbs is given by Stephen King in the manual “How to Write Books”:
- Drop the gun, Utterson! - Jekyll rasped.
- Kiss me, kiss me! Shayna gasped.
- You are teasing me! - Bill pulled back.
You also shouldn’t constantly remind the reader: this character is a scoundrel, but this one is a handsome prince. When scoundrels “grin gloatingly” and princes “raise their eyebrows contemptuously” - this is a sure sign that the author wrote “arrogantly ignoring common sense.” The hero must be characterized by his words and actions.
Long dialogue of short sentences
- Where are you going?
- To the village.
- And what's in there?
- Nothing.
- What for?
- Tired of it.
- Why?
- You will not understand.
Such dialogue turns off imaginative thinking. The reader begins to see not a mental picture, but letters. If a monosyllabic exchange of words is absolutely necessary for the plot, then it must be diluted with descriptions.
Accent and speech distortion
You need to be very careful with the transfer of accent and speech distortions. If the reader even for a moment has difficulty reading phrases like “evolution is funny,” then it is better to simply mention that the hero is burring.
Using a name in dialogue
- Hello, Masha!
- Hello, Petya! I'm so glad to see you!
What is wrong? During a conversation, we rarely call people by name, especially if there is no one nearby. Therefore, this dialogue sounds false.
Retelling other people's words
— I met Masha. She said: “Petya, why are you coming to visit me?” “Because I don’t have time,” I answered.
Try to avoid direct speech in direct speech or convey other people's words as they sound in everyday conversation.
- I met Masha today. She asked where I had gone, and I lied that I didn’t have time.
Retelling what the characters already know
“You know, a couple of years ago, orcs attacked our northern borders and burned five cities. And then King Sigismund the Fifteenth allocated three hundred thousand warriors on battle dragons...
- Yes, it was not for nothing that this battle entered the chronicles. Remember how they captured the Magic Stone of Omniscience?
- Of course I remember.
Incorrect use of foreign expressions
Foreigners in novels by newcomers often speak their own language native language with wild mistakes. If you are not sure how to spell a phrase, consult a professional translator or native speaker.
Too much slang and obscenities
If your hero “talks” exclusively about the hair dryer, the reader may not “catch up” with him.
Swearing in literature is permissible only in small doses and only appropriately. Exceptions are “avant-garde” novels published in a circulation of 500 copies.
We remember that no one will judge us for the absence of profanity, but it is quite possible to confuse readers due to the abundance of obscenities.
What properties should a well-written dialogue have?
1. It must be absolutely necessary, that is, without it it is impossible to develop the plot or reveal the personality of a particular character. Example: conversation between Chichikov and Nozdrev (N. Gogol. “Dead Souls”)
2. Each of the heroes must speak their own language. He needs to be given his favorite words, think in advance about how he will construct phrases, what his vocabulary is, what his level of literacy is, etc. This technique will allow you not only to convey the information necessary for the plot, but also to create a reliable image.
- Nymph, put her in a swing, does she really give the goods? - the undertaker said vaguely. - How can she satisfy the buyer? The coffin - it takes a lot of wood...
- What? - asked Ippolit Matveevich.
- Yes, here is “Nymph”... Three families of them live from one merchant. Already their material is not the same, and the finish is worse, and the brush is liquid, put it in a swing. And I am an old company. Founded in one thousand nine hundred and seven. My coffin is a cucumber, selected, amateur...
I. Ilf and E. Petrov. "The twelve Chairs"
It should be remembered that the heroes cannot behave the same way with everyone and speak in the same manner with both the queen and the longshoreman.
3. Characters should not talk in a vacuum. Create a living world around them - with smells, sounds, furnishings, weather, lighting, etc.
Evening at the end of June. The samovar has not yet been removed from the table on the terrace. The housewife peels berries for jam. My husband's friend, who came to visit the dacha for a few days, smokes and looks at her sleek, naked to the elbows round hands. (A connoisseur and collector of ancient Russian icons, an elegant and dry-built man with a small trimmed mustache, with a lively look, dressed as if for tennis.) He looks and says:
- Kuma, can I kiss your hand? I can't watch calmly.
Hands are soaked in juice,” he offers his shiny elbow. Lightly touching his lips, he says hesitantly:
- Kuma...
- What, godfather?
- You know what the story is: one man’s heart left his hands and he said to his mind: goodbye!
- How did this “heart leave your hands”?
- This is from Saadi, godfather. There was such a Persian poet.
I. Bunin. "Kuma"
4. Let the characters not only speak, but also gesticulate, move, grimace, etc.
- Oh no no no! - exclaimed the artist, - did they really think that these were real pieces of paper? I don't think they did it consciously.
The barman looked around somehow wryly and sadly, but said nothing.
- Are they scammers? — the magician asked the guest anxiously, “are there really scammers among Muscovites?”
In response, the barman smiled so bitterly that all doubts disappeared: yes, there are scammers among Muscovites.
M. Bulgakov. "Master and Margarita"
5. Make sure that the characters’ speech corresponds to the place, time, mood and individual characteristics of the characters. If a person wakes up with a hangover, he is unlikely to be able to joke with girls; If a sledgehammer fell on a lumberjack prisoner’s leg, he would not exclaim: “Oh, how painful!”
6. The length of sentences in dialogues should be correlated with the speed of development of events. IN crisis situations the person speaks briefly; at home by the fireplace he can afford flowery phrases and poetic comparisons.
| Our newspaper has many times published materials from a new experimental textbook on Russian philology, created by a team of authors under the leadership of G.G. Granik. We offer readers another chapter from the 5th grade textbook, dedicated to direct speech. Textbooks for grades 5–9 are a continuation of the Russian philology course for primary school(textbooks for grades 1–4 are marked Ministry of Education, experimental textbooks for high school have been widely tested in a number of schools in Moscow and other Russian cities and are being prepared for publication. The topic “Direct Speech” in the 5th grade is given in a somewhat expanded form (sentences with direct speech are introduced, broken up by the author’s words, since schoolchildren widely use such constructions in their own speech). If not all children immediately master this material, nothing bad will happen; they will learn it later. The study of direct speech is part of the chapter “Speech that sounds and speech that is silent” and is directly related to the main objective of the Russian philology course - awakening in schoolchildren love and interest in the school subject “Russian language”, raising a cultured person who is fluent in literate oral speech. and written speech, having an idea of the basic patterns of language development. |
5th grade
DIALOGUE AND DIRECT SPEECH
Fragment of a chapter from the new
textbook on Russian philology
1. What is dialogue, monologue, polylogue?
In any type of speech there can be monologues, dialogues and polylogues.
Let's take a closer look at these words. Each of them consists of two Greek roots: logos is translated as “word”, “speech”, “thought”, monos – “one”, dia – “between”, poly – “many”.
monologue- words, speech of one;
dialogue– conversation, conversation between two or more persons;
polylogue- a conversation among many.
The latter term is rarely used, and a conversation between several persons is also called a dialogue.
Parts mono-, dia-, poly- And -log- included in many words, bringing their own meanings to them.
Knowing them will make it easier for you to understand difficult words foreign origin. For example, one-man show – This is a performance in which only one actor participates. Museum of Science and Industry will introduce you to many branches of technology, and in Polytechnic Institute They train specialists in many areas of technology.
Greek root - log with the meaning “word” is also included in the word philology, which, as you remember, denotes the sciences of language and the art of words - fiction. With the meaning "teaching" the root -log- included in the names of many sciences, for example, zoology, geology...... And in the meaning of “thought” it forms the word logic – the science of the rules of thinking.
Thus, words with Greek roots are log- carry the following meanings: “word”, “speech”, “thought”...
To the collection of words
dial O G
1. Retell the text you read.
2.1. Remember and write down as many words as possible with Greek roots mono-, dia-, poly- And -log-. Make sentences with these words.
2.2. Repeat what meanings the root can carry - log-.
3.1. Read the story. Find the dialogue in it.
Katya, Tanechka and Robinson
There are two people in the room - Katya, who is eleven years old, and Tanya, who is four. Katya is reading a book, and Tanya is walking back and forth next to her, waiting for her sister to pay attention to her.
-Have you not read the whole book yet?
– If I had read it, why would I look at it?
– What do you see in her?
- Leave me alone! I read to myself.
- About myself? Why don’t you read anything about me?
- Because nothing has been written about you.
-What has been written about you?
- About me? Why on earth? I'm reading about Robinson.
- And she said: to herself. Deceived? Speak. Why are you silent?
“Because I’m bored talking to you, you know, it’s not interesting.” Go wash your hands, I’ll feed you and let’s go for a walk.
- I will not eat. And I won’t go for a walk with you.
- And why is that?
- Because I'm bored and uninteresting with you.
(R. Kovalenko)
3.2. Can we say that eleven-year-old Katya knows how to communicate? What does it mean, in your opinion, to be able to communicate?
3.3. Rewrite the highlighted sentence, adding punctuation marks along the way and doing a graphic analysis. Draw an outline of the proposal.
In addition to everyday dialogues, there are also those that long years are stored in the memory of many people. These are short, witty dialogues with unexpected endings. They are called anecdotes.
Turn
Khoja Nasreddin was asked:
– How are tall towers built?
“Very simple,” he replied. – They dig deep wells and turn them inside out.
Khoja Nasreddin is also called a mullah. In the old days, in the East, any educated person was called this as a sign of respect: teacher, poet, scientist, doctor. Many interesting stories are told about Nasreddin.
To the collection of words
joke
4. Remember and tell each other as many funny dialogues as possible. And if you can, come up with them yourself.
5. The TV shows, plays and films you watch include the most different types speech. You can hear both a large text spoken by one character - a monologue, and a conversation in which two or more people participate - a dialogue. Try to notice for several days when a monologue is heard on television or radio programs, and when there is a dialogue. Retell one of them.
2. How are punctuation marks used in dialogue?
You probably understand that dialogues occur not only verbally, but also writing. Written dialogues are found in stories, fairy tales, plays, anecdotes...
Let's observe how dialogues are recorded, that is, how the speech of the characters is formatted.
Read the English folk song translated by S.Ya. Marshak:
-Where were you today, pussy?
- The Queen of England.
-What did you see at court?
– I saw a mouse on the carpet.
How many people do you think are involved in the conversation? How did you find out about this? How does each person's speech stand out in writing?
In addition to replicas, the dialogue often contains the words of the narrator (the words of the author) 1 . They indicate who owns a particular replica.
6.1. Read the dialogue from the book by E. Uspensky, which you know well.
Uncle Fyodor is walking up the stairs and eating a sandwich. You can see the cat is sitting on the window. Big, big, striped. The cat says to Uncle Fyodor:
- You’re eating a sandwich wrong, Uncle Fyodor. . You hold it with the sausage up, but you have to put it with the sausage on your tongue. Then it will taste better.
Uncle Fyodor tried it - it really tastes better. He treated the cat and asked:
- How do you know that my name is Uncle Fyodor?
The cat answers:
“I know everyone in our house.” I live in the attic, and I can see everything. Who is good and who is bad. Only now my attic is being renovated and I have nowhere to live.
-Who taught you to talk? - Uncle Fyodor asks.
- Yes, where you remember the word, where there are two. And then I lived with a professor who studied the language of animals. So I learned. Nowadays it’s impossible to live without language. You will disappear right away, or they will make a hat out of you, or a collar, or just a rug for your feet.
Uncle Fedor says:
- Come live with me.
The cat doubts:
- Your mother is kicking me out.
- He won’t kick anything out. Maybe dad will intercede,” Uncle Fyodor began to persuade the cat.
And they went to Uncle Fyodor.
6.2. Are the punctuation marks the same if the narrator’s words are: 1) before the cue; 2) after the cue? Write down two examples for each of these cases.
6.3. Distribute verbs with unstressed personal endings into two columns: 1) verbs of the first conjugation; 2) verbs of II conjugation. Underline the exception verbs.
6.4. Make a graphical analysis of the highlighted sentence and make a diagram of it.
To the collection of words
sandwich
Professor
Again, note that dialogue punctuation is placed differently depending on where the narrator's words appear.
Now read the rule:
7. Using this rule, fill in the missing punctuation marks in the following texts.
1. Clown Lenya rushed to the police station and said
My cat was stolen. Crisis.
What other cat did Captain Ugorelov ask listlessly?
Not an ordinary cat, understand! Speaking. Circus performer! The performance is being disrupted! the clown explained feverishly.
What is unclear here? Indicate the signs of the kidnapped person, the captain said still sadly.
2. And now the Crisis has returned. Lenya pressed him to his heart(?)
Isn't this a dream? Are you real, Crisis?
What else? Are you real, Lenya? The cat immediately responded resourcefully.
What else? (According to L. Matveeva)
When I walked home from the pool I felt very good mood. I took third place in butterfly and now I’ll tell my dad about it.
Mom immediately asked
Why are you shining so much?
We had a competition today.
Dad said
Third place!
Dad just blossomed
Well, yes? That's great! And who took first place?
I answered
Vovka took first place. The second is a red-haired boy. And I'm third.
Well, who took fourth, dad asked.
I said: … .
(According to V. Dragunsky)
8.2. Come up with your own ending to the story, and then compare it with the author's.
8.3. Copy it using missing punctuation marks. Outline the first sentence.
Turn
Read the beginning of L. Carroll's poem.
“Papa William,” said the curious kid. –
Your head is white.
Meanwhile, you are always standing upside down.
Do you think this is right?
“In my early youth,” the elder said in response, “
I was afraid to spread my brains
But, having learned that there are no brains in my head,
I stand calmly upside down.
(Translated by S.Ya. Marshak)
3. What is direct speech and how is it formalized in writing?
Someone's speech, which is transmitted without changes, is found not only in dialogue.
There is also direct speech.
What is direct speech and how does it differ from dialogue - now you will find out.
Dialogue, as you remember, is a conversation between two or more persons. Speakers' remarks are often introduced by the narrator (author). However, not always. There are sentences with dialogue and without the words of the author. (Go back to the previous paragraph and look again at how the dialogue is formatted.)
IN sentences with direct speech only one person speaks. And this speech is necessarily conveyed verbatim, “directly” by another person. It's called by the author. The author does not participate in the conversation, but only conveys someone’s speech, without changing anything in it, “directly.” Therefore, sentences with direct speech necessarily have two parts:
1) direct speech, that is, the verbatim utterance of any person; And
Look:
A fish swam to him and asked: “What do you want, elder?”(A.S. Pushkin)
“Stop, dishonorable fugitive!” - an unknown person shouts to Farlaf.(A.S. Pushkin)
“Grandma, wait a little,” she shouts to her through the window, “I’ll threaten the dog myself and take something away for you.”(A.S. Pushkin)
9.1. In each sentence, name the direct speech first, and then the words of the author. Find requests. Remember how they stand out in writing.
Now we will introduce you to the diagrams in which punctuation marks are placed. Using these diagrams, you yourself will formulate the rules for placing punctuation marks in sentences with direct speech. An example is given after each diagram.
Let’s agree to denote direct speech like this: "P".
Remember:
Direct speech is always enclosed in quotation marks.
When opening the rules, be careful. Please note that
1) with which letter does direct speech begin, and with which letter does the author’s words begin;
2) where are the quotation marks;
3) think about when to use a question mark, when to use an exclamation mark, and when to use a comma;
4) where these signs are placed: before or after quotation marks;
Pavel said: “In half an hour we will approach Moscow.”
A: "P".
Pavel asked: “How long is it left to Moscow?”
A: “P?”
Pavel joyfully exclaimed: “We’ll be in Moscow in half an hour!”
A: “P!”
Please note: the period is placed after the quotation marks, because it completes the entire sentence, and the question and exclamation marks are placed before the quotation marks, because they only refer to direct speech.
“In half an hour we will approach Moscow,” said Pavel.
“P” – a.
“Is Moscow coming soon?” – little passengers asked every now and then.
"P?" - A.
“Moscow coming soon!” – the conductor announced loudly and cheerfully.
Such options may appear here.
“Help me, please,” my mother asked, “to take the suitcase out of the carriage.”
“P, – a, – p.”
“We’re approaching,” my mother warned. “Let’s get dressed quickly.”
“P, – a. - P".
“Will you help me take things out? – Mom turned to her compartment neighbor. “Only to the platform.”
"P? - A. - P".
"Hooray! We've arrived! – I shouted at the top of my lungs. - Moscow!"
"P! - A. - P!"
Test yourself.
Here are the rules for placing punctuation marks in sentences with direct speech that we discovered with you.
What do you think: which of these cases of recording direct speech is the most difficult?
Of course, the last one.
You will learn more about the rules for placing punctuation marks in sentences with direct speech, broken by the words of the author, in high school. But if you need such proposals now, refer to the diagrams. They will serve as your guide to action.
9.2. Read the sentences with direct speech from the fairy tale by P.P. Ershov "The Little Humpbacked Horse". What place do the author’s words occupy in relation to direct speech? How are punctuation marks used in these cases?
1. So Ivan appeared to the king, bowed, cheered himself up, grunted twice and asked: “Why did you wake me up?” 2. “What, Ivanushka, aren’t you happy? Why did you hang your head? - the horse tells him, spinning at his feet. 3. The next day, early in the morning, Ivan’s horse woke up: “Hey! Master! Get some sleep! It’s time to fix things!” 4. The horse says to him: “There is something to marvel at! Here lies the feather of the Firebird, but for your happiness do not take it for yourself.” 5. “Oh, Ivanushka Petrovich!” - said Mesyats Mesyatsovich.
9.3. Write it off. Make diagrams of the 1st and 5th sentences. Find the requests, mark them with a letter ABOUT .
Sentences with direct speech have special signal words that help distinguish the author’s words from direct speech. This verbs of "speaking". They warn that someone’s words will now “sound” or have already “sounded.”
What do you think: which “speaking” verbs are used most often?
You probably guessed it: verbs said, asked, answered.
In fact, verbs say, ask, talk There are many synonyms that allow you to avoid endless repetition of the same words and diversify the author’s speech.
Read the list of direct speech signal words from Nikolai Nosov’s book “The Adventures of Dunno,” which many of you probably read in childhood: agreed, suggested, explained, thought, muttered to himself, grumbled, mimicked, yelled, picked up, muttered under his breath, swore, interjected, added, warned, exclaimed, greeted, was indignant, joked, yelled, howled...
You have probably seen that signal words in direct speech are not only “speaking” verbs, but also words with the meanings “heard”, “thought”, “rejoiced” and their synonyms.
10.1. What verbs of “speaking” are used in the following sentences with direct speech?
1. Dunno ran home as fast as he could and let’s shout: “Brothers! Save yourself! The piece is flying!” 2. “Stop, brothers! - Rasteryaika shouted. - Stop the ball! I forgot my hat at home!” 3. “Why did we fly down?” – the kids got worried. 4. Footsteps were heard behind the door again, and then someone’s whisper was heard: “Where is he?” 5. “Don’t push, don’t push!” – there was an angry hiss. 6. “I hate tooth powder! - Dunno grumbled. “Tasteless!” 7. “Don’t get up, you’re sick!” – Sorreltail said sternly. 8. “Listen, Dunno, help me out of here,” Grumpy whispered. 9. “Are you still sleeping, Shurupchik? – Bublik greeted him. “It’s already morning already.”
(According to N. Nosov)
10.2. Write down the sentences, explaining punctuation marks. Make diagrams. Are there appeals in these sentences? Indicate them with a symbol.
10.3. In words with unstressed vowels being tested, underline the error-prone places. Orally select test words.
11. Imagine that you want: 1) to make the reader laugh; 2) scare the reader; 3) provide useful (harmful) advice. To do this, you will need sentences with direct speech. Come up with and write down several such sentences. The author's words can come before direct speech, or after direct speech, or will break direct speech.
12. Test your memory! Remember and write down sentences with direct speech from the fairy tales of A.S. Pushkin. Find requests.
1. How did the old man address the goldfish?
2. How did the old woman address the old man?
3. What words did King Elisha use to address the sun, wind and moon?
4. How did the evil queen turn to the magic mirror?
13. Direct speech “disappeared” from the following sentences. Come up with it yourself, write down the suggestions you receive.
1. ... Dimka suddenly screamed to the whole class.
2. Elena Leonidovna slammed the magazine and smiled radiantly...
3. ... Katya generously suggested.
4. ... he asked mysteriously.
5. The cat squinted contemptuously and suddenly said very clearly...
(According to L. Matveeva)
14. And now vice versa: supplement the direct speech with the words of the author. Be careful not to repeat the “speaking” verbs.
1. Tomorrow is a math test...
2. Studying comes easy to me...
3. ... Ekaterina Semyonovna, well, please forgive me. Last time.
4. And before you treated me differently...
5. ...Are there any other news?
To the collection of words
Please
Remember : word Please separated by commas on both sides.
15.1. Read the sentences. Find in examples from the fairy tale by A.S. Pushkin's words from the author and direct speech. Count how many sentences the direct speech consists of in each case.
1. "Zdra V become a prince h you are my beauty sn oh! Why are you as quiet as daylight? T ny? Why are you sad?” - she tells him. 2. The prince sadly replies: “Sadness and melancholy ъ eating, overpowered molo d tsa: I would like to see o T tsa". 3. Lebe d to the prince: “This is the grief! Well, listen: do you want to fly to the sea for a ship? Boo d“You’re a mosquito prince.” 4. Tsar Saltan seats guests at his table and O says: “Oh, you gentlemen, guests, have you been traveling for a long time, where? Is it good or bad overseas? And what miracle is there in the world?”
15.2. Copy using missing punctuation marks. Explain the spellings in place of the underlined letters.
15.3. Indicate addresses and explain punctuation marks for them.
16. From the book you are reading now, or from any other book, write down five interesting sentences that match the diagrams:
2) “P?” - A.
3) “P, – a, – p.”
5) “P” – a.
Hold a competition in class for the most interesting direct speech sentence.
17.1. Remember what you learned about chronicles and legends. (If you don’t remember, return to the “Oral speech” paragraph.) Now we want to introduce you to a legend that tells about one of the exploits of the Russian prince Alexander Nevsky.
Alexander Nevskiy
That was a long time ago. Our enemies, the Swedes, came to Rus'. Their leader, Birger, sent his soldiers to the city of Novgorod and ordered to tell the Novgorod prince Alexander: “We have come to fill your land, and we want to make you, prince, and your children our slaves.”
Heard these bold words Prince Alexander, convened the Novgorod residents and told them: “The Swedes want to take our land. Let's go fight them! We are few and the enemy is strong, but God is not with the strong, but with the right.”
“Lead us against the enemies, prince!” - the Novgorodians cried out and joyfully followed the prince to meet the Swedes in order to defend their land.
And there was a certain man named Pelguy. When he stood on the seashore on morning watch, he heard a terrible noise on the sea and saw a ship, and on it the holy martyrs Boris and Gleb2. And Boris said: “Brother Gleb, let’s help Alexander!”
Pelguy happily told Alexander about his vision. The prince told him: “Don’t tell anyone about this.”
And after that he decided to attack his enemies. And there was a great battle, and there was a victory for Prince Alexander. After this victory, Prince Alexander began to be called Alexander Nevsky, because the battle took place on the banks of the Neva River.
(From the book “Tales and Legends of Russia”)
17.3. Write down sentences with direct speech, explain the punctuation marks in them. Which of these sentences have appeals?
To the collection of words
tradition
20. How to enjoy... dialogue?
Let's return to the dialogue.
Are you always satisfied with the dialogues in which you took part? It probably happens differently for each of you. Sometimes both you and your interlocutor enjoy the conversation and you want to meet and talk again and again. And sometimes quarrels and grievances arise that spoil the mood for a long time. Today it is no coincidence that scientists think a lot about culture dialogue– the ability to speak to each other kindly and meaningfully.
Conversations turn out unsuccessful when each interlocutor repeats his own, trying at all costs to “talk over” the other. They say about such people that they are deaf to each other, that they speak different languages. This kind of conversation was mockingly described by A.S. Pushkin:
The deaf man called the deaf man to court.
The deaf man shouted: “They killed my cow!” –
“Have mercy,” the deaf man cried out in response: “
This wasteland was owned by the late grandfather.”
It’s good when conversations with people bring joy to the interlocutors, not grief.
18.1. Read on for some tips on how to have a conversation.
1. Be genuinely interested in other people. Talk about what interests your interlocutor.
2. Talk less about yourself, listen more.
3. Don’t rush to impose your opinion.
4. Don’t immediately tell a person that he is wrong.
5. When talking, try not to wave your arms or speak louder than your interlocutor.
6. During a conversation, watch your facial expression as well as your speech. A natural and friendly facial expression emphasizes respect for the person.
7. You cannot interfere in someone else’s conversation without permission. If it is absolutely necessary, use the expression: “Excuse me, I will interrupt you.” If you accidentally interrupt your interlocutor, you should definitely say: “Sorry, I interrupted you. Please continue.”
18.2. Which of these tips do you find most important? Read them several times and then write them down from memory.
18.3. Which mood verbs are used most often in these sentences? Name them.
19.1. Read the dialogue from Valery Medvedev’s story “Barankin, be a man!” in their faces.
- Yura! – said Zinka Fokina. (That’s strange! Previously, she always called me only by my last name.) - Yura... Well, be a man!.. Well, correct the deuce tomorrow! Well, will you fix it?
“It’s absolutely impossible to talk to you like a human being!” – Fokina was indignant.
And I told her calmly:
- Well, don’t talk!
- And I will not!
– And you’re talking yourself!..
- Because I want you to become a human!
– And if I’m tired... Tired of being a man! What then? – I asked.
- Well, Barankin! You know, Barankin!.. That’s it, Barankin!.. – having said all this, Fokina turned and left the class.
19.2. What do you think: is it possible to “get pleasure” from such a dialogue? Will it lead to something good? But Zina Fokina acted with the best intentions.
19.3. Write down the predicate verbs in the form of any of the moods and indicate which mood they are in.
If you want to find out what incredible events happened to the heroes of this book, read V. Medvedev’s story “Barankin, be a man!”
20.1. Read the story.
Talk
Two girlfriends walked slowly along the sidewalk and talked:
- Well, how do you like the fox?
- Yes, this is not a fox, but rather a lynx.
- No, still a fox. Redhead and sharp teeth.
“The squirrel in summer is also red and its teeth are sharp; it can chew any nut.”
“Then it’s a snake.” Pretends to be a fox, but she herself is a boa constrictor or a cobra.
A boy walked behind them. Overtaking them, he suddenly asked:
- Girls, are you coming from the forest or from the zoo?
The girls didn't answer. They were not walking from the forest, but from school to home and talking about a new classmate. If this, of course, can be called a conversation.
(R. Kovalenko)
20.2. There are no explanatory words from the author in the dialogue here. Therefore, it is difficult to understand who the girls were talking about. But the boy walking behind them guessed that they were not discussing, or rather condemning, a fox at all. Therefore, his question did not sound entirely polite.
Now answer: was there a conversation between the girls or something else? After all, the author himself doubted this in the end.
21. Come up with or find in a book a dialogue from which it would be clear that smart and kind people are talking.
Now let's practice.
22.I. Answer the questions.
1. Which way of communication between people is the most important?
2. What forms of speech do you know?
3. What oral speech different from writing?
4. Which speech appeared first - oral or written?
5. What is inner speech?
6. What are monologue, dialogue and polylogue?
7. How are punctuation marks used in dialogue?
8. How are punctuation marks used in direct speech? List all three cases. Don't forget the examples!
II. If you were able to answer our questions, it will be easy for you to continue with the proposals.
1. Of all the ways of communication between people, the most important is... .
2. There are three forms of speech: ... .
3. When we speak and listen, we use…. When we write and read, we use….
4. ... appeared earlier ... .
5. If we didn't have inner speech, That... .
6. The speech of one person is... . A conversation between two people is... . Many people's conversation is also called... .
7. During dialogue, punctuation marks are placed as follows: ....
III. Complete the tasks.
23.1. Read the text. Please note that not all necessary punctuation marks are included.
Good afternoon said the little prince.
Good afternoon, the merchant replied.
He sold improved pills that quenched thirst. You swallow such a pill, and then you don’t feel like drinking for a whole week.
Why are you selling them, asked the Little Prince.
They save a lot of time. According to experts, you can save fifty-three minutes a week, the merchant answered.
What to do in these fifty-three minutes?
Whatever you want.
“If I had fifty-three minutes to spare, thought the Little Prince, I would...”
(A. de Saint-Exupéry)
23.2. Rewrite the text, adding missing punctuation marks.
23.3. How would you answer if you were the Little Prince? You can finish the text with one sentence, or you can complete the whole story.
To the collection of words
save
save money
24.1. Read the story. Why is it called "Waiting"?
Expectation
The day was hot. At the entrance to the park they were selling ice cream, and Yura, without wasting any time, joined the back of the line. Kolya was about to appear. Yura will give him a popsicle, and they will run to the boat station. You will spend the whole day in the park on the lake. That's what they had planned.
The line was quickly thinning. Yura found himself in front of the saleswoman, but immediately recoiled from her and turned back. Kolya is late, although he assured that he would be there minute by minute. Yura stood in line again and did not notice how he again found himself in front of the saleswoman. She noticed him. “Why are you hanging around and not taking anything,” she asked, “maybe there’s no money?”
Yura had money. But he did not explain that he wanted to buy two popsicles, but his friend was running late.
He left and sat on a bench under a tree. He waited, waited, jumped up, walked around. I never thought that waiting was such a difficult thing. Annoyance was replaced by anxiety: maybe something happened to Kolya?
An hour later Kolya appeared. Cheerful, with ice cream in his hand. He was surprised that Yura wasn’t looking at him.
- Why so frowning? – he asked and held out his hand with the ice cream, “here, lick it.”
“No need,” Yura pulled his hand away, “first tell me what happened.” I wait and wait, but you are not there. I was worried.
Kolya waved his hand.
– Also tenderness to me – I was worried! I would buy myself some ice cream, sit on a bench and wait for my pleasure.
- So what happened? – Yura did not back down.
- Nothing happened. I met Leshka in the yard. He returned from a hiking trip. This and that, he began to tell us how it was during their campaign. You know how interesting Leshka talks.
Yura didn’t want to offend Kolya, but he couldn’t remain silent either.
“As Leshka tells it, I’ve known it for a long time,” he answered, “but it seems like I only recognized you now.”
(R. Kovalenko)
24.2. Pay attention to the speech of Yura and Kolya. Is it possible to judge the characters of boys from it?
Re-read the end of the story. Look how much Yura put into just one word - the word found out. What did he, having survived this day, this expectation, learn about his friend? What did you understand?
24.3. Work on your spelling: 1) find words with prefixes of the first group (unchangeable prefixes), highlight the erroneous vowels and consonants in them; 2) write down at least 10 words with tested unstressed vowels in the root, select test words for them; 3) find two verbs of the 2nd conjugation with unstressed personal endings, explain their spelling.
To the collection of words
ice cream
G.G. GRANIK,
ON THE. BORISENKO,
Moscow
