The role of dialogue in character development - Ingliz tili - Kurs ishlari

Dokument ma'lumotlari

Narxi	12000UZS
Hajmi	47.3KB
Xaridlar	0
Yuklab olingan sana	16 Aprel 2024
Kengaytma	docx
Bo'lim	Kurs ishlari
Fan	Ingliz tili

The role of dialogue in character development

Sotib olish

CONTENT
INTRODUCTION ………………………………………………………2
CHAPTER I. DIALOGUE PLAYS A CRUCIAL ROLE IN CHARACTER
IN DEVELOPMENT WITHIN A STORY
1.1. Relationships and interactions ………………………………..…..…5
1.2. Revealing personality traits ……………………………………..….11
Conclusion on chapter I………….……………………………………...17
CHAPTER II. CHARACTER, CHARACTERISATION AND DIALOGUE
2.1. Characterisation techniques ……………………………..………….19
2.2. Dialogue editing and refinement………………………..…………..24
Conclusion on chapter II………..……….…..…………………………..30
CONCLUSION ……………………………………………………..….33
REFERENCES ………………………………………………………...36

1

INTRODUCTION
For some, dialogue is a focused and intentional conversation, a space of
civility and equality in which those who differ may listen and speak together.
For others it is a way of being—mindful and creative relating. In dialogue, we
seek to set aside fears, preconceptions, the need to win; we take time to hear
other voices and possibilities. Dialogue can encompass tensions and paradoxes,
and in so doing, new ideas— collective wisdom— may arise. Diana Chapman
Walsh describes it this way:
It's when we let our guard down and allow our differences and doubts to
surface and interact that something authentic and original can begin to emerge,
tentatively, in the spaces between us. And I’ve found that it’s often in these
fleeting and complicated moments that the heart and mind can come into
synchrony, pointing to altogether novel educational possibilities.
The key is to remain alert to those moments and to move with them when they
arise.
We know that the most effective process for discovering these layers of
meaning is through interactive and iterative dialogues and that if we undertake
them sincerely and openly—and patiently—we can sometimes find our way to
something entirely new. We assume that individual voices speak and act for the
system as a whole, and we listen carefully or a variety of voices and the
competing values they represent.
Dialogue” comes from the Greek word dialogos . Logos means ‘the word’, or
in our case we would think of ‘the meaing of the word’. And dia means
through’—it doesn’t mean ‘two’…. The picture or image that this derivation
suggests is of a stream of meaning flowing among and through and between us.
This will make possible a flow of meaning in the whole group, out of which
may emerge some new understanding. It’s something new, which may not have
2

been in the starting point at all. It’s something creative. And this shared
meaning is the ‘glue’ or ‘cement’ that holds people and societies together. The
object of a dialogue is not to analyze things, or to win an argument, or to
exchange opinions. Rather, it is to suspend your opinions and to look at the
opinions—to listen to everybody’s opinions, to suspend them, and to see what
all that means…. We can just simply share the appreciation of the meanings,
and out of this whole thing, truth emerges unannounced—not that we have
chosen it. Everything can move between us. Each person is participating, is
partaking of the whole meaning of the group and also taking part in it. We can
call that a true dialogue. Dialogue is the collective way of opening up judgments
and assumptions.
From William Isaacs Dialogue and the Art of Thinking TogetherDialogue… is
a conversation with a center, not sides. It is a way of taking the energy of our
differences and channeling it toward something that has never been created
before. It lifts us out of polarization and into a greater common sense, and is
thereby a means for accessing the intelligence and coordinated power of groups
of people.
Roots of the word dialogue come from the Greek words dia and logos. Dia
mean ‘through’; logos translates to ‘word’ or ‘meaning’. In essence, a dialogue
is a flow of meaning. But it is more than this too. In the most ancient meaning
of the word, logos meant ‘to gather together’, and suggested an intimate
awareness of the relationships among things in the natural world. In that sense,
logos may be best rendered in English as ‘relationship’. The Book of John in the
New Testament begins: “In the beginning was the Word ( logos )”. We could
now hear this a “In the beginning was the Relationship.” To take it one step
further, dialogue is a conversation in which people think together in
relationship. Thinking together implies that you no longer take your own
position as final. You relax your grip on certainty and listen to possibilities that
3

result simply from being in relationship with others â€“possibilities that might
not otherwise have occurred.To listen respectfully to others, to cultivate and
speak your own voice, to suspend your opinions about others—these bring out
the intelligence that lives at the very center of ourselves—the intelligence that
exists when we are alert of possibilities around us and thinking freshly.
As the President of the republic of Uzbekistan Sh. Mirziyoyev noted, “…in the
field of education and morals, the “practical example” will have decisive
importance. First of all, we must set a practical example for our children in all
spheres- in being loyal to the country, the people, in loving science, in the
profession, in fulfilling our duty to parents and society wholeheartedly” [1,
331].

AIMS OF THE COURSE PAPER . In this study guide, you will learn
about useful site of the dialogue in English literature. You will discover how
these change the meaning and form of a word.
THE OBJECT OF COURSE PAPER . This course paper describes the
importance of dialogue in character development.
THE SUBJECT OF THE COURSE PAPER . This paper shows us the
important role of the dialogue in character development.
THE MAIN MATERIAL OF THE COURSE PAPER .In this
course paper, I utilize the various types of the books and also internet recourses.
THE STRUCTURE OF THE COURSE PAPER .The research
consists of an introduction, two chapters, a conclusion and list of references and
30 pages.
Chapter I is about dialogue are considered, its main groups are allocated
and means of dialogue expressiveness, characteristic.
4

Chapter II is about devoted to the analysis of the dialogue in character
development. In the conclusion, the conclusions received as a result of research
are given.
Conclusion genealizes the results of the research and summarizes all the
information provided in the course paper.
List of used literature comprises bibliography of literature used during
the research.

5

CHAPTER I. THE ROLE OF DIALOGUE IN CHARACTER
DEVELOPMENT WITHIN A STORY
1.1. Relationships and interactions
Through dialogue, characters interact with one another, revealing their
dynamics, conflicts, and connections. By observing how characters
communicate with different people, readers or audiences can understand their
personalities, strengths, weaknesses, and the ways in which they navigate
relationships [1,99-199].
A relationship dialogue is a process of reasoning together in order for
two or more parties to develop a common knowledge platform.
Relationship marketing is facilitated provided that this knowledge platform
enables a supplier to create additional value for its customers on top of the value
of the goods and services which are exchanged in the relationship. For a
relationship dialogue to emerge, in an on-going process the communication
effects of planned communication efforts and of product and service-based
interactions between a supplier and its customers have to support each other.
Then the required extra value of the relationship is created and favourable word
of mouth follows.
Dialogue is the essence of relationship; its goal is to create new human and
political capacities for problem-solving. This chapter in the SAGE Handbook of
Conflict Resolution focuses on the definition and practice of dialogue. How
does one craft a space for dialogue to unfold? Can it shift attitudes from power
politics to relationship building? Sustained dialogue affords new opportunities
in conflict resolution, but its achievements are limited in a short-term time
frame [9,23-25].
6

Rather than a discussion, where participants aim to ‘break up’ thoughts and
ideas, dialogue is a probing, absorbing and engaging mode of interaction.
Where political, social and economic exchanges are habitually confrontational
and divisive, moving to a dialogue culture makes a valuable contribution to
democratic practice and the peaceful resolution of difference [3,78-79].
This way of talking is a skill is in its own right. However, the
‘process’ of dialogue – where this approach to communication is practiced in a
rigorous and carefully designed manner and sustained over a period of time –
forms a specific instrument for conflict resolution, emphasising relating rather
than problem-solving. ‘Relationships’ are conceptualised as
holding five key elements (identity, interests, power,
perceptions/misperceptions, and patterns of interaction) and form an analytical
and operational tool in sustained dialogue.
Dialogue differs from other communication processes within conflict resolution
in the following ways:
• Negotiation requires parties who are ready to reach agreement. Dialogue
can help parties not yet ready to negotiate, but who want to change a
conflictual, dysfunctional or destructive relationship.
• Dialogue can change relationships in ways that create new grounds for
mutual respect and collaboration, rather than negotiating over territory,
goods or rights.
• Dialogue seeks to allow the emergence of new content, common to both
parties, rather than allow one party to prevail over another.
• Using dialogue organisers, designers and facilitators, a space is created
that allows diverse elements of the conflict to be presented over time, and
7

explored in a safe environment, which if otherwise examined might lead
to open violence.
• Sustained dialogue can become a systematic instrument for
transformation. Depending on the nature of the conflict, some dialogue
processes will be short term and quickly effective, others will be a lengthy
challenge of beginning to transform deeply-rooted conflictual
relationships.
• Practitioners of dialogue have broadened the definition of conflict and its
actors, incorporating people at all levels of society who perceive
themselves as oppressed or victimised.
• When dialogue is directed primarily by participants (not external
facilitators) it is more fully owned; these parties must learn to engage
themselves in the interest of peace.
• Legitimising dialogue as a conflict resolution instrument requires a
cultural shift from the reliance on power (at state and government level)
to a relational paradigm.
• A multi-level peace process framework – recognising the continuous
interaction between government, business, civil society and grass roots –
may be used to assess the effectiveness of dialogue in transforming
relationship.
• Criteria for framework assessment include: whether
participants have transformed their own relationships, built on that experience,
influenced peacemaking, and contributed to preparing those outside the
dialogue for possible compromises [7,33-36].
8

• Sustained dialogue is an open-ended political process, and the
progression of achievements can be judged only as it unfolds.
1. Communication is key in any relationship or interaction. It is important to
express thoughts, feelings, and needs clearly and listen attentively to the other
person.
2. Trust is the foundation of a healthy relationship. Being honest, reliable,
and keeping promises helps build trust and strengthen the bond between
individuals.
3. Respect is another vital aspect. It involves valuing each other’s opinions,
boundaries, and individuality. Treating others with kindness and dignity goes a
long way in maintaining healthy interactions.
4. Conflict is a normal part of relationships, but it is essential to handle it
effectively. Constructive arguments, compromise, and finding win-win
solutions can help resolve conflicts peacefully and strengthen relationships.
5. Empathy is the ability to understand and share the feelings of others.
Showing empathy cultivates greater emotional intimacy and fosters stronger
connections with others.
6. Sharing common interests and engaging in activities together promotes
bonding and can strengthen relationships. Support each other’s hobbies and
form shared experiences.
7. Boundaries are necessary for healthy interactions. Setting and respecting
boundaries helps individuals feel safe and respected within relationships.
8.Maintaining a balance between independence and interdependence is crucial.
While it is important to have your own identity, nurturing and investing in
relationships also contributes to overall happiness and fulfillment.
9

9. Appreciation and gratitude can enhance relationships. Expressing
gratitude towards the other person and acknowledging their efforts helps foster
a positive and nurturing environment.
10. Lastly, understanding and accepting that relationships evolve and change
over time is important. Continuously working on relationships, adapting to new
circumstances, and being open to growth can lead to stronger connections.
The dialogue framework proposed by Douglas Walton and Eric Krabbe in their
book Commitment in Dialogue: Basic Concepts of Interpersonal Reasoning
(1995) was meant to serve as a normative model for analyzing the arguments
people make in their daily conversations with others. The authors proposed that
there were several types of dialogues, each with their own rules and goals which
formed the particular normative model for each dialogue type (Walton &
Krabbe, pp. 65-67). Fundamental to the dialogue framework was the concept of
commitment, an idea
previously proposed by Hamblin in his Fallacies (1970), but which the two
authors developed and redefined to be “the factor that defines [different types of
dialogues] as normative contexts of argumentation” [10,12-14].
In its simplest form, a dialogue is a conversation between two parties who take
turns at exchanging verbal messages (Walton, The New Dialectic, p. 29, Types
of Dialogue, p. 133). This exchange is sequential, purposeful, and guided by
conventions or rules that prescribe the appropriate moves. Arguments are
common moves and they constitute the basis for evaluating whether a dialogue
is progressing according to its normative goal (Walton The New Dialectic, p.
30). A dialogue usually arises because people want to address an exigency in
the situation. According to Walton and Krabbe, partners may have conflicting
points of view, conflicting interests, may lack information, may need to make
decisions, or may want to antagonize each other (p. 66). Whichever the case,
10

these differences constitute the starting point of a dialogue. The main goal of the
dialogue (or what participants ought to subscribe to if they are engaging in a
particular dialogue type) can be to resolve the conflicts (verbally), to reach
some sort of decision or even a provisional accommodation, to expand or spread
one’s knowledge, and to reach an agreement (deal) that would satisfy both
parties (Walton & Krabbe, p. 66). Accordingly, there are six major types of
dialogue: persuasion, inquiry, information seeking, negotiation, deliberation,
and eristic [8,56-58] .
Within close relationships, the recurrent dialogues that occur between
partners can be mapped according to the dialogue types proposed by Walton
and Krabbe. Not every conversation between partners is a dialogue, but those in
which arguments are presented in a purposeful manner lend themselves to such
classifications. Moreover, mapping such dialogues according to the initial
situation and goal they intend to satisfy may increase the likelihood of
productive outcomes, hence better dialogues between partners. Dialogues
frequently derail from their course as one (or both) of the partners makes an
illicit shift. For example, think of an argument between a husband and a wife
about who should do the cooking on a specific night. At one point, the wife
replies that the husband never does the cooking; the husband, in turn, replies
that the wife never washes the dishes. All of a sudden the dialogue degenerates
into a quarrel as both partners have derailed from the initial goal of reaching an
agreement about who should cook dinner. Such instances are common in
everyday dialogues and understanding when such shifts occur and how they
affect the overall dialogue may prove useful for pedagogical and therapeutic
purposes. Hopefully, people can learn to conduct more productive dialogues and
counselors and therapists can teach couples how to avoid destructive
communication patterns, such as quarrels, in their relationships [4,20-27].
11

1.2. Revealing personality traits
Revealing character through dialogue and action are two important literary
techniques that you can use to enhance the narrative. This means letting the
reader know your characters’ personalities and how they act and interact with
other characters and their environment. Think of real life dialogue. It’s full of
interruptions, breaks, repetition and superfluous and irrelevant information. Lots
of ums and ahs and a bucket full of different slang words. Most everyday
conversations are, in reality, pretty dull and mundane, but the difference with
real life dialogue and fictional dialogue is that with fictional dialogue you have
to cut out the mundane, the waffle and the boring bits and get to the very
essence of your characters and story. Dialogue changes the flow of the
narrative; it increases pace and gives the narrative a sense of immediacy. It
provides texture and depth and provides a deeper insight into the character. The
reader is able to interpret the kind of people your characters are through their
dialogue and therefore determine what sort of personalities they have. This in
turn helps them empathise with your characters [5,78-7].
There are three important functions of dialogue:
• Move the story forward
• Reveal the character
• Impart important information
12

Readers want to know about the traits and behaviour of characters. They want
to know how your characters tick. Revealing character through dialogue and
action are two important literary techniques that you can use to enhance the
narrative. This means letting the reader know your characters’ personalities and
how they act and interact with other characters and their environment. This
means active and reactive conversations. Dialogue is also a good way of
showing mood and emotion, tone and accent. A character who is calm and
collected will naturally speak in the same manner, perhaps even when faced
with a dramatic, pressurized situation. Angry or agitated characters will shout or
stumble over words, speak in staccato, sometimes high-pitched sentences.
Impatient characters have a tendency to interrupt, or change the conversation
mid-flow. There is no hard or fast rule on this, but it is based more on
observation of real people’s behaviour. Dialogue is also engineered to impart
information about the plot and to provide necessary information to your reader.
It’s an important way to show, not tell your reader what’s happening, or might
happen – perhaps a big event in the story, a turning point in the plot or a
significant event that you want to hint towards to tease the reader. Here’s an
example, an excerpt taken from my novel. It’s a dialogue between the
protagonist Alex, and one of the other characters, DCI Roscoe, the man
determined to pin the murder of her husband and son on her:
Roscoe eased back in his chair; watched her staring back at him.
‘Other than your arguments about the money your husband made, did you ever
resent his success?’
‘No I didn’t. What do you take me for?’
‘Did you resent him being away from the home so much?’
13

A terrible noise began to fill her head, tumbling and turning like a drum full of
metal, but it was a while before she realised it was her own silence. She eyed
him, shrank back.
Alex expelled a short breath. ‘No, now you’re just wasting my time. Why don’t
we both get to the point?’ The resonance in her voice was surly now; she was
allowing the agitation to creep in. ‘You want to know whether I killed my
husband, right?’
They were playing seesaw; it was Roscoe’s turn to sit back again.
‘Sure, I’d like to know. Who did you pay to do it?’
Something florid bristled in her eyes; a dark rancour shrouded her skin like a
malignant shadow. Her eyes became wide. ‘I had no reason to
kill my husband, or my child. Not for money, not for gain, not for
anything this world could ever offer me…’ The above extract does
three things:
It reveals character – from the implied tone of voice it’s easy for the reader to
see that Alex is becoming agitated with the questioning, added to that some
elements of description to underscore these feelings. It reveals Alex to be a no
nonsense kind of person. Roscoe, on the other hand, is impatient and gruff
[3,18-27].
The scene also imparts information about who may have killed Alex’s husband
and son. Was she responsible, or someone else?
The third element is the scene as a whole – it moves the story forward. How?
There is ample opportunity within the scene to let both characters waffle on and
become boring, however, with a tight scene it has to be pruned right back to
14

pertinent information, just enough to keep the momentum. There is a hint of
revelation, just enough to stir curiosity.
Lastly there is subtext. During the scene both characters’ movements are shown
to be like a seesaw, back and forth, each moving forward as though to dominate,
then sitting back as though momentarily defeated. This shows how the
conversation is evolving. It’s very subtle and the reader should be able pick up
on these nuances.
Introducing action into key scenes is another way writers use to move the
narrative forward and provides underlying meaning to a story in a slightly
different way to dialogue. Every story needs action and conflict, because
without it you have no story, and by writing about the behaviour of your
characters you give the reader the chance to form opinions about them, and find
out about their personalities. How your characters conduct themselves is
another way of revealing character through action. Again, it’s all about active
and reactive.
Revealing personality traits can be done through various methods and
observations. Some of the ways to reveal personality traits include:
• Self-report questionnaires: These are structured surveys that individuals fill
out to provide information about their own personality traits, attitudes, and
behaviors.
• Behavioral observations: Observing how an individual behaves in different
situations can reveal aspects of their personality. For example, how they
interact with others, handle stress, or approach challenges.
• Psychological tests: There are various standardized tests, such as the
Myers-Briggs Type Indicator (MBTI) or the Big Five personality traits test,
that are used to assess different aspects of personality.
15

• Interviews: Conducting interviews with individuals can provide insights
into their personality traits through their responses, body language, and
communication style.
• Personal interests and hobbies: The activities and interests that individuals
engage in can often reveal aspects of their personality, such as their values,
preferences, and motivations.
• Social media activity: Analyzing an individual’s social media posts, likes,
and interactions can provide clues about their personality traits and
behaviors.
It's Important to note that while these methods can provide valuable insights
into a person’s personality, they should be used in combination with other
sources of information and interpreted with caution to avoid stereotyping or
making assumptions.
Dialogue is one of the most powerful tools for revealing your characters’
personalities, motivations, and relationships. However, writing natural and
engaging dialogue that aligns with your characters’ traits and goals can be
challenging. In this article, you will learn some practical tips on how to craft
dialogue that reflects your characters’
voices and subtext.
• Know your characters
Before you write any dialogue, you need to know your characters inside out.
What are their backgrounds, beliefs, values, quirks, flaws, and strengths?
You can also use tools like personality tests, character interviews, or voice
journals to explore their inner. Creating detailed profiles and bios for your
characters can help you get a sense of their personalities and perspectives.
16

You can also use tools like personality tests, character interviews, or voice
journals to explore their inner and outer voices [11,50-59].
• Use contrast and conflict
One of the easiest ways to make your dialogue more interesting and realistic
is to use contrast and conflict. Contrast means showing how your characters
differ from each other in their opinions, attitudes, styles, and goals. Conflict
means creating tension and drama between your characters through
disagreements, misunderstandings, secrets, or
stakes. Contrast and conflict can help you reveal your characters’
personalities, motivations, and emotions through their words and actions.
They can also create subtext, which is the hidden or implied meaning behind
the dialogue.
• Avoid expostion and clichés
Another common pitfall of writing dialogue is using it to dump information
or explain things that are obvious or irrelevant. This can make your dialogue
sound unnatural, boring, or unrealistic. Instead of using dialogue to tell your
audience what they need to know, show them through your characters’
actions, reactions, and interactions. Use
dialogue to reveal what your characters want, feel, or think, not what they
already know or do. Also, avoid using clichés, stereotypes, or generic
phrases that make your characters sound bland or predictable. Instead, use
specific, original, and authentic words that suit your characters’ personalities
and situations.
• Listen and edit
17

Finally, one of the best ways to ensure that your dialogue aligns with your
characters’ personalities is to listen and edit. Listen to how people talk in real
life, and observe how they use language, tone, gestures, and pauses to
convey their meanings and emotions. You can also read or watch works by
other writers and filmmakers who excel at writing dialogue, and analyze how
they create distinct and memorable characters through their words. Then, edit
your own dialogue by reading it aloud, recording it, or asking someone else
to read it. Cut out any words that sound unnatural, unnecessary, or out of
character. Make sure that each line of dialogue serves a purpose, moves the
story forward, and reveals something about your character [12,67-68].
Conclusions on Chapter I
Dialogue plays a crucial role in character development within a story by
revealing personality traits, advancing the plot, creating authenticity, building
relationships, and showing internal conflict. Through conversations, characters
express their thoughts, feelings, and motivations, driving the narrative forward
and forming connections with other
characters. Well-crafted dialogue adds depth and authenticity to characters,
making them more relatable and engaging for the audience.
Dialogue serves as a multifaceted literary device in narrative essays. It reveals
character traits, creates tension and conflict, establishes voice and style, and
enhances symbolism and subtext. By utilizing dialogue in these ways, writers
can elevate their storytelling, making the narrative more compelling, thought-
provoking, and memorable for readers.
I love writing dialogue. It’s fun, and the fact that it’s a power player in your
writer’s toolbox is a fabulous bonus. Readers eat up white space. When there’s
more dialogue and shorter paragraphs, it draws the eye and enhances the pace so
it keeps readers turning those pages.
18

Study the techniques and put them to practice in your work. Make sure you
learn the proper mechanics and organize your paragraphs correctly so there’s
nothing impeding the flow of the dialogue.
Dialogue allows for interaction between characters, enabling the development
of relationships and the advancement of the storyline [13,40-49]. Through
dialogue, characters can express their thoughts, emotions, and motivations,
adding depth and authenticity to the narrative. Additionally, dialogue can shape
the perception of events and influence the memory of those events, as the act of
storytelling is inherently dialogical. Narrative, on the other hand, provides the
structure and framework for the story, allowing for the organization and
presentation of events . It shapes the past, projects the future, and revises
people’s sense of self . Moreover, narrative can create a connection between the
author and the reader, as it can evoke emotions and engage the reader in the
story . Overall, dialogue and narrative work together to bring short stories to
life, capturing the essence of characters and their experiences.

19

CHAPTER II. CHARACTER , CHARACTERISATION AND DIALOGUE
2.1. Characterisation techniques
Characterization is the process authors of works of fiction often use to describe
the traits and actions of major and minor characters, such as the protagonist and
antagonist in the story. Learn more about characterization in fiction, including
classifying and listening to other types of characters, including dynamic, round
and flat. We can classify characters in several ways [15,88-89].
1. Major characters vs. minor characters. Major characters are central to a
story; they take a leading role in the story’s primary events. These characters are
complex, and they develop throughout the story. Minor characters, on the other
hand, support the major characters throughout the story’s action, but they are
not as highly developed. In J.K.
Rowling’s Harry Potter series, for instance, Harry Potter, Hermione Granger,
and Ron Weasley are major characters while Luna Lovegood, Neville
Longbottom, and Seamus Finnigan are minor characters.
Authors describe and develop their characters through a process known as
characterization. Characterization allows authors to provide all kinds of details
about characters’ physical traits, personalities, motivations, actions, and
responses.
When describing their characters, authors can choose either direct or indirect
characterization. In direct characterization, the author simply tells the reader
about a character’s traits. Indirect characterization, on the other hand, shows the
characters in action and invites readers to discover their traits through their
words and choices [6,90-99].
21

As part of characterization, most works of fiction give readers the opportunity
to listen directly to the characters through dialogue. Dialogue is simply
conversation between characters. It reveals their thoughts and their relationships
with one another, and it can help explain a story’s conflict and add a dramatic
touch to a plot [16,78-79].
Text interpretation has always been a most intricate and challenging task due to
various elements that work in unison to create the desired aesthetic impression
on the reader. Characters, being one of the underlying elements of fiction, make
the task even more challenging since they act as “a net of voices”. The author,
the narrator and the characters, that most frequently, appear as independent
individuals, speak in one voice. Hence, the analysis of dialogue on the semantic
and metasemiotic levels may serve as not only an efficient tool in revealing the
dynamics of a certain piece of writing, but also a means of characterization of
personages portrayed. To be noted, dialogue is a widely used technique by
writers to reveal the true nature of the characters indirectly. In case the reader is
able to disclose the nature of the characters, he/she may get an access to the
hidden intention of the author.
We’ve all got those characters that we really like and empathise with, or really
don’t, based on their decisions, relationships, personality traits, and physical
descriptions. These connections between reader and character are forged
through the process of characterisation, most commonly used in novels, short
stories, and films with voiceover narration.Characterisation the technique
through which characters are introduced, and over the course of a text become
fully formed through their decisions and interactions. Through this process,
characters feel ‘real’ to a reader, which allows us to either align ourselves with
or against them.
22

This therefore deepens an audience’s engagement with a text by making them
consider the character in relation to themselves.
This technique also allows readers to understand what ‘type’ of character
they’re dealing with; for instance, they could be a ‘hero’, a ‘villain’, an
‘antihero’, or an ‘innocent’.
You’ve probably heard that authors either “show” or “tell” things to their
readers in the process of writing a narrative. Direct characterisation is an
example of “telling”, as authors simply state facts about characters that leave no
room for ambiguity or readers’ interpretation [18,100-102].
This kind of characterisation might focus on things like physical appearance,
explicit personality traits, or described emotionality. It’s commonly used in
narration when a character is first introduced, as a way of quickly and
effectively introducing that character to the audience.
An example of direct characterisation is our first introduction to Harry Potter in
Harry Potter and the Philosopher’s Stone. The following passage is one of the
first descriptions of Harry in the novel:
“ Perhaps it had something to do with living in a dark cupboard, but Harry had
always been small and skinny for his age. He looked even smaller and skinnier
than he really was because all he had to wear were old clothes of Dudley’s and
Dudley was about four times bigger than he was. Harry had a thin face, knobbly
knees, black hair and bright-green eyes. He wore round glasses held together
with a lot of Sellotape because of all the times Dudley had punched him on the
nose. The only thing Harry liked about his own appearance was a very thin scar
on his forehead which was shaped like a bolt of lightning.”
Because this is the first time we’re meeting Harry, it’s important for
23

us to be able to visualise him and understand his basic physical and personality
traits.
As the series progresses, and we get to know Harry better, JK Rowling starts to
use indirect characterisation more often; initially, though, it’s important that we
get told basic information to ground ourselves.
Indirect characterisation, on the other hand, is an example of “showing”, and
shapes characters by describing their thoughts, actions, and speech.
Significant to this is the way that authors use focalisation – that is, the
perspective through which a narrative is presented – and first-person narration
to give us insights directly into a character’s mind, revealing their interiorities
and motives. Shifts in focalisation may also help us learn about the character by
revealing what other characters think about them [15,67-70].
For an example of indirect characterisation, let’s turn back to Harry Potter.
Half-Blood Prince sees Harry wrestling with his feelings for Ginny Weasley,
and in the following passage, JK Rowling uses indirect characterisation to
describe Harry’s feelings about Ginny’s boyfriend:
“It was as though something large and scaly erupted into life in
Harry’s stomach, clawing at his insides: Hot blood seemed to flood his brain, so
that all thought was extinguished, replaced by a savage urge to jinx Dean into a
jelly. Wrestling with this sudden madness, he heard Ron’s voice as though from
a great distance away.”
By this point in the series, we have come to know Harry really well. So rather
than state that Harry was jealous and angry, Rowling instead describes his
emotional state and thoughts through metaphor, symbolism and imagery. This
creates a far more impactful description, and serves as one that the audience can
relate to.
24

Characterization techniques are methods used by writers to develop and portray
the personalities of their characters. Here are some common techniques:
• Direct Description: This involves explicitly stating character’s traits, such
as physical appearance, personality, and background, through narration or other
characters’ observations.
• Indirect Characterization: This technique reveals a character’s traits
through their actions, thoughts, dialogue, and interactions with others, allowing
readers to infer their personality.
• Dialogue: The way characters speak, the words they use, their tone, and
their speech patterns can reveal a lot about their personalities, backgrounds, and
relationships with others.
• Inner Thoughts: Providing insight into a character’s internal monologue
and thought processes allows readers to understand their motivations, fears,
desires, and conflicts.
• Actions and Reactions: How characters behave in different situations,
how they respond to challenges, and how they interact with other characters can
reveal important aspects of their personalities.
• Character and relationships: The dynamics between characters and the
way they interact with each other can provide insight into their personalities and
motivations.
• Symbolism: Using objects, settings, or events to symbolize or reflect a
character’s traits or inner conflicts can be an effective way to develop their
characterization.
25

• Backstory and History: Revealing a character’s past experiences, traumas,
or significant life events can help readers understand their motivations and
behaviors.
By skillfully employing these characterization techniques, writers can create
well-rounded and compelling characters that resonate with readers and drive the
narrative forward [17,9-17].

2.2. Dialogue editing and refinement
The role of dialogue editing is to enhance the quality, clarity, and impact of
spoken interactions in various forms of media, such as film, television,
literature, and theater. Dialogue editing plays a crucial role in shaping the
narrative, character development, and emotional resonance of a story. Some key
aspects of the role of dialogue editing include:
• Improving Clarity: Dialogue editors work to ensure that spoken words are
clear and intelligible to the audience. This may involve removing
background noise, adjusting volume levels, and addressing technical
issues that could hinder the understanding of the dialogue.
• Enhancing and Flow: Dialogue editors refine the timing and rhythm of
conversations to create a natural and engaging cadence. They may
remove pauses, tighten exchanges, and adjust the pacing to maintain the
momentum of the storytelling.
• Conveying emotion and Subtext: Skilled dialogue editing can emphasize
the emotional nuances and subtext within conversations. By manipulating
timing, emphasis, and delivery, dialogue editors can heighten the impact
of spoken words and non-verbal cues.
26

• Maintaining Continuity: In film and television, dialogue editors ensure
that spoken lines match the visual performances and maintain continuity
across different shots and takes.
• Adapting for Different Mediums: Dialogue editing requires an
understanding of the specific requirements of different mediums. For
example, in literature, dialogue refinement involves crafting
conversations that effectively convey character traits, advance the plot,
and reflect the author’s style.
• Collaborating with Other Departments: Dialogue editors often work
closely with directors, writers, sound designers, and other postproduction
professionals to ensure that the dialogue seamlessly integrates with other
elements of the production.
• Addressing Localization and Accessibility: In global markets, dialogue
editing may involve adapting spoken content for different languages and
cultures while also considering accessibility for audiences with hearing
impairments.
The role of dialogue editing is to elevate the spoken interactions within a story,
contributing to its overall impact and effectiveness in engaging audiences across
various media platforms.
Dialogue editing usually plays some part in the projects we do and over
the years we’ve refined the tools we use as new ones have come onto
market and made the job easier and quicker. There many tools we use
depending on the source material but this list is our top 5 that we use the
most.
• RX77 Advanced by iZotope – Where would we be without RX…
27

probably noisier or a lot poorer due to buying Cedar! In all seriousness this is
the number one tools we could not live without when editing dialogue. We use
it for everything from EQ matching, removing lip smacks, ambience matching
and derustling to de-noising ranging from tonal repair to removing unwanted
birds. We simply couldn’t get the results we do without it.
• Auto Align Post by Sound Radix – Since this plug-in came out last year it
has become indispensable to our workflow. It s used to get various mics,ʼ
such as a boom and lavalier, in phase even when the phase is shifting
around! We tend to use it at the conform stage and it has literally saved us
hours of work manually lining up audio from various mics.
• Fade Tool/Window in Pro Tools – The fade tool and window is
without a doubt our most used tool when dialogue editing. We use it as part of
the smart tool as well as selecting a region to apply a fade too and opening the
fade window (Command + F). For speed we have a number of fade presets set
up on hot keys on our controller so we can quickly create fades with one click, a
great shortcut that you can assign to a key command.
• Defaulter by Quite Art – This handy plug-in enables us to get our
dialogue clips to have a chosen integrated loudness by adjusting the clip
gain automatically. It analyses each clip or selection of clips and adjust
the clip gain so that they sit at your chosen integrated loudness (- 23dBfs
in our case). A great tool for ensuring the volume of our dialogue is
consistent and in the correct ballpark for broadcast.
• Paste Special (Repeat to Fill Selection): Command+Option+V – We
use this function all the time to paste room tone into a selected. A very handy
tool for this repetitive task as it saves you constantly copying a section of room
tone to paste.
28

With these tools yo can do most dialogue editing tasks. Another great resource
is a book by John Purcell called ‘Dialogue Editing for
Motion Picture’ . We have read this book extensively and still refer to it when
we need some guidance [19,200].
Researchers have suggested viewing interactive system design as the
refinement of an abstract user-task model into an object-oriented
interaction model[8, 17]. Inherent in this view is a shift in the nature of the
behavior being modeled. We explore the manifestations of such a shift by
critically analyzing properties of the forms used to represent task and interaction
models. The analysis enabled us to uncover four obstacles to dialogue
refinement. We believe that if designers cannot systematically address these
obstacles, then the task-model refinement process of development will not be
practical on any large scale.
The role of dialogue refinement is to elevate the quality, effectiveness, and
impact of spoken interactions within a story. Dialogue
refinement involves the meticulous editing and enhancement of conversations to
ensure that they are clear, engaging, and emotionally resonant. Some key
aspects of the role of dialogue refinement include:
• Enhancing Clarity: Dialogue refinement aims to make spoken words clear
and intelligible to the audience. This may involve removing
background noise, adjusting volume levels, and addressing technical issues that
could hinder the understanding of the dialogue.
• Polishing Pacing and Flow: Dialogue refinement involves refining the
timing and rhythm of conversations to create a natural and engaging
cadence. This may include removing unnecessary pauses, tightening
exchanges, and adjusting the pacing to maintain the momentum of the
storytelling.
29

• Amplifying Emotional Impact: Skilled dialogue refinement can
emphasize the emotional nuances and subtext within conversations. By
manipulating timing, emphasis, and delivery, dialogue refinement can
heighten the impact of spoken words and non-verbal cues.
• Maintaining Continuity: In film and television, dialogue refinement
ensures that spoken lines match the visual performances and maintain
continuity across different shots and takes.
• Crafting Authentic Conversations: Dialogue refinement involves
shaping conversations to reflect the natural flow of real-life interactions while
also serving the narrative, character development, and thematic elements of the
story.
• Collaborating with Other Departments: Dialogue refinement often
requires close collaboration with directors, writers, sound designers, and
other post-production professionals to ensure that the refined dialogue
seamlessly integrates with other elements of the production.
• Adapting for Different Mediums: Dialogue refinement also involves
tailoring spoken content to suit the specific requirements of different
mediums, such as film, television, literature, theater, or video games.
Great dialogue is one of the great pleasures of the movies, and it’s often one of
the most memorable elements of a film.
While film dialogue carries less story weight than theatre dialogue, it’s still a
major part of scene construction. Some writers are known for their great
dialogue, e.g., Aaron Sorkin, screenwriter of The Social Network, but all
screenwriters must be able to deliver good, natural sounding dialogue. This
30

article will look at some of the considerations that go into creating good
dialogue [20,88-89].
Like the scene itself, dialogue has several specific functions in the screenplay.
Its primary function is dramatic, that is, to carry the story
forward. Characters speak because they need something and saying something
will help them get it. In practice that’s never as simple as it seems. It may seem
counterintuitive, but the actual purpose or goal of the scene is frequently the one
thing that cannot be said aloud. The character pursues the many steps that lead
to that goal, rather than stating his or her intentions. The character needn’t say
any more than necessary, as we
frequently talk around important issues that are too sensitive to discuss. As in
real life, language is often a way to displace or deflect the emotion of a scene.
And what’s not said is often as important as what is.
Dialogue will reveal character, both in what is said and how it’s said. The
dialogue will reveal immediate needs and desires, but it also reveals
background, education, social class and a host of other attributes. The interplay
between the characters will reveal their relationship and power balance [21,102-
109].
Dialogue can also illuminate the screenplay’s themes. They might be revealed
in the point-of-view or intellectual context, or the dialogue might address
directly the ideas.
Dialogue can be used to carry expository information necessary for the
audience to understand the story.
And it all must happen in a dramatic context. These last two functions can be
especially tricky, as the story cannot stop to allow the writer to
31

expound on his themes or explain details of the story. We notice immediately if
the writer is speaking, rather than the character.
Good dialogue can do all of these things simultaneously. It will sound natural
and give distinct voice to each of the characters.
Great dialogue makes it seem effortless and memorable. It will be surprising,
insightful, and original. And it will reveal the unique voice of its characters.
These qualities are easy enough to describe, but much harder to produce. For
most writers, creating effective dialogue is a by-product of the character
development process. The way that a character speaks is determined by factors
from the character’s background and their individual make-up, the type of traits
we explored in the article on character development.
Relationships are very important, as some believe that all speech is driven by
the desire to raise status. Seen from that perspective, the character’s
background, the balance of power and the attempt to attain a goal combine to
produce speech that’s natural and appropriate to the dramatic situation. When
we do it right, it produces dialogue that only the one character could have
spoken [22,99-107].
Conclusions on Chapter II
Dialogue is a crucial part of any film production. It conveys the story, develops
characters, and engages the audience. Dialogue editing involves selecting and
refining the dialogue recordings to ensure that they are clean, clear, and
consistent with the film’s visual and other audio elements. It is a crucial step in
the post-production process that can make or break the final product.
Dialogue editing and refinement are essential for improving the overall quality
of a conservation or script.
32

Effective dialogue editing involves removing unnecessary or repetitive
dialogue, tightening up the pacing, and ensuring that each line serves a purpose
in advancing the story or character development.
Dialogue editing and refinement can help to clarify and enhance the
communication between characters, making the conversation more compelling
and realistic.
These processes can also help to improve the flow and coherence of a script,
making it more enjoyable for the audience to follow. Dialogue editing and
refinement are crucial steps in creating a polished and effective piece of writing,
whether it is for screenplay, novel or any other form of storytelling.
Dialogue techniques studied include syntax, punctuation, rhetoric, imagistic
writing, dialogue patterns and many other practical and usable techniques; and
how to turn ‘ordinary’ conversation into nuanced dialogue.
If you fancy yourself to be the next great novelist, learning how to write
standout dialogue is essential. After all, without any verbal communication
between your characters, you’re basically writing a textbook or a travel guide.
That’s great for those who are actually working on those projects; not so great
for readers looking for a gripping story to invest in. The prospect of writing
your first dialogue scenes can be daunting, but we’re here to show you just how
simple it can be. In this guide, we’ll walk you through some of the basic
dialogue rules like formatting, grammar, and punctuation, before showing you a
few inspiring examples of writing dialogue that you can learn from.

33

CONCLUSION
Dialogue occurs within a story when two or more characters interact verbally.
Authors use this type of interaction to enhance subtext by revealing character
traits not only through what is on the surface but what is implied underneath. By
utilizing dialogue as a literary tool, authors develop their characters, intensify
the conflict(s), establish mood, create suspense, and advance the plot.
Ultimately, dialogue adds depth to the story and providing it with the ability to
effectively connect with reality.
Dialogue is spoken interaction between at least two characters who are
communicating with one another, typically out loud. There are times when
dialogue can take place between one character and their mind. When written,
34

the dialogue must be a spoken conversation punctuated with quotation marks
delineating the separate speakers.
Through the use of dialogue, authors add depth to their characters while
depicting a sense of realism to the story, advancing the plot line, and
intensifying the conflict.
Effective use of dialogue can reveal character traits, motivations, and conflicts,
as well as move the story forward. One way writers can use dialogue to advance
the plot is by having characters discuss their goals and plans.
Dialogue is one of the foundational pillars required to build positive human
relations. Dialogue is a two-way street. It isn’t about forcing your opinion on
others, rather it is about the balance between active listening and
communicating to meet people where they are at, without judgment.
Everything your character says has to have a meaning. It should either help
paint a more vivid picture of the person talking (or the one they are talking to or
about), or inform the other character (or the reader) of something important, or
it should move the plot forward.
Dialogue can be a powerful tool for character development in literature and
storytelling.
Through dialogue, characters can reveal their personalities, motivations, and
inner thoughts, allowing readers to gain deeper insights into their development.
Dialogue can serve as a means for characters to express their emotions, beliefs,
and values, contributing to their overall growth and transformation throughout
the narrative.
35

Engaging in dialogue with other characters can provide opportunities for
conflict, growth, and change, driving the development of individual characters
and their relationships.
Well-crafted dialogue can help to create dynamic and multidimensional
characters, adding depth and authenticity to their portrayal.
Dialogue can be used to illustrate character dynamics, power struggles, and the
evolution of relationships, showcasing the complexity of human interactions.
Through dialogue, characters can confront their internal conflicts, make
important decisions, and undergo significant personal development,
contributing to the overall arc of the story.
Effective use of dialogue can enhance the reader’s connection to the characters,
fostering empathy and understanding of their journeys and transformations.
REFERENCES

1. Berscheid, Ellen and Letitia Anne Peplau. “The Emerging Science of
Relationships”. In Harold H. Kelly et al. (Eds.),Close Relationships (pp.
1-19). New York: W. H. Freeman and Company, 1983.
2. Cupach, William R., and Sandra Metts, S. Facework. Thousand Oaks:
Sage, 1994.
3. Hamblin, Charles L. Fallacies. London: Methuen & Co., 1970.
4. Gottman, John M. What Predicts Divorce. Hillsdale: Lawrence Erlbaum,
1994.
5. Eemeren, Frans H van. “Fallacies.” In Frans H. van Eemeren (Ed.),
Crucial Concepts in Argumentation Theory (pp. 135-164).
36

Amsterdam: Amsterdam University Press, 2001.
6. Walton, Douglas. The New Dialectic: Conversational Contexts of
Argument.
7. Toronto: University of Toronto Press, 1998.
8. Walton, Douglas. “Types of Dialogue, Dialectical Shifts and
Fallacies.” In Frans H. van Eemeren et al. (Eds.), Argumentation
Illuminated (pp. 133-147). Amsterdam: SicSat, 1992.
9. Akhmanova O.S. Dictionary of linguistic terms. Moscow, Publishing
House: Soviet Encyclopedia, 1966, 607 p.
10. Bakhtin M.M. Aesthetics of verbal creativity. Moscow, Art, 1986, 445
p.
11. Dadashzade, A. (1980). 18 th
century Azerbaijani lyrics. Baku:
Science.
12. Wanner E. Psychology and linguistics in the sixties // The making of
Cognitive Science. Cambridge (Mass.), 1988.
13. Woods, John and Douglas Walton. Argument: the logic of the fallacies.
Toronto, 1982.
14. Afad Qurbanov. Bədii mətnin linqvistik təhlili. Bakı, 2019. 552 səh.
15. Скородько К.Ф. Компрессия и текст. М.: Наука, 1969.
16. Римиханова А.Н. Специфика лаконичных языковых форм в
идиостиле В.В.Вересаева. АКД, Махачкала, 2014.
17. Searle J. R. A taxonomy of illocutionary acts. In: Searle J. R.
Expression and Meaning. Cambridge University Press, 1979.
37

18. 5. Klyuev E.V. Speech communication. Moscow, Ripol Classic, 2002,
320 p.
19. Shahmar. Shirt// http://kulis.lent.az/news/1447 0 .
20. Javadov A. One-word Sentence//Studies on the syntax of the Azerbaijani
language. Baku, EA Publication, 1963, pp. 94-108.
21. Walton, Douglas and Eric Krabbe. Commitment in Dialogue: Basic
Concepts of Interpersonal Reasoning. Albany: State University of New
York Press, 1995.
22. Metts, Sandra and William R. Cupach. “Responses to Relational
Transgressions: Hurt, Anger, and Sometimes Forgiveness.” In Brian H.
Spitzberg and R. William Cupach (Eds.), The Dark Side of
Interpersonal Communication (2 nd
ed., pp. 243-274). Cupach.
Mahwah: Lawrence Erlbaum, 2007.

38

The role of dialogue in character development

Sotib olish