dialog scripts
1. A dash (-) generally serves to indicate both interventions or parliaments of the characters (dialogue script) as subsections of the narrator. In the first case, the script is stuck to the initial word that begins with the parliament, with the indentation of the first line of paragraph (ie, text "input"). In the second case, is preceded by a space when you start the paragraph, and followed by a space when done (the latter script is used only when the item is within the parliament, when at the end should not be closed: see below, paragraph 1.9). These ten examples collect their most common uses:
"I discovered that I have head and I'm starting to read. [1]
"Oh, thanks. Thank you very much for your words, "murmured Jacqueline. [2]
"We are many family-thirds Agostino, and we all work. [3]
"Sure, eventually," said Charlotte with decision, everything will work out. [4]
- Sophie, come back! Stingo, "he insisted. I have to talk to you now. [5]
- What do you understand that? Stephen snapped. Have you read a verse in your life. [6]
"With what I would have liked to write ... She whispered. Poetry. Test. A good novel. [7]
"This can not continue. The thing has gone too far "He stood up, while looking at his hands. I have to get over, to end this madness. [8]
"This can not continue. The thing has gone too far. She stood up, while looking at his hands. I have to get over, to end this madness. [8 bis]
"Yes, my friend, your courage amazes me," she said with aplomb. And after a brief pause, he added: "I admire your blood really cold. [9]
"I know what you're thinking," said the owner, "in red. All do the same. [10]
us comment briefly, point by point, these examples.
1.1. The simplest case is the first. Note simply that the startup script dialog is stuck to the first floor of parliament. Indicate this would be a mistake:
- I found that I have head and I'm starting to read.
1.2. As seen in the second example, the script is considered superfluous closing, and therefore elimination when the paragraph ends with a subsection of the narrator. Indicate this is incorrect:
"Oh, thanks. thank you very much for your words, "murmured Jacqueline.
1.3. In the third example, note that scripts that contain the clause of the narrator are glued to it, not separate from him, but note that also are attached to the parliament of the character. It would therefore be wrong indicate one of two ways:
"We're a lot of family - interjected Agostino - and we all work.
"We are many family-thirds Agostino, and we all work.
1.4. In the fourth example, the comma comes after the word 'long' should go after the phrase, never before. In other words, do not indicate this:
"Sure, eventually," said Charlotte with decision-all work out.
1.5, 1.6, 1.7. In the examples fifth sixth and seventh can be seen containing a point of closure after paragraph of the narrator, even though the character's parliament before the exclamation point lead paragraph, question or ellipses (signs actually do not have proper closing function .) Therefore, these dialogues should not be indicated as follows:
- Sophie, come back! "Stingo" I insisted to talk to you now.
- What do you understand that? "Snapped Stephen" Do not you read a verse in your life.
"With what I would have liked to write ... Poetry, "she whispered. Test. A good novel.
1.8. In the first variant of the eighth example [8] we see that before the narrator does not figure indent point. This choice can be justified on the grounds that, although paragraph has no direct relationship with the dialogue, it is considered an implicit verb dicendi, like, say, add, ask, insist, mediate, and so on. ('"She said and stood up', '" he said rising, "" she said, and, immediately afterwards, rose, etc.)..
But if you consider that the start has no direct relationship with the previous parliament , dialogue can be arranged as indicated in the example [8 a]. Note, the example we offer then we put a period after "away" and that paragraph the narrator begins with a capital.
"This can not continue. The thing has gone too far. She stood up, while looking at his hands. I have to get over, to end this madness.
In any case, with respect to the script end of paragraph, not to be used to point before the hyphen, as in this example (which is therefore wrong):
"This
can not continue. The thing has gone too far. She stood up, while looking at his hands .- I have to get over, to end this madness.
1.9, 1.10. Also in the ninth and tenth examples there is a marked tendency towards unification in the sense that the colon usually appear after the script that closes the paragraph of the narrator. Under this approach, which also has the virtue of simplicity, "ignores this distinction: in the ninth example, the two items belong in the paragraph of the narrator, while in the tenth parliament are part of the character; It clearly seen if we suppress subsections:
"Yes, my friend, your courage amazes me. Really admire your coolness.
"I know what you're thinking: in the red. All do the same.
2. When the intervention of a character is available in several paragraphs because of its length from the second paragraph does not need to use scripts but only quotes that follow, we must insist on it-they should not close at the end.
"Yes." Because I had raised before. He had not wanted to. The details then acquired a incredible importance. I was stunned to meet again in New York, frankly. I felt like a stranger, as if that was not my city.
"When we arrived at Hammond Hill were all there in the room. And the same anxiety I had felt before was repeated at the time with my brothers and my sister. I never tired of watching them. Also saw them as strange, as if it were my own flesh ...
And remember what I say. You asked me to tell you about it and that's what I'm doing. We met each other and talk to mom and dad, who had organized the meeting as if it were a conference. The only thing missing were cards on the lapels.
2.1. We will also use this type of quotes whenever a dialog displayed within a dialogue, but in this case, after the quotes (which is not close) the script itself should be concerned.
"The story of Arthur and Rachel would even be funny if it were not so tragic. They made one meal a day until he came up with the idea. And I remember perfectly, "Jacques went on to explain the conversation I had:
" "Stop complaining," said he. I know how we can eat.
"- How? She asked, astounded.
"Very simple," he replied. Go to the Maternity and tell them you're pregnant. Give you food and do not ask anything.
"- But I'm not pregnant! She shrieked.
"- what? "He replied. Just a pillow or two. It is our last chance and we can not miss.
Note that the items of the characters whose conversation Jacques van also transcribed scripts, instead of opening and closing quotation marks every time. In these cases, sacrificed standard to superior clarity of exposition, since the risk of confusion is minimal (see Section 3). We believe this provision is simpler than below, made from Latin and English quotation marks, which come to collect no less than three (,"¿):
punctuation
"" Quit complaining, "he said." I know how we can eat. "
" "How?" she asked, astounded.
And this not to mention questions about whether the point of the first parliament should go before or after the quotation marks, if we wanted to unify the second part of parliament, which end with a quotation mark ("Quit complaining," he said.)
3. In the dialogues, the items that apply to the character who is speaking must be enclosed in parentheses, not among scripts, it could be confused with a subsection of the narrator (the second example shows the wrong way mark):
"That night I dreamed (or so I recall) that you paseabais Teresa and along the lake, confessed restless Miguel.
"That night I dreamed-or so I recall, that Teresa and you ...
4. You may start a dialogue with ellipses and lowercase initial. This occurs when a character picks up a conversation interrupted by the parliament of another character. Note, in the third example, that the dots are glued to the script, and therefore separated from the first word of dialogue ("y"):
"Depends on how you interpret his words," Miss Fischer unsafe -. I mean when a girl can not bring you butter a man without blushing to the ears ...
"I fully understand his embarrassment Rough-cut with Miss Pearl.
-... and when he thanked and then asks if you want a cookie as if he were the family doctor ... I do not know if you know what I mean.
5. It is an unacceptable error use over a work of fiction, quotes the opening and closing, which appear systematically in Anglo-Saxon works, German and often, but not always, in Italian, instead of hyphens. Quotation marks should be reserved for loose dialogues that appear within a long description of the narrator.
5.1. If the use of dashes instead of quotation marks sum was excessive fidelity to the original typeface, the result can be theoretically unjustifiable and contrary to all rules (see the example below, the curious way (wrong) to introduce dicendi verbs that appear in lowercase if they are preceded by point .) The fragment that we offer is taken from the latest English-best, literarily speaking, from the novel by William Faulkner The Sound and the Fury (1987):
"It's too cold." Versh said. "Do not you go out."
"What happens now." Mother said.
"He wants to leave." Versh said.
"Let go." Uncle Maury said.
"It's too cold." Mother said. "It is better to stay inside. Benjamin. Come on. Shut up. "
5.2. Nor should it. Followed the provision that often appear on French works, a curious mixture of quotation marks, commas and hyphens: the first parliament begins with quotation marks are used in subsequent scripts and dialogue generally closed again with quotes:
"n'Ai pas Je te voir send to comme une étrangère.
-Tu aimes mieux ne pas du tout voir me?, insistai-je.
-ce soit Mettons that ça », dit-il séchement.
6. Contrary to what often happens in Anglo-Saxon and Italian works, the dialogues in fiction will usually full stop (except, of course, they are short and go within a paragraph it is preferable not to split, see point 5) . Note-and this rule should be followed seamlessly-that quotes that appear in the original dialogues systematically replaced by hyphens, as already mentioned.
This is the original English:
For herself, Jane wanted to find out diplomatically, before asking straight out, whether the blue suit was here or whether it had gone off too. «I thought I saw John,» she said. «Dashing out of the Post Office. What was he wearing?» «A raincoat,» said Martha. «And that good-looking blue suit?» persisted Jane. «Why, yes, I think so", said Martha. «Yes, he was,» she added, more positively. Jane caught her breath. «How long is he going to he gone?» «Just today,» said Martha. ~He has to see somebody for dinner. He'll be back late tonight. «Oh,» said Jane.
Y ésta la versión castellana:
Jane quería discover diplomacy, without asking directly if the blue suit was there or had disappeared.
"I think I've seen John," he said as he left the post office. What was it he was wearing? [1]
-A waterproof, "said Martha.
- And that beautiful blue suit? 'Said Jane.
"Well, yes, I think so," said Martha, and then said confidently: Yes, I was wearing. [2]
Jane gasped: [3]
- How long will it be?
"Just today," said Martha. You have to have dinner with someone. Arrive tonight, late.
"Oh," replied Jane.
See paragraphs marked with [1], [2] and [3], the freedoms with regard to the score takes the translator (with extensive knowledge, by the way). His version is certainly more fluid than the score is too close to the original English, like this:
"I think I've seen John," he said. As he left the post office.
"Yes, I think so," said Martha. Yes, I had, "he said after safely.
Jane gasped.
Note that in paragraph [1] removed the point and wins sentence fluency, in [2] are unified in a single paragraph of two interventions of Martha, and [3] replaces item end by two points, to clarify the character speaks.
6.1. Except in special cases, the rule of paragraph 6 should be followed strictly when several characters speaking: dialogues put one after another, even with scripts, is confusing and unnecessarily complicated reading. See this example, part of the novel The Group, Mary McCarthy (1966):
Libby put overly thoughtful. Put a finger to his forehead. "I think so," he said, nodding thrice. Do you think really ...? "Began promptly. Lakey flagged down a taxi with his hand. -Kay's cousin left in the shadows, hoping that some of us will provide something better. - Lakey! Dottie muttered, shaking his head reproachfully. "Wow," Lakey said Libby falsetto laugh, "only you can you think of these things.
6.2. The full stop is also often used in cases where paragraph the narrator begins with a verb dicendi and continues after point, with a text of considerable length (for example, a description of the characteristics of the character speaking, a clarification on where the action takes place, or clarification of various kinds). See example:
"It's okay," said Arthur.
was dressed in a shirt and sports shorts and sandals wearing garden. Dressed in this way, the agent even more fascinated with whom he had met in June, the day he rented the house. Arthur, it seemed mysterious and strong. His face was brought to mind salt, wind, foreign women, loneliness and sun.
Source: Free Writing workshop Axxón
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