Expressionsof admiration. Please find below the answer for: Expressions of admiration 7 little words. This clue was last seen on October 8 2021 7 Little Words Daily Puzzle. The solution we have for Expressions of admiration has a total of 9 letters.
EXPRESSIONOF ADMIRATION or E xclamatory S entences. To show our admiration to certain thing / people , we can use the pattern s :. What a/an + adj / adverb + noun / pronoun + tobe ! Or How + adj + noun / pronoun + tobe !. Example: . The bus is very fast. Slideshow 1873081 by chas
“Guess what?” Tanika asked her mother. “What?” her mother replied. “I’m writing a short story,” Tanika said. “Make sure you practice writing dialogue!” her mother instructed. “Because dialogue is one of the most effective tools a writer has to bring characters to life.” What is dialogue, and what is its purpose? Dialogue is what the characters in your short story, poem, novel, play, screenplay, personal essay—any kind of creative writing where characters speak—say out loud. For a lot of writers, writing dialogue is the most fun part of writing. It’s your opportunity to let your characters’ motivations, flaws, knowledge, fears, and personality quirks come to life. By writing dialogue, you’re giving your characters their own voices, fleshing them out from concepts into three-dimensional characters. And it’s your opportunity to break grammatical rules and express things more creatively. Read these lines of dialogue “NoOoOoOoO!” Maddie yodeled as her older sister tried to pry her hands from the merry-go-round’s bars. “So I says, You wanna play rough? C’mere, I’ll show you playin’ rough!’” “Get out!” she shouted, playfully swatting at his arm. “You’re kidding me, right? We couldn’t have won . . . ” Dialogue has multiple purposes. One of them is to characterize your characters. Read the examples above again, and think about who each of those characters are. You learn a lot about somebody’s mindset, background, comfort in their current situation, emotional state, and level of expertise from how they speak. Another purpose dialogue has is exposition, or background information. You can’t give readers all the exposition they need to understand a story’s plot up-front. One effective way to give readers information about the plot and context is to supplement narrative exposition with dialogue. For example, the protagonist might learn about an upcoming music contest by overhearing their coworkers’ conversation about it, or an intrepid adventurer might be told of her destiny during an important meeting with the town mystic. Later on in the story, your music-loving protagonist might express his fears of looking foolish onstage to his girlfriend, and your intrepid adventurer might have a heart-to-heart with the dragon she was sent to slay and find out the truth about her society’s cultural norms. Dialogue also makes your writing feel more immersive. It breaks up long prose passages and gives your reader something to “hear” other than your narrator’s voice. Often, writers use dialogue to also show how characters relate to each other, their setting, and the plot they’re moving through. It can communicate subtext, like showing class differences between characters through the vocabulary they use or hinting at a shared history between them. Sometimes, a narrator’s description just can’t deliver information the same way that a well-timed quip or a profound observation by a character can. Monologues In contrast to dialogue, a monologue is a single, usually lengthy passage spoken by one character. Monologues are often part of plays. The character may be speaking directly to the reader or viewer, or they could be speaking to one or more other characters. The defining characteristic of a monologue is that it’s one character’s moment in the spotlight to express their thoughts, ideas, and/or perspective. Often, a character’s private thoughts are delivered via monologue. If you’re familiar with the term internal monologue, it’s referring to this. An internal monologue is the voice an individual though not all individuals “hears” in their head as they talk themselves through their daily activities. Your story might include one or more characters’ inner monologues in addition to their dialogue. Just like “hearing” a character’s words through dialogue, hearing their thoughts through a monologue can make a character more relatable, increasing a reader’s emotional investment in their story arc. Types of dialogue There are two broad types of dialogue writers employ in their work inner and outer dialogue. Inner dialogue is the dialogue a character has inside their head. This inner dialogue can be a monologue. In most cases, inner dialogue is not marked by quotation marks. Some authors mark inner dialogue by italicizing it. Outer dialogue is dialogue that happens externally, often between two or more characters. This is the dialogue that goes inside quotation marks. How to structure dialogue Dialogue is a break from a story’s prose narrative. Formatting it properly makes this clear. When you’re writing dialogue, follow these formatting guidelines In US English, dialogue goes inside double quotation marks “dialogue”. In UK English, dialogue goes inside single quotation marks dialogue’. All punctuation in a piece of dialogue goes inside the quotation marks. Quoted dialogue within a line of dialogue goes inside single quotation marks “I told my brother, Don’t do my homework for me.’ But he did it anyway!”. In UK English, quoted dialogue within a line of dialogue goes inside double quotation marks. Every time a new character speaks, start a new paragraph. This is true even when a character says only one word. Indent every new paragraph. When a character’s dialogue extends beyond a paragraph, use quotation marks at the beginning of the second and/or subsequent paragraph. However, there is no need for closing quotation marks at the end of the first paragraph—or any paragraph other than the final one. In dialogue, use an em dash to show that a character is being interrupted Example “Thank you for—” “Is that a giant spider?!” You can separate a line of dialogue with an action. When you do this, capitalize the dialogue and action the same way you would capitalize any other sentence. Here are two examples “Every night,” he began, “I heard a rustling in the trees.” “Every day,” he stated. “Every day, I get to work right on time.” Things to avoid when writing dialogue When you’re writing dialogue, avoid these common pitfalls Using a tag for every piece of dialogue Dialogue tags are words like said and asked. Once you’ve established that two characters are having a conversation, you don’t need to tag every piece of dialogue. Doing so is redundant and breaks the reader’s flow. Once readers know each character’s voice, many lines of dialogue can stand alone. Not using enough tags On the flip side, some writers use too few dialogue tags, which can confuse readers. Readers should always know who’s speaking. When a character’s mannerisms and knowledge don’t make that abundantly obvious, tag the dialogue and use their name. Dense, unrealistic speech As we mentioned above, dialogue doesn’t need to be grammatically correct. In fact, when it’s too grammatically correct, it can make characters seem stiff and unrealistic. Anachronisms A pirate in 1700s Barbados wouldn’t greet his captain with “what’s up?” Depending on how dedicated you and your readers are to historical accuracy, this doesn’t need to be perfect. But it should be believable. Eye dialect This is an important one to keep in mind. Eye dialect is the practice of writing out characters’ mispronunciations phonetically, like writing “wuz” for “was.” Eye dialect can be and has been used to create offensive caricatures, and even when it’s not used in this manner, it can make dialogue difficult for readers to understand. Certain well-known instances of eye dialect, like “fella” for “fellow” and “em” for “them,” are generally deemed acceptable, but beyond these, it’s often best to avoid it. How to write dialogue Write how people actually speak with some editing You want your characters to sound like real people. Real people don’t always speak in complete sentences or use proper grammar. So when you’re writing dialogue, break grammatical rules as you need to. That said, your dialogue needs to still be readable. If the grammar is so bad that readers don’t understand what your characters are saying, they’ll probably just stop reading your story. Even if your characters speak in poor grammar, using punctuation marks correctly, even when they’re in the wrong places, will help readers understand the characters. Here’s a quick example “I. Do. Not. WANT. to go back to boarding school!” Caleb shouted. See how the period after each word forces your brain to stop and read each word as if it were its own sentence? The periods are doing what they’re supposed to do; they just aren’t being used to end sentences like periods typically do. Here’s another example of a character using bad grammar but the author using proper punctuation to make the dialogue understandable “Because no,” she said into the phone. “I need a bigger shed to store all my stuff in . . . yeah, no, that’s not gonna work for me, I told you what I need and now you gotta make it happen.” Less is more When you’re editing your characters’ dialogue, cut back all the parts that add nothing to the story. Real-life conversations are full of small talk and filler. Next time you read a story, take note of how little small talk and filler is in the dialogue. There’s a reason why TV characters never say “good-bye” when they hang up the phone the “good-bye” adds nothing to the storyline. Dialogue should characterize people and their relationships, and it should also advance the plot. Vary up your tags, but don’t go wild with them “We love basketball!” he screamed. “Why are you screaming?” the coach asked. “Because I’m just so passionate about basketball!” he replied. Dialogue tags show us a character’s tone. It’s good to have a variety of dialogue tags in your work, but there’s also nothing wrong with using a basic tag like “said” when it’s the most accurate way to describe how a character delivered a line. Generally, it’s best to keep your tags to words that describe actual speech, like shouted whispered asked wondered replied responded You’ve probably come across more unconventional tags like “laughed” and “dropped.” If you use these at all, use them sparingly. They can be distracting to readers, and some particularly pedantic readers might be bothered because people don’t actually laugh or drop their words. Give each character a unique voice and keep them consistent If there is more than one character with a speaking role in your work, give each a unique voice. You can do this by varying their vocabulary, their speech’s pace and rhythm, and the way they tend to react to dialogue. Keep each character’s voice consistent throughout the story by continuing to write them in the style you established. When you go back and proofread your work, check to make sure each character’s voice remains consistent—or, if it changed because of a perspective-shifting event in the story, make sure that this change fits into the narrative and makes sense. One way to do this is to read your dialogue aloud and listen to it. If something sounds off, revise it. Dialogue examples Inner dialogue As I stepped onto the bus, I had to ask myself why was I going to the amusement park today, and not my graduation ceremony? He thought to himself, this must be what paradise looks like. Outer dialogue “Mom, can I have a quarter so I can buy a gumball?” Without skipping a beat, she responded, “I’ve dreamed of working here my whole life.” “Ren, are you planning on stopping by the barbecue?” “No, I’m not,” Ren answered. “I’ll catch you next time.” Here’s a tip Grammarly’s Citation Generator ensures your essays have flawless citations and no plagiarism. Try it for citing dialogue in Chicago, MLA, and APA styles. Dialogue FAQs What is dialogue? Dialogue is the text that represents the spoken word. How does dialogue work? Dialogue expresses exactly what a character is saying. In contrast, a narrator might paraphrase or describe a character’s thoughts or speech. What are different kinds of dialogue? Inner dialogue is the dialogue a character has inside their own head. Often, it’s referred to as an inner monologue. Outer dialogue is a conversation between two or more characters. How is dialogue formatted? Inner dialogue simply fits into the narrative prose. Outer dialogue is marked by quotation marks and a few other formatting guidelines. These include A new, indented paragraph every time a new character speaks Punctuation inside the quotation marks Em dashes to communicate interruption
Thewords love and admiration are two strong emotions felt by an individual, between which a difference can be identified. Admiration is a great respect that we feel for another person. The key difference between love and admiration is that while love focuses on affection, admiration focuses on respect and approval.
Dialogue Definition What is dialogue? Here’s a quick and simple definition Dialogue is the exchange of spoken words between two or more characters in a book, play, or other written work. In prose writing, lines of dialogue are typically identified by the use of quotation marks and a dialogue tag, such as "she said." In plays, lines of dialogue are preceded by the name of the person speaking. Here's a bit of dialogue from Alice's Adventures in Wonderland "Oh, you can't help that,' said the Cat 'we're all mad here. I'm mad. You're mad." "How do you know I'm mad?" said Alice. "You must be,' said the Cat, 'or you wouldn't have come here." Some additional key details about dialogue Dialogue is defined in contrast to monologue, when only one person is speaking. Dialogue is often critical for moving the plot of a story forward, and can be a great way of conveying key information about characters and the plot. Dialogue is also a specific and ancient genre of writing, which often takes the form of a philosophical investigation carried out by two people in conversation, as in the works of Plato. This entry, however, deals with dialogue as a narrative element, not as a genre. How to Pronounce Dialogue Here's how to pronounce dialogue dye-uh-log Dialogue in Depth Dialogue is used in all forms of writing, from novels to news articles to plays—and even in some poetry. It's a useful tool for exposition conveying the key details and background information of a story as well as characterization fleshing out characters to make them seem lifelike and unique. Dialogue as an Expository Tool Dialogue is often a crucial expository tool for writers—which is just another way of saying that dialogue can help convey important information to the reader about the characters or the plot without requiring the narrator to state the information directly. For instance In a book with a first person narrator, the narrator might identify themselves outright as in Kazuo Ishiguro's Never Let Me Go, which begins "My name is Kathy H. I am thirty-one years old, and I've been a carer now for over eleven years.". But if the narrator doesn't identify themselves by stating their name and age directly, dialogue can be a useful tool for finding out important things about the narrator. For instance, in The Great Gatsby, the reader learns the name of the narrator Nick through the following line of dialogue Tom Buchanan, who had been hovering restlessly about the room, stopped and rested his hand on my shoulder. "What you doing, Nick?” The above example is just one scenario in which important information might be conveyed indirectly through dialogue, allowing writers to show rather than tell their readers the most important details of the plot. Expository Dialogue in Plays and Films Dialogue is an especially important tool for playwrights and screenwriters, because most plays and films rely primarily on a combination of visual storytelling and dialogue to introduce the world of the story and its characters. In plays especially, the most basic information like time of day often needs to be conveyed through dialogue, as in the following exchange from Romeo and Juliet BENVOLIO Good-morrow, cousin. ROMEO Is the day so young? BENVOLIO But new struck nine. ROMEO Ay me! sad hours seem long. Here you can see that what in prose writing might have been conveyed with a simple introductory clause like "Early the next morning..." instead has to be conveyed through dialogue. Dialogue as a Tool for Characterization In all forms of writing, dialogue can help writers flesh out their characters to make them more lifelike, and give readers a stronger sense of who each character is and where they come from. This can be achieved using a combination of Colloquialisms and slang Colloquialism is the use of informal words or phrases in writing or speech. This can be used in dialogue to establish that a character is from a particular time, place, or class background. Similarly, slang can be used to associate a character with a particular social group or age group. The form the dialogue takes for instance, multiple books have now been written in the form of text messages between characters—a form which immediately gives readers some hint as to the demographic of the characters in the "dialogue." The subject matter This is the obvious one. What characters talk about can tell readers more about them than how the characters speak. What characters talk about reveals their fears and desires, their virtues and vices, their strengths and their flaws. For example, in Pride and Prejudice, Jane Austen's narrator uses dialogue to introduce Mrs. and Mr. Bennet, their relationship, and their differing attitudes towards arranging marriages for their daughters "A single man of large fortune; four or five thousand a year. What a fine thing for our girls!” “How so? How can it affect them?” “My dear Mr. Bennet,” replied his wife, “how can you be so tiresome! You must know that I am thinking of his marrying one of them.” “Is that his design in settling here?” “Design! Nonsense, how can you talk so! But it is very likely that he may fall in love with one of them, and therefore you must visit him as soon as he comes.” This conversation is an example of the use of dialogue as a tool of characterization, showing readers—without explaining it directly—that Mrs. Bennet is preoccupied with arranging marriages for her daughters, and that Mr. Bennet has a deadpan sense of humor and enjoys teasing his wife. Recognizing Dialogue in Different Types of Writing It's important to note that how a writer uses dialogue changes depending on the form in which they're writing, so it's useful to have a basic understanding of the form dialogue takes in prose writing fiction and nonfiction versus the form it takes in plays and screenplays—as well as the different functions it can serve in each. We'll cover that in greater depth in the sections that follow. Dialogue in Prose In prose writing, which includes fiction and nonfiction, there are certain grammatical and stylistic conventions governing the use of dialogue within a text. We won't cover all of them in detail here we'll skip over the placement of commas and such, but here are some of the basic rules for organizing dialogue in prose Punctuation Generally speaking, lines of dialogue are encased in double quotation marks "such as this," but they may also be encased in single quotation marks, 'such as this.' However, single quotation marks are generally reserved for quotations within a quotation, "Even when I dared him he said 'No way,' so I dropped the subject." Dialogue tags Dialogue tags such as "he asked" or "she said" are used to attribute a line of dialogue to a specific speaker. They can be placed before or after a line of dialogue, or even in the middle of a sentence, but some lines of dialogue don't have any tags at all because it's already clear who is speaking. Here are a few examples of lines of dialogue with dialogue tags "Where did you go?" she asked. I said, "Leave me alone." "Answer my question," said Monica, "or I'm leaving." Line breaks Lines of dialogue spoken by different speakers are generally separated by line breaks. This is helpful for determining who is speaking when dialogue tags have been omitted. Of course, some writers ignore these conventions entirely, choosing instead to italicize lines of dialogue, for example, or not to use quotation marks, leaving lines of dialogue undifferentiated from other text except for the occasional use of a dialogue tag. Writers that use nonstandard ways of conveying dialogue, however, usually do so in a consistent way, so it's not hard to figure out when someone is speaking, even if it doesn't look like normal dialogue. Indirect vs. Direct Dialogue In prose, there are two main ways for writers to convey the content of a conversation between two characters directly, and indirectly. Here's an overview of the difference between direct and indirect dialogue Indirect Dialogue In prose, dialogue is often summarized without using any direct quotations as in "He told her he was having an affair, and she replied callously that she didn't love him anymore, at which point they parted ways". When dialogue is summarized in this way, it is called "indirect dialogue." It's useful when the writer wants the reader to understand that a conversation has taken place, and to get the gist of what each person said, but doesn't feel that it's necessary to convey what each person said word-for-word. This type of dialogue can often help lend credibility or verisimilitude to dialogue in a story narrated in the first-person, since it's unlikely that a real person would remember every line of dialogue that they had overheard or spoken. Direct Dialogue This is what most people are referring to when they talk about dialogue. In contrast to indirect dialogue, direct dialogue is when two people are speaking and their words are in quotations. Of these two types of dialogue, direct dialogue is the only one that counts as dialogue strictly speaking. Indirect dialogue, by contrast, is technically considered to be part of a story's narration. A Note on Dialogue Tags and "Said Bookisms" It is pretty common for writers to use verbs other than "said" and "asked" to attribute a line of dialogue to a speaker in a text. For instance, it's perfectly acceptable for someone to write Robert was beginning to get worried. "Hurry!" he shouted. "I am hurrying," Nick replied. However, depending on how it's done, substituting different verbs for "said" can be quite distracting, since it shifts the reader's attention away from the dialogue and onto the dialogue tag itself. Here's an example where the use of non-standard dialogue tags begins to feel a bit clumsy Helen was thrilled. "Nice to meet you," she beamed. "Nice to meet you, too," Wendy chimed. Dialogue tags that use verbs other than the standard set which is generally thought to include "said," "asked," "replied," and "shouted" are known as "said bookisms," and are generally ill-advised. But these "bookisms" can be easily avoided by using adverbs or simple descriptions in conjunction with one of the more standard dialogue tags, as in Helen was thrilled. "Nice to meet you," she said, beaming. "Nice to meet you, too," Wendy replied brightly. In the earlier version, the irregular verbs or "said bookisms" draw attention to themselves, distracting the reader from the dialogue. By comparison, this second version reads much more smoothly. Dialogue in Plays Dialogue in plays and screenplays is easy to identify because, aside from the stage directions, dialogue is the only thing a play is made of. Here's a quick rundown of the basic rules governing dialogue in plays Names Every line of dialogue is preceded by the name of the person speaking. Adverbs and stage directions Sometimes an adverb or stage direction will be inserted in brackets or parentheses between the name of the speaker and the line of dialogue to specify how it should be read, as in Mama outraged What kind of way is that to talk about your brother? Line breaks Each time someone new begins speaking, just as in prose, the new line of dialogue is separated from the previous one by a line break. Rolling all that together, here's an example of what dialogue looks like in plays, from Edward Albee's Zoo Story JERRY And what is that cross street there; that one, to the right? PETER That? Oh, that's Seventy-fourth Street. JERRY And the zoo is around Sixty-5th Street; so, I've been walking north. PETER [anxious to get back to his reading] Yes; it would seem so. JERRY Good old north. PETER [lightly, by reflex] Ha, ha. Dialogue Examples The following examples are taken from all types of literature, from ancient philosophical texts to contemporary novels, showing that dialogue has always been an integral feature of many different types of writing. Dialogue in Shakespeare's Othello In this scene from Othello, the dialogue serves an expository purpose, as the messenger enters to deliver news about the unfolding military campaign by the Ottomites against the city of Rhodes. First Officer Here is more news. Enter a Messenger Messenger The Ottomites, reverend and gracious, Steering with due course towards the isle of Rhodes, Have there injointed them with an after fleet. First Senator Ay, so I thought. How many, as you guess? Messenger Of thirty sail and now they do restem Their backward course, bearing with frank appearance Their purposes toward Cyprus. Signior Montano, Your trusty and most valiant servitor, With his free duty recommends you thus, And prays you to believe him. Dialogue in Madeleine L'Engel's A Wrinkle in Time From the classic children's book A Wrinkle in Time, here's a good example of dialogue that uses a description of a character's tone of voice instead of using unconventional verbiage to tag the line of dialogue. In other words, L'Engel doesn't follow Calvin's line of dialogue with a distracting tag like "Calvin barked." Rather, she simply states that his voice was unnaturally loud. "I'm different, and I like being different." Calvin's voice was unnaturally loud. "Maybe I don't like being different," Meg said, "but I don't want to be like everybody else, either." It's also worth noting that this dialogue helps characterize Calvin as a misfit who embraces his difference from others, and Meg as someone who is concerned with fitting in. Dialogue in A Visit From the Good Squad This passage from Jennifer Egan's A Visit From the Good Squad doesn't use dialogue tags at all. In this exchange between Alex and the unnamed woman, it's always clear who's speaking even though most of the lines of dialogue are not explicitly attributed to a speaker using tags like "he said." Alex turns to the woman. “Where did this happen?” “In the ladies’ room. I think.” “Who else was there?” “No one.” “It was empty?” “There might have been someone, but I didn’t see her.” Alex swung around to Sasha. “You were just in the bathroom,” he said. “Did you see anyone?” Elsewhere in the book, Egan peppers her dialogue with colloquialisms and slang to help with characterization. Here, the washed-up, alcoholic rock star Bosco says "I want interviews, features, you name it," Bosco went on. "Fill up my life with that shit. Let's document every fucking humiliation. This is reality, right? You don't look good anymore twenty years later, especially when you've had half your guts removed. Time's a goon, right? Isn't that the expression?" In this passage, Bosco's speech is littered with colloquialisms, including profanity and his use of the word "guts" to describe his liver, establishing him as a character with a unique way of speaking. Dialogue in Plato's Meno The following passage is excerpted from a dialogue by Plato titled Meno. This text is one of the more well-known Socratic dialogues. The two characters speaking are Socrates abbreviated, "Soc." and Meno abbreviated, "Men.". They're exploring the subject of virtue together. Soc. Now, if there be any sort-of good which is distinct from knowledge, virtue may be that good; but if knowledge embraces all good, then we shall be right in think in that virtue is knowledge? Men. True. Soc. And virtue makes us good? Men. Yes. Soc. And if we are good, then we are profitable; for all good things are profitable? Men. Yes. Soc. Then virtue is profitable? Men. That is the only inference. Indirect Dialogue in Tim O'Brien's The Things They Carried This passage from O'Brien's The Things They Carried exemplifies the use of indirect dialogue to summarize a conversation. Here, the third-person narrator tells how Kiowa recounts the death of a soldier named Ted Lavender. Notice how the summary of the dialogue is interwoven with the rest of the narrative. They marched until dusk, then dug their holes, and that night Kiowa kept explaining how you had to be there, how fast it was, how the poor guy just dropped like so much concrete. Boom-down, he said. Like cement. O'Brien takes liberties in his use of quotation marks and dialogue tags, making it difficult at times to distinguish between the voices of different speakers and the voice of the narrator. In the following passage, for instance, it's unclear who is the speaker of the final sentence The cheekbone was gone. Oh shit, Rat Kiley said, the guy's dead. The guy's dead, he kept saying, which seemed profound—the guy's dead. I mean really. Why Do Writers Use Dialogue in Literature? Most writers use dialogue simply because there is more than one character in their story, and dialogue is a major part of how the plot progresses and characters interact. But in addition to the fact that dialogue is virtually a necessary component of fiction, theater, and film, writers use dialogue in their work because It aids in characterization, helping to flesh out the various characters and make them feel lifelike and individual. It is a useful tool of exposition, since it can help convey key information abut the world of the story and its characters. It moves the plot along. Whether it takes the form of an argument, an admission of love, or the delivery of an important piece of news, the information conveyed through dialogue is often essential not only to readers' understanding of what's going on, but to generating the action that furthers the story's plot line. Other Helpful Dialogue Resources The Wikipedia Page on Dialogue A bare-bones explanation of dialogue in writing, with one or two examples. The Dictionary Definition of Dialogue A basic definition, with a bit on the etymology of the word it comes from the Greek meaning "through discourse." Cinefix's video with their take on the 14 bes . 267 403 38 499 266 278 186 5compose a dialogue containing an expression of admiration
