dialogue

We cannot control the way people interpret our ideas or thoughts, but we can control the words and tones we choose to convey them. Peace is built on understanding, and wars are built on misunderstandings. Never underestimate the power of a single word, and never recklessly throw around words. One wrong word, or misinterpreted word, can change the meaning of an entire sentence and start a war. And one right word, or one kind word, can grant you the heavens and open doors.

The world requires me to re-write its wretched dialogue!

[A]lways get to the dialogue as soon as possible. I always feel the thing to go for is speed. Nothing puts the reader off more than a big slab of prose at the start.", Issue 64, Winter 1975)

He began to prefer talking on the phone to actually getting together with someone, preferred the bodilessness of it, and started to turn down social engagements. He didn't want to actually sit across from someone in a restaurant, look at their face, and eat food. He wanted to turn away, not deal with the face, have the waitress bring them two tin cans and some string so they could just converse, in a faceless dialogue.

I didn't intend to go in that direction but strange things happen when the lights go out.

Her English was sweet, an effort for her, anachronistic and unpractised.

One of the most wonderful things about Pride and Prejudice is the variety of voices it embodies. There are so many different forms of dialogue: between several people, between two people, internal dialogue and dialogue through letters. All tensions are created and resolved through dialogue. Austen's ability to create such multivocality, such diverse voices and intonations in relation and in confrontation within a cohesive structure, is one of the best examples of the democratic aspect of the novel. In Austen's novels, there are spaces for oppositions that do not need to eliminate each other in order to exist. There is also space - not just space but a necessity - for self-reflection and self-criticism. Such reflection is the cause of change. We needed no message, no outright call for plurality, to prove our point. All we needed was to reach and appreciate the cacophony of voices to understand its democratic imperative. There was where Austen's danger lay.

Murder doesn__ bother you much, does it?___ot as much as your endless questions.

Is this about what happened to you and the old Sector 7?_ I asked with a growl of my own.His hands tightened their grip on my shoulders. __ow did you know about that?_ __abby-Chan told me.___reaking Meko-Chan,_ Kuroi uttered, __ swear, that kid is gonna get it. What did she tell you, exactly?___he told me not to tell you that she told me what you told her._ I realized what I said. __ops._ ~Luna's POV, Clash of the Clans: Shinobi 7 Companion Book #1

It is not summer, England doesn't have summer, it has continuous autumn with a fortnight's variation here and there.

But when a man draws a lifeless thing into his passionate longing for dialogue, lending it independence and as it were a soul, then there may dawn in him the presentiment of a world-wide dialogue with the world-happening that steps up to him even in his environment, which consists partially of things. Or do you seriously think that the giving and taking of signs halts on the threshold of that business where an honest and open spirit is found?

I heard you on the phone with her. I happened to be in your arms, and you happened to be inside of me, balls deep from what I remember, so I felt the difference, felt what you felt for her, heard how your voice changed when you talked to her.

It is only through dialogue, deep listening, and passionate disagreement that we find our way to something larger than a singular and isolated point of view.

Listen to what you have written. A dud rhythm in a passage of dialogue may show that you don't yet understand the characters well enough to write in their vo

You weren't able to talk sense into him?"Well, we kind of tried to kill each other in a duel to the death."I see. You tried the diplomatic approach.

He placed his hand on Willem's arm. 'Willem, don't cry.''I'm not going to,' he said. 'I can do other things in life besides cry, you know,' although he was no longer sure that was even true.

-I would die for you-You lie -If I lie, why do I stand here before and beg on my knees to get you back? -Because you're feeling alone -If need your love-You don't need me, you only need a person-And you're that person-No I'm not-But I love you-That what I do

I am still not used to being the possessor of such a grand title. I believe I shall have to start wearing a purple satin turban and carrying a lorgnette.