Hello everyone.

It's lovely to see you here today.

For this lesson emulating Dostoevsky's use of dialogue in "Crime and Punishment." My name's Dr.

Clayton and we'll be guiding you through your learning journey today.

Now, personally I think dialogue's one of the hardest aspects of writing to make it sound realistic.

Because the conversation is so much more than words.

It's all about body language, eye contact, and the tone of your voice.

So what we're going to do today is deconstruct how Dostoevsky creates dialogue and then use those ideas to write your own dialogue.

So if you're ready, grab your panel, laptop, whatever you use for this lesson and let's get started.

So by the end of the lesson, you'll be able to emulate Dostoevsky's use of dialogue in "Crime and Punishment." So we have five words today that will be our keywords throughout this lesson.

They've been chosen not only help you unlock the learning, but also to give you some vocabulary you'll discuss and right about Dostoevsky and his use of language.

They've identified in bold throughout the learning material.

And I'll try to point them out to you as well so you can see them being used in context.

So our first word is emulate and that means to match or surpass a person or achievement, typically by imitation.

Now in order to emulate Dostoevsky's work, we're gonna deconstruct how he's crafted dialogue and then use that as a toolkit to create our own dialogue.

Our second keyword is dialogue, and that means a conversation between two or more people as a feature of a book play or film.

Our third keyword is monosyllabic, and that means using brief or few words to signify reluctance to engage in conversation.

We're going to consider how Dostoevsky's employs monosyllabic language for effect within his dialogue.

Our fourth keyword is realistic.

And that means a literary style which focuses on the accurate representation of life and its events.

Typically, dialogue is designed to be realistic because it's meant to feel as that the characters are actually having a conversation.

Our final keyword is reciprocate.

That means to respond to a gestures or action.

By making a corresponding one, we're going to think about how Dostoevsky might use this concept of reciprocation in his dialogue for effect.

So I'll just give you a moment to write down those keywords and their definitions.

So pause the video and write them down now.

Fantastic.

Let's get started with the lesson.

So we have three learning cycles on our lesson today.

For our first learning cycle, we're going to deconstruct Dostoevsky's use of dialogue.

So we're going to look at some examples from Dostoevsky's "Crime and Punishment," and think about how Dostoevsky's is crafted, effective, realistic dialogue.

And then use our notes to create a toolkit.

For our second learning cycle, we're going to plan our dialogue.

So we're going to use our toolkit from the first learning cycle to create a plan for effective dialogue.

Finally, in the third learning cycle, we're going to write a piece of dialogue using our ideas from deconstructing Dostoevsky's work as our guide.

Now when it comes to writing, you'll often hear people use the phrase show not tell.

And essentially this means you want to show the reader how a character is feeling rather than simply telling them.

So rather than telling them a character feels sad, you want to use social cues and images to show them they sad.

Now arguably Dostoevsky craft's dialogue in order to show us that Raskolnikov is feeling tense rather than simply telling us.

So he's craft a conversation between characters in order to show us how the main character's feeling.

Now for the first task of the lesson, I'd like you to evaluate two examples of dialogue.

Consider which is more effective in showing the reader that Raskolnikov feels tense throughout the dialogue.

So which is more effective? Here are two examples.

"I feel tense and annoyed." Raskolnikov scowled, "To the police.

What does she want?" Now, if going through this with someone else, you might talk about ideas with them.

If going through this by yourself, you might just think about ideas.

So pause the video, consider which is more effective and why.

Welcome back everyone.

It was great to see people saying the examples aloud because that's a great way to see whether dialogue feels realistic or not.

How it actually sounds when you say it aloud.

Now let's take a look at one of our Oak pupils, Sophia, and what she said.

I think this is more effective because it shows us how he's feeling through his facial expressions and it feels more realistic.

So rather than simply telling us the Raskolnikov feels tense, Dostoevsky shows us through his descriptions of his facial expressions.

This is what we mean by show not tell.

So if we're thinking about how we might emulate Dostoevsky's use of dialogue, we might say that depicting the character spatial expressions and body language is one way of doing that.

So let's take a moment to practise that skill and see what it might look like.

So here are three snippets of dialogue.

Number one, Raskolnikov refusing to meet Nastashya's eye.

I responded, "I am thinking." number two, Raskolnikov crossing his arms replied, "I am thinking." And number three, the corner of Raskolnikov mouth twitched upwards, "I am thinking." So what I'd like you to do is tell me what emotions those snippets suggest.

Pause the video, take a few moments to consider.

Welcome back everyone.

Again it was great to see people actually trying out the body language and saying the phrase to see what it feels like to put yourself in that position.

Now, for number one, eye contact is extremely important in conversations.

And if someone's refusing to meet your eye, we might say they're feeling guilty or ashamed of something.

In terms of body language, having open body language is a sign of happiness and confidence.

While closed body language is a sign for drawing into yourself and creating a barrier between yourself and the other person.

So in the second snippet, crossed arms create closed body language and therefore we might suggest the characters feeling angry or defensive.

In terms of facial expressions.

If our mouths are twitching upwards, that's just a smile or hint of a smile which might suggest the characters feeling happy or they're feeling amused about something.

That's something I think we often forget to consider when writing dialogues, how to use punctuation.

I think there's something Dostoevsky's does very well.

Let's consider the following two snippets of dialogue.

So snippet one, "I am doing.

." Raskolnikov began suddenly and reluctantly.

"What are you doing?" "Work.

." And snippet two.

"What are you doing?" Asked Nastasya? "I am doing work." Raskolnikov replied suddenly.

So what I'd like you to do is tell me which of the snippets you think is more effective and why.

Pause the video.

Take a few moments to consider.

Welcome back everyone.

It was great to see people noticing the same words used in both extracts, but snippet one has used ellipsis to break up the conversation and therefore we might see it as more effective because the ellipsis creates a pause, they emphasises the character sudden emotion, and it feels more realistic.

So it feels more like an actual conversation.

Now I'd like to think more generally about the use of punctuation.

Why do you think we might need punctuation to create realistic dialogue? Pause the video like a few moments to consider.

Welcome back everyone, now as our Oak pupil Izzy said, "You might have thought that effective punctuation might show the air and flow of a conversation as well as the change in tone in our voices." So we can use punctuation to affect the way words are exchanged as well as indicate the emotion behind how the words are meant to be said.

So let's just take a moment to consider how the following types of punctuation might affect our dialogue.

So we have exclamation marks after every sentence, question marks throughout one character's speech, the use of ellipses and the use of dashes.

So pause the video, think about what those punctuation marks might suggest within dialogue.

Welcome back everyone.

It was great to see people think about when they've used those punctuation marks and what they were trying to show.

Now exclamation marks indicate a heightened emotion of some sort.

Doesn't have to be anger, it might be excitement or unhappiness.

So use them after every sentence implies the character's feeling some sort of heightened emotion.

Continual question marks.

So she'll continually questioning things which might indicate the character feels curious, they feel uncertain or they feel interested in the other person.

Now as we said earlier, an ellipsis creates a pause.

So that might indicate the character is hesitating before the answer.

So perhaps they're uncertain of what they're trying to say or perhaps they've been distracted and their words have simply trailed off.

Now a dash also creates a pause, but it indicates a more abrupt pause than an ellipsis.

So might suggest the character has been cut off by someone else or they've become distracted.

Now let's think about how you might emulate Dostoevsky's structure of his dialogue.

So in the exchange between Raskolnikov and Nastasya.

Nastasya begins a conversation by referring to the police.

Arguably, this creates a tense tone from the opening of the dialogue.

What I'd like you to consider, is what this tells us about the way that Dostoevsky's structured the dialogue.

Pause the video, take a few moments to consider.

Welcome back everyone.

As our Oak pupil Laura says, "It suggests he purposely released information in order to influence the tone of the dialogue." Now another way that Dostoevsky's structured the dialogue is through the distribution of lines between the characters.

In the exchange between Nastasya and Raskolnikov.

Nastasya takes up more space than the dialogue.

Arguably Dostoevsky's has done this to show Raskolnikov's diminished emotional state and diminished place in society.

Now, in order to think about how we might apply that idea, I want to consider following scenarios.

Scenario one, one character responds in monosyllables while the other's a lot to say.

Now monosyllabic is one of our keywords.

It means using brief or few words.

Scenario two, both characters have the same amount of dialogue and they respond similarly.

Now, what might this suggest about the emotional state of the characters and their relationship to each other? Pause the video, take a few moments to consider.

Welcome back everyone.

They might have thought the using brief or few words might indicate a negative response.

So perhaps the character feeling angry, defensive, or sad.

In terms of their relationship.

It might just the character speaking in more syllables is less powerful because they're taking up less space than the conversation.

They're not expressing themselves fully.

So perhaps they feel intimidated in some way.

In terms of second scenario, the day that both characters are taking up the same amount of space, it's just that perhaps their friends and they're giving each other an equal amount of space to talk.

It might suggest a sense of reciprocation, which is one of our keywords.

It means to respond to a gesture by making corresponding one.

So therefore that might mean the characters are sharing ideas and it could imply they have an equal amount of power.

Now for a quick check for understanding, what I'd like you to do is tell me whether the following statement is true or false.

So is it true or false, that the distribution of lines between each character is an unimportant detail.

Pause the video, and make a selection now The correct answer is false.

So very well done if you got that right.

Now I'd like to tell me why.

So why is distribution of lines between characters important? Pause the video.

Take a few moments to consider.

Welcome back everyone.

They might have said, how much space we take up in a conversation can show details of our emotional state or our relationship to the other person.

So for example, sharing equal amount of space can suggest friendship and reciprocation.

So very well done if you got that right.

You're all doing amazingly well everyone.

On to our first task of the lesson.

Now, in order to emulate Dostoevsky's work, we want to create notes on how he's crafted effective dialogue.

To do that, I want you to think back to our discussions throughout this learning cycle and annotate the examples from Dostoevsky's use of dialogue in "Crime and Punishment." So example one, "He scowled." Example two, "Praskovya Pavlovna means to complain to the police about you." she said.

Number three, "I am doing.

." Raskolnikov began suddenly and reluctantly.

And number four, Nastasya has more dialogue` during the exchange.

So what was it about those examples that we said was effective? Pause the video.

Take a few minutes to make your notes.

Welcome back everyone.

Now I'm going to share one of Oaks people's Sophia's notes.

I'd like to pair them with your notes to see if they align.

So for example, one, Sophia said it was effective using facial expressions to show emotions.

For example two, opening with police immediately brings a sense of tension.

Example three, using punctuation to show emotion and representing the realism of conversation.

And example four, using distribution of the lines to hinder the character's relationship and their emotional state.

So pause the video, compare Sophia's notes with your notes.

Are they similar or different? Welcome back everyone.

Now we're going to use our notes from this learning cycle throughout the rest of the lesson to plan and write an effective piece of dialogue.

Amazing work so far everyone.

Now in this learning cycle, I'm going to talk you through what the final task will be.

And then we're going to plan how we're going to write that final task.

Now, as I said in this learning cycle, we're going to plan our dialogue.

We're going to start by thinking about what the task is going to be.

So we're going to write our own piece of dialogue and we're going to use the same opening as Dostoevsky.

"Praskovya Pavlovna means to complain to the police about you," she said.

He scowled, "To the police.

What does she want?" "You don't pay her money and you won't turn out of the room.

That's what she wants, to be sure." However, we are going to imagine that Nastasya has offered to pay off Raskolnikov financial debts and solve his problems. Now, I've chosen this task because it will offer you a really good chance to apply what we've learned about Dostoevsky's dialogue, but in a way that allows to show different emotion.

Because emulating it's not about copying.

It's all about using tools in order to create your own writing.

So I'd like to start off by thinking about how you'd feel if someone offered to help you and solve all your problems. Pause the video, take a few moments to consider.

Welcome back everyone.

They might have said, you might feel grateful, you might feel relieved and you might feel happy.

So in order to plan our dialogue, we want to think about how we can use Dostoevsky's methods in order to show those emotions to the reader.

Now, whenever I approach a task, I always like to approach it through questions.

Because I think that gives the toolkit that can be applied to any task that you're given and it offers us a solid basis to start thinking about ideas.

So in order to plan our dialogue, we might ask the following questions, what emotions are the characters feeling? How can I show those emotions through facial expressions and body language? How can I show those emotions through punctuation? How might I represent the relationship between the characters through the structure of the dialogue and the distribution of the lines? And what word or concept might set the tone of the dialogue? As I said, these are questions you might keep in mind, for whenever you're constructing a piece of writing and you want to include some dialogue.

Now for a quick check for understanding, what I'd like you to do is tell me whether the following statement is true or false.

So is it true or false, that considering the emotional state of the character is a useful place to begin to plan your dialogue.

Pause the video, make your selection now.

The correct answer is true.

Now I'd like to tell me why.

So why might it be a useful place to start by considering the emotional state? Pause the video, take a few moments to consider.

Welcome back everyone.

They might have said, once we have a clear idea of their emotional state, we can consider how we can show that to the reader through facial expressions, body language, punctuation, and structure of the dialogue.

So very well done if you got that right.

Fantastic work so far everyone.

Now the second task of the lesson.

Where we're going to plan our dialogue.

So I'd like you to answer the following questions in order to create your plan.

So number one, what emotions are the characters feeling? Number two, how can I show those emotions through facial expressions and body language? How can I show those emotions through punctuation? How am I to represent the relationship between the characters through the structure of the dialogue and the distribution of the lines? And what word or concept might set the tone of the dialogue? Now remember in our dialogue, Nastasya has offered to pay off Raskolnikov debt.

How would that make Raskolnikov feel? What might it suggest about their relationship? Pause the video, answer the questions now.

Welcome back everyone.

Now I'm going to share with you the plan that one of the Oak pupils, Izzy put together.

Now Izzy wasn't sure about what to put for punctuation, so she left that blank.

At the moment, Izzy has the following ideas.

She thought the as Raskolnikov would be excited, relieved, and grateful.

She thought she might show that through open body languages, open arms, smiling, as well as showing that sense of relief through dropping of the shoulders and exhaling slowly.

She thought she might represent the relationship between as Raskolnikov and as Nastasya as one of friendship.

And she might show that by giving them an equal amount of lines.

And finally, she thought she might create that relived tone from the start by calling a Nastasya an angel.

As that's just sense of someone looking out for you and protecting you as well as being a positive image.

So what I'd like you to do is think about how Izzy might use punctuation to show that sense of relief.

Pause the video, take a few moments to consider.

Welcome back everyone.

Now potentially Izzy could use exclamation marks to show Raskolnikov excitement, or she might use an ellipsis to represent him pausing and slowly exhaling with relief.

Now I'd like you to read back through your own work and check your own plan to ensure it all creates a cohesive emotional reaction.

So pause the video, read back through your work now.

Welcome back everyone.

Now we're going to use our plans to write a piece of effective dialogue.

Amazing work so far everyone.

We're now the final learning cycle where you are going to write your own piece of dialogue.

Now, before we begin our writing, I just wanna take a step back.

Consider the relationship between dialogue and narrative.

Now dialogue is the words exchange between the characters.

And narrative is when you as the narrator explain what is happening.

So when writing dialogue, a key part to remember is that less is more, in terms of the actual words exchanged between the characters.

Now there's an extract from Dostoevsky's "Crime and Punishment," in your additional materials.

What I'd like you to do is just look at the extract for a moment.

Consider what you notice about the balance between dialogue and narrative.

Pause the video.

Take a few moments to consider.

Welcome back everyone.

Now as the Oak pupil, Izzy says, "The actual words only take up about half the extract.

Well the rest is a narrative description of the body language and the reactions." So make sure you keep that in mind when you're constructing dialogue.

Often a less is more approach is more effective.

So let's just take a moment to think about why a less more approach might be more effective when it comes to writing dialogue.

So pause the video, take a few moments to consider.

Welcome back everyone, as the Oak pupil Laura says, "I think because it feels more realistic.

In actual conversations, we aren't actually speaking all of the time.

We're also using our faces, hands, and bodies to communicate as part of discussion." So when you're constructing dialogue, always try to keep in mind you want it to feel as realistic as possible.

As if it's a real conversation between two people.

Now for a quick check for understanding, what I'd like you to tell me is whether the following statement is true or false.

So is it true or false, that the words exchanged between the characters should dominate your written dialogue? Pause the video, make a selection now.

The correct answer is false.

Now I'd like you to tell me why it's false.

So why should the words exchange not dominate the whole dialogue? Pause the video, take a few moments to consider.

Welcome back everyone.

You might have said, a less is more approach is often more realistic as we want to include a balance of dialogue and narrative to show the physical reactions of the characters to compliment the words exchanged.

So very well done if you've got those right.

Fantastic work everyone.

We are now at the final task of the lesson.

Where you are going to construct your own dialogue.

So in "Crime and Punishment," Dostoevsky's begins the conversation between the Nastasya and Raskolnikov with the following lines, "Praskovya Pavlovna means to complain the police about you," she said.

He scowled, "To the police? What does she want?" "You don't pay her money and you won't turn out of the room.

That's what she wants, to be sure." What I'd like you to do is imagine Nastasya has offered to solve Raskolnikov problems and pay his debts.

I'd like you to write how the dialogue would continue between them.

Now when you're writing your dialogue, remember to consider what emotion the characters would be feeling.

Consider how you can represent that emotion through facial expressions, body language, punctuation and structure.

Think about the distribution of the lines between the characters and what it might represent about their relationship.

Consider the less is more approach to dialogue.

Ensure use narrative to describe what is happening between the characters.

As well as the actual exchange of words.

So pause the video, write your dialogue now.

Welcome back everyone.

So now we've written our pieces of dialogue.

What I'd like you to do as part of reflective exercise is share your dialogue with a peer.

I'd like you to read it through together, and then reflect on the following questions.

Does the dialogue feel realistic? Have you used a less is more approach to balance the dialogue and the narrative? Have you shown emotion through facial expressions and body language? Does the use of punctuation enhance the emotion of the characters? Does the use of structure the dialogue compliment the emotion and the relationship of the characters? So pause the video, reflect on the questions now.

Welcome back everyone.

Hopefully this lesson's given you a toolkit of questions and methods you can take forward and use any time you're creating dialogue in the future.

You all did amazingly well today everyone.

Here's a summary of what we covered.

Dostoevsky's uses facial expressions, body language, structure and punctuation to create effective dialogue To emulate Dostoevsky, we might begin by asking what emotional our characters feel.

Then we might consider how we can show those emotions through body language, structure and punctuation.

When writing dialogue often less is more when it comes to the actual exchange of words between characters.

I really hope you enjoyed the lesson everyone, and I hope to see you for another lesson soon.

Goodbye.