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The risk of misidentifying the speaker of subsequent paragraph parts is avoided by omiting the closing quotation mark from preceding parts to signify continuation, as demonstrated by the following answer: http://english.stackexchange.com/a/96613


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Using first person might work best for a situation like this. You'd be able to easily convey inner thoughts, use quotation marks for strictly dialog, and have the option to format intruding other "inner" voices differently... As I approached the burnt-out shell of the stone building, I thought it looked like the fires of hell had consumed it. You don't ...


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I struggled with writing dialogue for a long time, it bothered me that I could never make it sound like real conversation. As I've previously written I don't like to solve problems by seeing how other's have resolved them i.e. by reading how other's approach dialogue My resolution was to realise that you don't need to make it sound like real conversation, ...


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As long as you can make the dialogues flow smoothly, I don't see any problem with dividing it into paragraphs. With that said, I would like to point out that it isn't always the best way to build up suspense, tension or drama in a piece of fiction. To make it easy to the eye and a lot less intimidating for the reader, make sure that the change in ...


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In English, a new paragraph begins, when the topic changes. The turn of each speaker in a dialog is perceived to be one topic, even if that turn is broken by pauses (and the description of the speaker's behavior during these pauses). A paragraph can have any length and span many pages. For better readability, long paragraphs can be broken into smaller ...


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Long pieces of dialogue should be broken into paragraphs. This may happen, for example, when someone is giving a detailed account of an event. It is traditional to leave the inverted commas off the end if the same speaker continues (but still have them at the start to show it is speech).


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The most important thing you need to establish is a consistency of approach. Decide on a way to introduce a voice, reinforce it a couple of times and then get on with writing. The important part here is showing the reader what you're conveying, rather than blindly sticking to prescribed style. (if every writer always stuck to the prescribed style, there ...



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