Thats mainly because several countries outsourced their plastic waste management to China. Until January 2018, when it banned the trade, China imported almost half of the world's plastic trash. Once in the ocean, the harsh conditions and constant motion cause plastic to break down into particles of less than 5mm in diameter, called
Making a story out of hundreds or thousands of lines of dialogue is a special skill unique to trailer editors and documentary filmmakers!. Sifting through, selecting and breaking down dialogue is an essential part of making a story trailer; it allows the editor to see what they have to work with while also building familiarity with edited dialogue in a trailer is achieved by finding the lines which say just enough to communicate a story, even if they're from totally different scenes or in an order completely different from their original context. Poorly edited dialogue results in a lot of scenes which work on their own in context, but when cut into a trailer amount to complete narrative chaos and confusion which will likely confuse and disorient the audience like a poorly shot and edited fight story trailer I make typically starts with a script or spreadsheet with hours upon hours of dialogue, which I then sift down to selects, categorize, and then piece together into a trailer script. Every line of dialogue is a potential piece of the puzzle, and can be repurposed into a trailer in any conceivable order or formation. Developing an ear for good trailer dialogue takes time and experience, but here are some guidelines I follow to decide whether or not a line will make it into that first massive pile of dialogue. Organizing is very important A good place to start is to just think "Who, what, when, where, why and how?" Though oftentimes asking "How?" is a much less important question to answer in a trailer. For example in The Matrix Revolutions, the line "The machines are digging; they're burrowing straight from the surface down to Zion." answers the question "What are the machines doing?" The answer to the question "How are the machines digging?" would be something like "They're using giant mechanical drills to dig down to Zion." Not really that important in the grand scheme of main categories of dialogue you want to be on the lookout for are related toBackstory & World BuildingCharacter BuildingActionsStakesIdeas & ThemesSetup & PromptsHumorInterjectionsBackstory & World Building"In the land of Middle Earth, legend tells of the Dark Lord Sauron, and the ring that would allow him to enslave the world. Lost for centuries, it has been sought by many and has now found its way into the hands of the most unlikely person imaginable."Oftentimes the dialogue in movies or games are tailor made for trailers because they simply say what is happening. Trailer editors aren't always so lucky to get an exposition dump like this, but it does happen from time to time. This sort of dialogue can also happen in the context of a conversation between people such as this one from the Black Panther Teaser Trailer"What do you know about Wakanda?""It's a third world country. Textiles, shepherds, cool outfits.""All a front. Explorers have searched for it, called it 'El Dorado.' They looked for it in South America, but it was in Africa the whole time."This is the bread and butter of trailers which is a lot like the "In a world..." style of trailer narration from the 80s and 90s, but if it can be pulled from the original source material it will feel more authentic because it's the material speaking for itself. In the island of Aoshima... Character Building"I don't know what he can do to save us. But I do know that as long as there is a single a breath in his body. He will never give up, and neither can we."There are so many ways to build up a character in a trailer. You can talk about their personality, role in the story, relationship to other characters, their problems, beliefs, wants, and a lot more. Knowing these details helps us relate, sympathize or understand a character. For example, this line from the first Matrix trailer explains how Agent Smith sees humans which sets him up as the antagonist "Human beings are a disease. You are a cancer of this planet. We are the cure."Back to Black Panther, this line sets up T'Challa's dilemma as rule of Wakanda "You are a good man, with a good heart, and it's hard for a good man to be a king."It's worth at least selecting any dialogue where someone describes a character, or a character says something about themselves. There are also lines which say something about a character without being explicitly descriptive such as T'Challa's line "I never freeze" which indicates his cool confidence. "No one can type faster than him..." Action IllustrationThese are lines which show action moments or simply actions which happen in the past, present or future. For example in The Matrix Reloaded trailer, the line "So now he's found a way to copy himself?" gives the trailer editor the power to show Agent Smith copying himself. In the Mission Impossible Fallout trailer Tom Cruise yells "I'M JUMPING OUT OF A WINDOW" to set up an action moment and add a bit of humor. Any dialogue which describes things that happened in the past, are happening in the present, or will happen in the future are worth selecting because they give the opportunity to set up cool things to show in the trailer."No one has ever done something like this.""THE DOCK IS BREACHED!""Here they come.""Neo is doing what he believes he must do." "We're gonna fix things up here." Stakes"What happens if I fail?" "Then Zion will fall.""In less than 12 hours the machines will breach the dock walls."These lines help answer questions like "Why is this important?" or "Why should we care?" They declare what is at stake whether it's the annihilation of the human race, or a character not being able to be with the person they love. "If I don't get food, I'm going to starve..." Ideas & Themes"Have you ever had a dream, Neo, that you were so sure was real? What if you were unable to wake from that dream? How would you know the difference between the dream world and the real world?"These lines can either be good for backstory exposition or trailer filler for end montages where there's a random assortment of cool shots not intended to be literally paired with images. Any time big ideas, themes or ideologies are expressed, they're worth hanging onto. It might be the thesis of the writer/director of a film or the developers of a game. Oftentimes they're hypothetical questions like this one for the end of the trailer for The Matrix Reloaded"What if the prophecy is true? What if tomorrow the war could be over? Isn't that worth fighting for?" Isn't that worth dying for?" "Sometimes the cats we save, are really the ones saving us..." Setup & PromptsThese lines are frequently divorced from context because they often work like the glue of the trailer which connects the different story sections. For example, the line from the first Matrix trailer "Buckle your seatbelt Dorothy, because Kansas is going bye bye." is a prime example of dialogue which builds anticipation and sets up the climax of the are also a lot of questions which are prompts for exposition, character building moments and actions. For example"What is the Matrix?""So what do you need?""Do you know what happened to Neo?"Some of these will have corresponding answers from within the scene, but they can also frequently be paired with things from completely different scenes. Any time someone asks a question or creates anticipation, that's a prompt for a shot or line of dialogue to be cut in as a response or contrasting moment. For example, "Do you know what happened to Neo?" could be paired with a shot of Neo lost in limbo if you were to play it straight. But if you paired it with a shot of Keanu Reeves in Bill & Ted's Excellent Adventure, that prompt would be the setup for a laugh. "And here we... go!" HumorThere aren't any humorous beats in any of The Matrix trailers, but the moment from the first film when Neo fails to jump from one building to another has the lines"What does that mean?" "Everybody falls the first time"These could absolutely have been used for humorous moments in the trailer had they decided to go that route. Of course, comedic films and games will be rife with jokes, so it's important to have those separated out and organized in your project. InterjectionsThese are even more frequently divorced from context, because they're single words, grunts, screams, cries of pain etc. If you've ever watched TV spots for Blu-rays or DVDs, interjections are the things most frequently in "conversation" with the narrator describing the amount of content and special features. For example, in Harry Potter and the Chamber of Secrets when Harry emerges from Tom Riddle's diary and says "Whoa!" Knowing what dialogue NOT to select is just as important, otherwise you'd just be selecting every single line, which for games especially can just be out of the question due to sheer volume of lines. A lot of movie and especially game dialogue is not consequential enough to fit into a trailer. A way to think of it is Does the dialogue refer to something which will affect a character's entire situation or just a small moment?For example, the scene in The Matrix where Mouse talks about missing Tasty Wheat and wondering whether or not its taste in The Matrix is correct or not does not significantly affect any of the characters or world. More importantly, in order for the trailer audience to understand it would require a LOT more exposition about how The Matrix which requires a lot of context is generally not good for trailers because it means a lot of dialogue or custom narration for it to be understood be understood. For example the line "A deja vu is a sign of a glitch in The Matrix, they've changed something" requires us to know The Matrix is a virtual simulation, who are the people in control of the simulation are, and also what the signs of a deja vu are. Similarly, the entire line "Do not try to bend the spoon; that's impossible. Instead try to focus on the truth. That there is no spoon." is steeped in ideas which a trailer will have no time to get into, and even if it was a trailer for people who've already seen the movie, it would probably still feel rather odd. The important things to ask about each line of dialogue are What is the bigger story or character beat this dialogue illustrates?Can this set up or illustrate a moment in the trailer?How much context does this line need to be understood?If the line doesn't refer to a significant world building or character building idea, it can't be paired with a visual to communicate an idea and if it requires far too much time to explain, then it probably isn't worth hanging onto in your project, at least not in your main string of selects. If however you have the opportunity to re-record some dialogue, sometimes there are lines which just need a little bit of tweaking to more directly express an idea which would be good for the trailer. Simply watching a lot of well edited movie trailers will help you learn to hear good dialogue and narration, but doing it yourself via a feature film, TV show or screenplay is the best way to practice. It's a lot of work, but well worth it if you want to make a great story trailer and have a smooth editing experience!
Hitme first, actually.". "Good for her.". "Sucker punched me.". "Ouch.". Bad dialogue is often longwinded dialogue. This runs quicker than an auctioneer — the reader is begged to fly down the page. It's quippy and witty and makes light of violence in a way that manages to be humorous. 4. Switch the Topic.
Soal ini menanyakan di mana percakapan itu terjadi? Untuk mengetahui tempat percakapan itu terjadi maka dapat ditentukan berdasarkan penggalan isi dialog berikut Billy Yes, I am. Are you waiting for the train? Ya, benar. Apakah kamu menunggu kereta Ella Yes, I am. Are you? Ya, benar. Apakah kamu? Billy Yeah, me too. Oh there, that is my train. I have to go. Nice to meet you, Ella.Ya saya juga. Oh di sana, itu kereta api saya. Saya harus pergi. Senang bertemu denganmu, Ella Berdasarkan penggalan isi dialog tersebut maka dapat disimpulkan bahwa percakapan terjad di stasiun kereta api railway station. Jadi, jawaban yang benar adalah "The dialogue happens in a railway station".
Hereare 5 ways to reveal a character's true emotions during dialogue: Opposites Attract. When a character is speaking without conviction, agreeing for the sake of it or even passing off a lie, show how what he says does not mesh with what his body does. For example, if he's agreeing with another person's suggestion, show his affirmative
What is Dialogue? Dialogue is the written conversational exchange between two or more characters. How to Write Dialogue Conventional English grammar rules tell us that you should always start a new paragraph when someone speaks in your writing. “Let’s get the heck out of here right now,” Mary said, turning away from the mayhem. John looked around the pub. “Maybe you’re right,” he said and followed her towards the door. Sometimes, though, in the middle of a narrative paragraph, your main character needs to speak. Mary ducked away from flying fists. The fight at the pub was getting out of control. One man was grabbing bar stools and throwing them at others, and while she watched, another one who you could tell worked out regularly grabbed men by their shirt collars and tossed them out of the way. Almost hit by one flying person, she turned to John and said, “Let’s get the heck out of here right now.” John looked around the pub. “Maybe you’re right,” he said and followed her towards the door. In my research, I couldn’t find any hard and fast rules that govern how to use dialogue in the middle of a narrative paragraph. It all depends on what style manual your publisher or editorial staff follow. For example, in the Chicago Manual of Style, putting dialogue in the middle of paragraphs depends on the context. As in the above example, if the dialogue is a natural continuation of the sentences that come before, it can be included in your paragraph. The major caveat is if someone new speaks after that, you start a new paragraph and indent it. On the other hand, if the dialogue you’re writing departs from the sentences that come before it, you should start a new paragraph and indent the dialogue. The fight at the pub was getting out of control. One man was grabbing bar stools and throwing them at others, and another one who you could tell worked out regularly grabbed men by their shirt collars and tossed them out of the way. “Let’s get the heck out of here right now,” Mary said, turning away from the mayhem. John looked around the pub. “Maybe you’re right,” he said and followed her towards the door. Punctuation for dialogue stays consistent whether it’s included in your paragraph or set apart as a separate paragraph. We have a great article on how to punctuate your dialogue here Where Does Punctuation Go in Dialogue? It’s often a stylistic choice whether to include your dialogue as part of the paragraph. If you want your dialogue to be part of the scene described in preceding sentences, you can include it. But if you want your dialogue to stand out from the action, start it in the next paragraph. How to Punctuate Your Dialogue Dialogue is a fantastic way to bring your readers into the midst of the action. They can picture the main character talking to someone in their mind’s eye, and it gives them a glimpse into how your character interacts with others. That said, dialogue is hard to punctuate, especially since there are different rules for different punctuation marks—because nothing in English grammar is ever easy, right? We’re going to try to make this as easy as possible. So we’ll start with the hardest punctuation marks to understand. Periods and Commas For American English, periods and commas always go inside your quotation marks, and commas are used to separate your dialogue tag from the actual dialogue when it comes at the beginning of a sentence or in the middle. Here are a few examples Nancy said, “Let’s go to the park today since the weather is so beautiful.” “Let’s go to the park today since the weather is so beautiful,” she said. “Let’s go to the park today,” she said, “since the weather is so beautiful.” British English puts the periods and commas inside the quotation marks if they’re actually part of the quoted words or sentence. Consider the following example She sang “Somewhere Over the Rainbow”, the theme song from The Wizard of Oz. In the above example, the comma after “Rainbow” is not part of the quoted material and thus belongs outside the quotation marks. But for most cases when you’re punctuating dialogue, the commas and periods belong inside the quotation marks. Question Marks and Exclamation Points Where these punctuation marks go depends on the meaning of your sentence. If your main character is asking someone a question or exclaiming about something, the punctuation marks belongs inside the quotation marks. Nancy asked, “Does anyone want to go to the park today?” Marija said, “That’s fantastic news!” “Please say you’re still my friend!” Anna said. “Can we just leave now?” asked Henry. But if the question mark or exclamation point is for the sentence as a whole instead of just the words inside the quotation marks, they belong outside of the quotes. Does your physical therapist always say to his patients, “You just need to try harder”? Do you agree with the saying, “All’s fair in love and war”? Single Quotation Marks Only use single quotation marks for quotes within quotes, such as when a character is repeating something someone else has said. Single quotes are never used for any other purpose. Avery said, “I saw a sign that read Welcome to America’s Greatest City in the Midwest’ when I entered town this morning.” “I heard Mona say to her mom, You know nothing whatsoever about me,’ ” said Jennifer. Some experts put a space after the single quote and before the main quotation mark like in the above example to make it easier for the reader to understand. Final Thoughts Here’s a trickier example of single quotation marks, question marks, and ending punctuation, just to mix things up a little. Mark said, “I heard her ask her lawyer, Am I free to go?’ after the verdict was read this morning.” Perfectly clear, right? Let us know some of your trickiest dialogue punctuation situations in the comments below. Are you prepared to write your novel? Download this free book now The Novel-Writing Training Plan So you are ready to write your novel. Excellent. But are you prepared? The last thing you want when you sit down to write your first draft is to lose momentum. This guide helps you work out your narrative arc, plan out your key plot points, flesh out your characters, and begin to build your world.
TheTruth and Reconciliation Commission (TRC) was established in 2008 to bear witness to the impacts of residential schools and to facilitate reconciliation among former students and their families, their communities, governments and all Canadians. [Archival footage of the Commissioners of the Truth and Reconciliation Commission lifting a
In many classrooms these days, student discussion can grow so heated that passion threatens to overwhelm productive conversation. A harsh debate can leave students and instructors feeling upset, or make them discouraged about participating in future potential for hurt feelings, misunderstandings and stifled learning is even greater when classroom debates and campus events tackle hot-button topics like politics, race, religion and gender. And in today’s highly polarized atmosphere, when a comment taken out of context can go viral on social media, the consequences of an out-of-control conversation can be even more severe. Considering these high stakes, students and instructors may be tempted to avoid tough subjects altogether, or only discuss them with like-minded folks. But there’s another option. Today on the podcast, we’re learning about “dialogue,” a type of mediated discussion that may help students and educators tackle touchy topics more productively and use conflict as a learning opportunity. We’ll hear from Kelly Maxwell, assistant dean for undergraduate education in the College of Literature, Science and the Arts at the University of Michigan, which offers semester-long courses called “intergroup dialogues” on subjects that tend to provoke strong feelings, including class, sexual orientation and racial identity. Maxwell is also board chair of the Difficult Dialogues National Resources Center, a nonprofit that supports dialogue work in higher education. It’s hosting a conference for university leaders at the end of October at Princeton to this week’s podcast on Apple Podcasts, Overcast, Spotify, Stitcher, Google Play Music or wherever you listen, or use the player below. Or read the partial transcript, which has been lightly edited for How do you define dialogue, as opposed to some other kind of class discussion?Maxwell Dialogue is really about greater understanding. So it's bringing people together that have different views on particular issues, social issues often—maybe they have different identity backgrounds—seeking to understand one another in a more nuanced way. Or maybe they've never even talked with someone who has a differing opinion or perspective or experience. And so dialogue really brings those folks together to learn to listen, learn to speak one's truth and feel empowered to be listened week’s podcast is brought to you by Destinations Career Academy, powered by K12 Destinations serves school districts with flexible CTE solutions to get students “future-ready” for a changing job market, providing career exploration, real-world experience, and certification prep. Now offering 28 pathways in Health & Human Services, Information Technology, Business, Agriculture, and Manufacturing and the More at Sometimes, especially if one has a marginalized voice, they've never had an opportunity to actually be listened to. So dialogue is about empowering those voices. It's about listening and building empathy for experiences that may be very different from one's own, and really then seeking to understand where that perspective comes dialogue is happening in a classroom, of course there's content, but then there's the process of dialogue. So very intentionally bringing people together with some information, with some content, but then also allowing them to share their own experiences vis-a-vis the content. And then opening the thinking around whatever the complex issue especially younger students come with a very dualistic framework. It's either this or it's this. Dialogue helps uncover the complexity of a variety of issues. There's a lot of emotion in dialogue, too, which is a little bit different than a typical college classroom. So it's connecting the intellectual or the cognitive with that affective emotion, so that people learn that there are real stories behind some of the hot topics of the dialogue happen naturally and organically? Or have you found it's something that needs to be taught and practiced to actually occur?Maxwell I really believe in the latter, that it really takes intention, and faculty and staff have to find purposeful ways of engaging students in dialogue. So we talk about all kinds of diversity, equity and inclusion. And just because you have a diverse student body at any given institution doesn't mean that those students are interacting together. And, in fact, we know that not just students, but in society, we tend to hang around and live in neighborhoods that look like us or have very similar backgrounds like us. Our social media feeds often are reinforcing the beliefs that we already have. And so dialogue has to be intentional to bring people together. You don't just say, "Hey, we're going to have a dialogue about this controversial topic. We hope people from all sides will come. And then we see what happens." That is a recipe for disaster ... where people are just trying to get their side heard and win an really have to set up the space, both physically, so that it's welcoming for people, but also space meaning what's going to happen in the room. So setting guidelines or beginning with some kind of norm-setting. How are we going to talk together? How are we going to listen together? Recognizing that in a dialogue setting there probably isn't going to be resolution. The goal is really to hear each other deeply, really listen, and share one's own perspective, and understand your own perspective better through the process. And hopefully build some empathy along the love to hear more about that class in particular. How does it work? Is it for credit? Is there a professor?Maxwell It's a for-credit course that brings students together across different identities. So, for example, in a race-and-ethnicity dialogue, there are roughly equal numbers of students of color and white students in the dialogue space. And we train undergraduate peer facilitators to be in the dialogue space as there is not a faculty member in the classroom every week. They start and end the semester with a faculty member, and then the faculty member will observe. They're really observing the facilitators to coach and supervise them. And we really believe that peer facilitation allows students to ask that question that they really wanted to ask. Or sometimes students don't want to make a mistake in a classroom setting. So the peer leaders help to reinforce that, "It's okay here." That we're creating a space that is student-friendly and very much about the learning of the people in the so it is across the arc of a full semester. There's four stages to the dialogue process. First is group beginnings. So, instead of digging right into the hot topic of the day, it's really spending the first couple of weeks really getting to know one another, doing something called “sharing testimonials,” where every student in the room tells their story related to the identity of focus in the they do some learning through experiential exercises around social identities, discrimination, privilege, power, that kind of thing. And then they really get into the hot topics that they choose, based on the conversations that have been happening so far. And then they really are in the dialogue process. And then finally, [they] wrap up with, "What has this meant for me? Let me reflect on this collectively." What action do we want to take or individually, if any. So it's kind of a wrap-up at the dialogue techniques have something to contribute to so-called free speech debates that happen when controversial speakers or protest movements come to campuses?Maxwell I think in the moment, when the controversial speakers on campus, [that’s] not really a great time for true dialogue. But I think what can come out of it is to invite people from many perspectives to the table—maybe some that supported the speaker [and] some that opposed the speaker—and then have a dialogue. So we talked about having emotion and dialogue, but I think you want to lower the level from when the controversial speaker is there, when tensions are really high, bring that down a notch. Let a little bit of time pass, and then bring people together to say, "Hey, let's talk about this."Of course you can also do it on the proactive side, before a speaker is invited. Maybe you're hearing rumblings that somebody wants to start a controversy. Why not bring that group together with one that would really feel marginalized by a speaker, and really let them hear from one another. Why might that be very hurtful? Why might having this speaker be somewhat helpful, at least from the group that believes that to be so. And letting them really talk to one another and hear, and then it could change what ends up think that there's some understanding among some people that a call to dialogue can sometimes be associated with this idea of maintaining civility, which may feel like an attempt to silence urgency around political beliefs or lived situations. What do you make of that kind of tension? Maxwell For me, dialogue is about democratic engagement because there are voices that have been left out of our public sphere. And so bringing them to the table, the dialogue table, and really having their voices be equal to those that are often louder is really, really important, as far as our the same time, I completely understand the critique about, "Oh, we have to do this in a way that's very respectable." And I even talked about creating guidelines at the beginning. And I know some people believe that creating those guidelines can tamp down, but the point of the guidelines is to build a sense of how we're going to talk together even when controversy happens. So it's not to tamp down the conflict, but it's a way to say, "Okay, how are we going to handle conflict productively when it happens?"So I think that's a little bit of a difference from what I think of when I think of “civility,” which is, make sure everybody feels okay. It often signals that we don't want to rock the boat. And dialogue really is about rocking the boat because it's about de-centering power or de-centering the dominant narrative, so that those voices that don't get heard actually get at the same time, those voices that usually are the prominent ones, they're also there. They also have an opportunity to be heard, but they're heard at the same level, rather than squashing voices that are typically marginalized. And so it's a rebalancing of the voices around the table, so that the power is uncovered or those dominant voices are uncovered and made visible. And that's a really important and different thing than having a civil faculty who are anticipating a couple of potentially very tense semesters before and after the election, what would you encourage they do in their classrooms or on campus to, as you said, be able to dig in, but in a productive way?Maxwell It's hard to have a true dialogue in a sort of regular class, but I think you can set up dialogic techniques, using dialogic techniques to get the student group to be as dialogue-ish as [instructors should set] guidelines for discussion in classrooms. So using “I” statements, doing your own best and then expecting that from others as well. And then confidentiality in the space, too. You're not tweeting about what's happening here in our room, but that you take the learning out, but you don't take the stories that people are sharing out of the space.[And] then that relationship-building. Because how are you going to expect students to talk about controversial issues in your class if they don't even know the name of the person sitting next to them?I know that can be really tough for faculty members, because they don't want to take the time away from their content for this relationship-building, but it really pays dividends later in the class when students feel like they can give the benefit of the doubt to somebody else because they have some kind of connection with them. So early on, some daily icebreakers that help people get to know people's names, but also a little bit about the people in the room. And knowing that emotion is going to be present is really crucial. I've done a fair bit of faculty development as well, and I think the greatest fear that I hear from faculty is, what do I do when someone yells, or there's clearly anger and frustration in the room, or someone cries or something like that. Equipping faculty with the skills to manage emotion in the classroom. Because most faculty are not trained in that way and don't know what to do when it happens.
AboutUs. Performing Dialogue is the trading name of Dialogue Community Performance, a Non-Profit Limited by Guarantee Company registered in England & Wales with company number 10676296 (Registered office address: 34 North Street, Bridgwater, Somerset, United Kingdom, TA6 3YD). Performing Dialogue is a a non-profit social enterprise.
16+ Mudah Where Does The Dialogue Occur Terupdate. Good morning, are you today? 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. This publication is a useful practical reference, covering conflict analysis, a concept of dialogue and specifics of organising and running dialogue meetings,. A dialogue is a literary technique in which writers employ two or more characters to be engaged in conversation with one Dialogue May Occur Over Multiple Hours On A Single Day, Or It May Unfold As A Series Of Conversations That Take Place Over Several Weeks Or Months—Although The Duration Of Morning, Are You Today?A Dialogue Is A Literary Technique In Which Writers Employ Two Or More Characters To Be Engaged In Conversation With One One Golden Rule We Like To Use About Dialogue Is The Responder Should Always Link Directly To What Dialogue To Occur, Two Or More Characters Must Talk With One Another dari 16+ Mudah Where Does The Dialogue Occur Terupdate. Dialogue refers to written conversations between characters in novels, short stories and scripts. When this does not happen, we encounter a dialogue block. Next, small group discussion and reflection is used to link dialogue to past experiences of “real communication” see “role of the facilitator A dialogue is a literary technique in which writers employ two or more characters to be engaged in conversation with one another. A dialogue is a literary technique in which writers employ two or more characters to be engaged in conversation with one another. Good morning, are fine. a dialogue is essentially a conversation between equals’ bohm et. The One Golden Rule We Like To Use About Dialogue Is The Responder Should Always Link Directly To What Preceded. When this does not happen, we encounter a dialogue block. For Dialogue To Occur, Two Or More Characters Must Talk With One Another To. A dialogue may take five. A dialogue is a literary technique in which writers employ two or more characters to be engaged in conversation with one another.
Thisis a dialogue system for GameMaker Studio (1 & 2). It features: Text effects (colours, waves) Words spell out like typewriter. Animated character portraits. Character voices. Dialogue choices. Character emotes. Click here to view/download the asset listing in the GameMaker marketplace.
In the first article of this three-part series, we identified five types of conversations, while in the second article, we looked at examples of these five types of conversations, and what could be accomplished. In this third and final article in this series of “Daring to Dialogue”, we continue by looking at dialogue more in-depth, trying to gain an understanding of how this conversation works. Structure of Conversation Determines Performances or Outcome The first step when we’re aiming for dialogue is to understand how conversations work. Conversations have a structure, and it’s the structure that actually determines performance or outcome of a conversation, and whether we are more in monologue or dialogue. Every sentence that we say can be coded into one of four actions, and that’s what makes conversations effective is when we’re able to voice all four of these actions fluently in a conversation. When we’re able to do that, the nature of the conversation changes, and we move from monologue to more skillful conversation and dialogue. Next, we’re going to walk through these four actions and notice, as I tell you about them, where you might start to place some judgment on one or more of them. The First Conversation Action Step is Move’ The first action step is move’. Move initiates. It suggests a new direction or introduces a new idea or concept in the conversation. For an example, “Let’s go to lunch.” This is a move. After a move, there are different responses. Next comes follow’. For example, “Sounds good,” this is a follow. Oppose challenges, oppose pushes back on ideas, providing alternatives or corrective action. For example, “No, I can’t today.” This is an oppose. Bystand bridges. It provides a neutral perspective or inquiry. For example, “I notice we have two different points of view here,” this is a bystand. Move and Oppose. Follow and Bystand Move and oppose are the vocal actions of advocacy or similar to defending, like we have in debate, and follow and bystand are the vocal actions of inquiry. Here’s the thing, we need both advocacy and inquiry in order to have a skillful conversation. Skillful Conversation With All Four Actions My husband and I had a trip planned to Bora Bora, which was a consequence of the pandemic. The other day he said, “Let’s go to Bora Bora.” That was his move. And I followed and I said, “I would love to.” And then I said, “I wonder what the current travel requirements are.” That was my bystand. And then I opposed, and I said, “But even if we could get there, I don’t really want to wear a mask on a plane for 15 hours right now.” It’s just not what I had envisioned. Next, I made a new move and said, “Let’s come back to this in six months and look at it.” This is an example of a conversation where you can see all four actions happening and we need all four to be voiced and active in the conversation in order for it to be a skillful conversation. Dialogic Approach vs Monologic Approach What can a dialogic approach versus a monologic approach get you? Engaging in dialogue comes from a belief that human beings create, refine, and share knowledge through conversation. And to illustrate the need for dialogue, I want to tell you a quick story. It’s a tale of two companies. The first one I’ll call “Blue Ocean Tech” and the second I’ll call “First Stack”, both are in the tech sector. These two companies had several similarities, both are about the same age. They were founded about 11 years ago. International organizations with offices worldwide, and Blue Ocean was a bit larger with about a billion in annual revenue and First Stack was about 200 million in revenue. Both companies were also experiencing what I call a front page crisis. This is where the executive team gets feedback from their organization via the media, on the front page of paper. And as you might imagine, this induces high stakes and it causes a great deal of disruption. So, executives in both of these companies were feeling called out, very blindsided. And as is often the case, one side of the story played out in great drama over the media and the other sides of the story remain untold. Just imagine; for the story to have made its way to the press, there is a great deal of frustration, a lack of feeling heard, and not valued by the employees. And in both cases, a belief that a moral crime had been committed by the executive team. Here’s where the similarities of those stories end because each company had a choice to either suspend or defend. First Stack chose to defend. They publicly defended their position and explained why the issue had happened. First Stack hired a consultant, a mediator, and the legal team to draft new policies and processes to fix the problem that they believed had created the mess in the first place. This might sound great, but it has kept the organization stuck in the same dysfunctional patterns that created their crisis in the first place. That was top down, in other words, the chances of them having another Groundhog Day moment are high. First Stack has returned to their old behaviors of monologue and protection. However, they’re filling in their mind, the roles expected of leaders, and yet both sides, employees and executives feel greatly misunderstood and deflated. Blue Ocean Tech made the choice to suspend. And they publicly took responsibility for what was happening, declined any further comment, noting that they were turning internally to listen. The executives of Blue Ocean Tech began to hold listening sessions in small groups across the company. Executives cleared their calendars and wanted to hear firsthand from employees what was happening. Blue Ocean Tech took action from their first round of dialogue, and then actually continued using that dialogic approach, engaging the whole company from the get go. The conversations have actually shifted the culture in the organization and changed the leadership team for better. They are still working on the outcomes of the story, but the end is pretty promising and the change feels sticky and real, because they are too changing mindset and thinking, not processes and rules. And they are moving forward, but with a very different energy and outcomes than First Stack. Defend vs Suspend. Different Action, Different Outcome Let’s get into what happened here. The executives in Blue Ocean Tech are no different from me or First Stack or you, but they had something in place that was different. They had a few key people around them that they trusted, who pushed back and opposed. Their very first instincts encouraged them to start listening without answers or solutions, just listening. This was daring and brave, and it was completely outside their comfort zone, but they did do it, and the executives in Blue Ocean Tech listened. It seems like the simplest thing in the world to do, and yet it was the hardest for them. They struggled with all the assumptions and the stories that we talked about earlier. But the impact was immediate and people really appreciated being respected and heard. Listening and asking questions are undervalued and underused because somewhere along the way, we have this story that heroic leadership looks like leading from the front, large, visible, making moves, setting direction, having all the answers. We also have a story about what unhelpful leadership looks like. It’s passive, it’s not leaderful, it’s not knowing, it’s listening, and that’s the story that First Stack bought into. In First Stack the executives didn’t see at all how prioritizing voices of those lower on the totem pole would align with the internal vision that they held about what leadership should look like and do in this kind of situation. And they were incredibly afraid of opening Pandora’s box if they involve staff. Instead of listening or asking questions, they just moved forward with what they thought should happen. Leaders Bring The Weather! The moral of this story is that leaders bring the weather. Early in my career, I worked at a small startup and we had a private chat channel. When the CEO arrived each morning, someone would give a weather report in the chat. It’s cloudy, it’s sunny, it’s stormy, literally what the mood of the CEO was. This weather report informed my plan and others for the day. On sunny days, I knew I could have important conversations that mattered. If the weather was stormy or cloudy, those were the days that I wanted to lay low and go home early if possible. As leaders, you don’t have to have a title to be a leader, but you bring the weather. So, your words, your energy, your tone, all matter. When you are frantically running down the road, too busy to pause and ask questions, you send the message that there’s no space for conversation here. But when you show up willing to suspend your viewpoint, ask questions and listen to those around you, you are signaling to others that their point of view is important and that they are valued, and you are actively creating the space for dialogue to happen. The weather you bring is not about what happens to you, it is how you choose to respond. What if instead of focusing on the solution in monologue, we focused on creating the space for dialogue, with the belief that on the other end of the dialogue would be a more sustainable solution that no one person could have thought of on their own? Your Leadership Challenge Moving Forward! I have a challenge for you as you move forward. Be intentional about choosing monologue or dialogue. Remember, there is a use for monologue, like when you want to get a bunch of information out, but where monologue does not serve us is in the complex, repetitive, no easy answer conversations. When a conversation matters, remember these key takeaways, suspend rather than defend. Suspend your viewpoint rather than defending it, this way you can hear others. Stay in the conversation. Remember Blue Ocean Tech and their commitment to staying in the conversation, even when they were hearing things that were hard to hear. Voice all four actions, move, follow, oppose, and bystand. All four actions are needed to be voiced in a skillful conversation. Listen, rather than having an answer. It Takes Courage to Lead! Again, Blue Ocean Tech courageously took a seat and listened to the voices and experiences of employees. This is where real potential for change comes in. Create a space for dialogue, and you have to go first! Think about Katherine, who made the choice to create space for dialogue, even though it had not been part of her previous leadership style. She recognized that big, bold vision she had for the company, depended on engaging all voices. And she had to make space for that to happen. Here’s the deal, we will not consciously choose to be a victim, and yet when we defend, this is the role we are taking unconsciously in lots of ways. For far too long, we have and continue to talk about agile as frameworks, practices, and tools. And then we wonder why changing culture and leadership style are still cited as the top challenges to achieving business agility. Conversations Are Our Interactions In order to courageously lead transformational change, the kind that supports organizations seeking agility in our fast paced world, we really need to take seriously from the agile manifesto that it’s about individuals and interactions. Conversations are our interactions and they require bravery. They are the core practice of how we learn, how we solve complex challenges, how we make meaning of our current environment, and how we innovate moving forward. I ask you How can you be more intentional about choosing dialogue? If you missed the previous articles in this series, you can find them here. Part 1 How Daring to Dialogue Improves Performance and Creates a Culture of Agility Part 2 The Most Effective Approach of Continued Dialogue It’s Where Change Happens! If you’d like to watch Marsha present this, click here for a video!
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where does the dialogue happen
