Whoever writes looks for keys to write the dialogues correctly, although not all find them. There is a lot of published material about this, and yet… it will be worth telling one more time: manuscripts continue to arrive that do not seem to have found any page that reveals such an ineffable mystery and Best Resume Writing Services.
This throws up a tremendous truth: the task of proofreading a novel becomes very tiring. And you will tell me that it is the job of the proofreader to make amends; it certainly is. As is also the fact that the proofreader is a human person . It means that the more corrections, the more chances also that details will be passed to you.
Keys to write the dialogues according to the type of verbs
Here comes some mess or some confusion between these three situations that follow:
'We're close -d Ijo Rebeca.
[Same case as before: line for the character and line for the narrator next to the lower case in front].
Instead, here is a difference: after sea there is a point. And after the second line, a capital letter.
"I don't know near what ... You can't see the sea ." -E l man took off his sweat with his sleeve.
Why?
Keys to write dialogues when the character speaks and is silent
Sometimes the character speaks, says what he has to say, and is silent. And the narrator does not get involved. There is only one line indicating that it is a direct dialogue:
-See you tomorrow.
-Already.
The same, said indirectly, could be:
"See you tomorrow," he told them; and Mireya answered that already, as if she didn't believe it.
Speech verbs or dicendi vs. non-diction verbs
Other times, the narrator is not content with narrating. Sometimes a character speaks and the narrator kicks in to clarify something.
Sometimes he does it with verbs like he said, added, replied, replied, told, clarified, threatened, agreed ...; verbs that indicate the way a character speaks. They are declarative verbs , speaking or dicendi.
And they are in lowercase and close to the line that precedes them:
"You can't see the sea, no; what you can see is a devil's slope… ” Felipe added .
-I give up! I'm fed up! He shouted Pedro dropping the bags and hammock.
Verbs not dicendi, of non-diction or non-declarative
Here the narrating voice also intrudes, but to express actions or situations. In the examples that follow, there are no verbs that tell how both characters speak. The verbs reproduce what happens or in what situation the characters are:
"I don't know near what ... You can't see the sea." The man wiped the sweat off his sleeve.
"Wait here and don't move." The woman started walking, leaving them standing there.
What is there are images, scenes that account for situations.
This, for example, is a situation. Nobody talks. In the middle of a dialogue between two or three people, the narrating voice can drive a wedge and say that Ernestina remains oblivious to the scuffle that the others bring. And it would go between lines (not Ernestina, but the wedge that the narrator puts).
Once the character says what he has to say, he gets a point-space. And to give rise to the narrative voice: uppercase-line.
In both cases, with dicendi or non-dicendi verbs , if the dimension ends and there is silence, it ends with a period, and no line!
And it gets off the line. A new line corresponds to each intervention of a character.
Keys for writing dialogues when the character continues to speak
A character speaks, the narrator intrudes to clarify whatever it is and the character continues to speak. Again you have to see how that verb beats; if the pulsations tell how such an actor speaks ( dicendi verbs ) or if, on the contrary, a situation is drawn ( non-dicendi verbs ).
With dicendi verbs
The situation is as follows: the character speaks, the narrating voice intervenes, and the character continues with what he has to say:
"I'm not still…" Sonia adds, throwing the umbrella to the ground, " or I'll melt as soon as we get to that curve."
That note made by the narrating voice - which does not know how to shut up - goes between lines.
It may happen that the character speaks and pronounces a complete sentence; followed by the narrating voice. In such a case, the period follows the narrator's blablabla.
"Lucia stays too," Sonia adds, throwing the umbrella to the ground. I'm just saying look at the face he's wearing.
There you have two complete sentences and, in between, the intervention of the blablabla.
But notice: the point goes after the blablabá, after the line (and attached to it) that closes the subsection.
With verbs not dicendi
Now we have a situation with a verb that is not speaking.
-Yes Yes of course. You can all scorch here. For me there is no problem. - Rebeca slapped her face to ward off two or three mosquitoes that were hovering around her eyes -. Just remember that it was not my idea and that the water will not come looking for you.
As you can see, the subsection of the voice- over -the blablabla- goes between lines and begins with a capital letter . And before, at the end of the phrases that the character pronounces, it is point and Hire the best Resume writers.
The sequence is: point after speech of the character-space-line-capital letter to start the dimensioning.
More keys to writing dialogues
Again you have to discriminate the type of verb: speech or situation.
1. With dicendi verbs , the dimensions start in lowercase, even if there is a question mark or an exclamation point.
-I do not know what I have to do! Get up! She exclaimed, shaking him hard.
-Why do not you leave me alone? He replied.
2. With non-dicendi verbs , the bounding is capitalized anyway.
"Shake him again to see if he wakes up!" And he shook it again, but it only got him to walk away by slamming the door. You don't know what you lose.
It may be that, at a given moment, the dialogues do not occur between humans, but do not disdain them: fiction is democratic and does not distinguish between species dialogues.
Note: in the next section, there is an exception to this rule. Is simple; do not suffer.
And it ends like this:
If the character does not continue speaking after the annotation, a point is made. No stripe!
"Shake him again to see if he wakes up!" And she shook him again, but only got him to slam the door away.
And always:
The line is attached to the first word or exclamation mark or question mark that opens the parliament [ - Shake him]. And, in the same way, it is attached to the one that opens the dimension [ —and she shook it again]. As in the rest of the examples that I have mentioned.
Two special cases within the keys to write dialogues
It is not the object of this article to detail more minute aspects within the keys to write dialogues, but some unique cases:
a) When the annotation with a verb does not dicendi , it has the same treatment with verb dicendi !
Sight:
"Promise me that if I tell you about Lucia," he tapped his lips with his index finger, "you won't say anything."
The complete sentence is:
"Promise me that if I tell you about Lucia, [eat] you won't say anything."
*Not that way. It is logical:
"Promise me if I tell you about Lucia." He tapped his index finger to his lips. You will not say anything.
* Not like that; it is also logical: what is that comma doing in the middle of nowhere?
"Promise me if I tell you about Lucia." He tapped his lips with his index finger , say nothing.
b) A dialogue is introduced within another dialogue:
Sometimes a character who is speaking tells things that were said (or that someone said) at another time. In these cases, use the quotation marks: «…».
Keyboard shortcuts:
for opening [ « ]: Alt + 174 on the numeric keyboard (the three rows to the right of the keyboard).
for closing [ » ]: Alt + 175, equal: pressing the numbers on the numeric keyboard.
One more case within the keys to write dialogues
Parliament may go on ... for a few lines. You have two options:
a) Continue as you started: with the dialogue line and give the character a field until he finishes his intervention.
"I stopped drinking," he said. Or rather: I didn't exactly quit, but I put the brakes on. Otherwise, he wouldn't even have known where his right hand was. Your bastard husband wanted to take advantage of my weakness and played with fire.
And blah blah blah blah blah blah blah blah blah blah ... for eighteen lines.
At the end of eighteen, put a period.
b) Move down the line using the closing quotation marks, which in this case are transformed into quotation marks to follow : [»]. This measure is very practical when the spiel takes a long time.
"I stopped drinking," he said. Or rather: I didn't exactly quit, but I put the brakes on. Otherwise, he wouldn't even have known where his right hand was. Your bastard husband wanted to take advantage of my weakness and played with fire.
»He invited me to I don't know how many drinks at the club. He did not see a puddle forming on my left that he did not drink with. Then we got in the car and he wanted me to drive. I swerved several times to make him believe what he wanted, and we headed up the cliff road. And blah blah blah blah blah blah blah blah blah blah for a whole page (or so). At the end, you put a period and that's it (in English, quotation marks are closed; in Spanish, only when it is a literal quote).
Here is a summary of the most frequent cases, with their indentation, dialogues within dialogues, dicendi verbs and non-dicendi verbs , parliaments that follow and that do not, quotes to follow when a character takes the floor and it seems that he is not going to release it ...
And if it is still not clear to you and your thing is to go to the bottom, visit these entries by my colleague LM Mateo. I leave you the link to the first one and ... she takes you to the two that follow.
Tip
Punctuating dialogues this way and not another follows a convention. The things of the language are like this: formulas are adopted aimed at making themselves understood and Resume Writing World.
And the conventions have their quirks: the norm indicates that each intervention of the narrating voice must go between lines. However, this is not the case: in the presence of a dicendi verb and if the character is silent, a point is made:
"We're getting closer and closer," Rebecca said.
After "Rebeca", line is written only if the character (Rebeca, in this case) continues to speak:
"We're getting closer and closer," Rebecca said. You just have to go up that slope, then a straight, a couple of curves and ... the beach!