Title: u04
Course: Creative Writing Through D & D

Q: What should effective dialogue accomplish in a story?
- Make the story longer and more detailed
- Show exactly how characters pronounce their words
- Reveal character, advance plot, and create tension
- Replace prose description with conversation
A: Reveal character, advance plot, and create tension

Q: Which of the following is the BEST example of an action beat?
- "Get out," she said angrily.
- "Get out." She slammed her hand on the table.
- "Get out," she whispered softly.
- She told him to get out.
A: "Get out." She slammed her hand on the table.

Q: What is "As You Know, Bob" syndrome?
- A technique for building suspense in dialogue
- When characters explain information they both already know for the reader's benefit
- When a character speaks too formally for their personality
- A method for introducing new characters through dialogue
A: When characters explain information they both already know for the reader's benefit

Q: Which subtext technique is being used here? "The road through the forest? Oh, it's safe enough." The shopkeeper straightens the same display without looking up.
- Double meaning
- Loaded question
- Contradiction (words vs. body language)
- Deflection
A: Contradiction (words vs. body language)

Q: Which approach to writing dialect is MOST likely to be respectful and effective?
- Phonetic spelling to show exactly how words are pronounced
- Changing syntax and word choice while maintaining standard spelling
- Having the character constantly explain their own speech patterns
- Making the character speak in broken grammar to show they're from another region
A: Changing syntax and word choice while maintaining standard spelling

Q: In a multi-character scene, what is the "two-person core" strategy?
- Only writing scenes with exactly two characters
- Having two characters dominate while others are silent
- Structuring group dialogue so exchanges happen between two people at a time, rotating the active pair
- Starting every scene with two characters and adding more gradually
A: Structuring group dialogue so exchanges happen between two people at a time, rotating the active pair

Q: Which of the following BEST demonstrates subtext?
- "I'm angry because you lied to me," Marcus said.
- "It's fine. Everything's fine." Marcus straightened the papers on his desk for the third time.
- "You lied to me!" Marcus shouted, slamming his fist on the table.
- Marcus thought about how angry he was about the lie.
A: "It's fine. Everything's fine." Marcus straightened the papers on his desk for the third time.

Q: What makes code-switching a sophisticated language skill rather than a deficit?
- It shows a person can speak multiple languages
- It demonstrates the ability to adapt language to different contexts, audiences, and purposes
- It means a person is fluent in formal English
- It is only practiced by multilingual speakers
A: It demonstrates the ability to adapt language to different contexts, audiences, and purposes

Read this dialogue exchange, then answer:

"You're leaving." Rena's voice was flat.
"I have to. You know I do."
"I know you want to. There's a difference."
He reached for her hand. She pulled it back.
"Rena—"
"Safe travels."

Identify TWO specific subtext techniques used in this exchange. For each, explain what the character really means beneath what they say. (3–4 sentences total)

Imagine you are creating a D&D character who is a scholarly wizard from a remote mountain monastery. Describe THREE specific voice characteristics (diction, syntax, register, speech habits, or emotional patterns) that would make this character's dialogue distinctive. Explain why each choice fits the character. (3–4 sentences total)

Explain why the following line of dialogue is problematic, and rewrite it to address the issue:

"Well partner, I reckon we oughta mosey on down to them there hills, yee-haw!" said the ranger from the western plains.

(3–4 sentences: identify the problem, explain why it's harmful, and provide a revised version)