“There were two things about this particular book (The Golden Book of Fairy Tales) that made it vital to the child I was. First, it contained a remarkable number of stories about courageous, active girls; and second, it portrayed the various evils they faced in unflinching terms. Just below their diamond surface, these were stories of great brutality and anguish, many of which had never been originally intended for children at all. (Although Ponsot included tales from the Brothers Grimm and Andersen, the majority of her selections were drawn from the French contes de fées tradition — stories created as part of the vogue for fairy tales in seventeenth century Paris, recounted in literary salons and published for adult readers.)
I hungered for a narrative with which to make some sense of my life, but in schoolbooks and on television all I could find was the sugar water of Dick and Jane, Leave it to Beaver and the happy, wholesome Brady Bunch. Mine was not a Brady Bunch family; it was troubled, fractured, persistently violent, and I needed the stronger meat of wolves and witches, poisons and peril. In fairy tales, I had found a mirror held up to the world I knew — where adults were dangerous creatures, and Good and Evil were not abstract concepts. (…) There were in those days no shelves full of “self–help” books for people with pasts like mine. In retrospect, I’m glad it was myth and folklore I turned to instead. Too many books portray child abuse as though it’s an illness from which one must heal, like cancer . . .or malaria . . .or perhaps a broken leg. Eventually, this kind of book promises, the leg will be strong enough to use, despite a limp betraying deeper wounds that might never mend. Through fairy tales, however, I understood my past in different terms: not as an illness or weakness, but as a hero narrative. It was a story, my story, beginning with birth and ending only with death. Difficult challenges and trials, even those that come at a tender young age, can make us wiser, stronger, and braver; they can serve to transform us, rather than sending us limping into the future.”
― Terri Windling, Mirror, Mirror on the Wall: Women Writers Explore Their Favorite Fairy Tales
There are two types of dialogue: direct and indirect
Direct dialogue is speech using the character’s exact words. In this case, quotation marks are used.
Indirect dialogue is a second-hand report of something that was said or written but NOT the exact words in their original form.
When writing a narrative essay, you are telling a story. That story can become confusing for the reader, though, when dialogue is added, unless it’s very clear who is doing the talking. Knowing how to quote someone in an essay can help your reader more easily follow the flow and action of the story.
Let’s focus on the writing of direct dialogue by looking at some narrative essay example sentences.
There are some rules to follow when writing direct dialogue in your narratives:
Rule #1: Use quotation marks to indicate the words that are spoken by the characters.
Example: “Help me!” exclaimed the little girl.
Rule #2: Always begin a new paragraph when the speaker changes.
“I am coming home,” Sue announced. “I am really tired and can’t work anymore.”
“Okay, I think you should do that,” her husband agreed.
Rule #3: Make sure the reader knows who is doing the talking.
Rule #4: Use correct punctuation marks and capitalization.
“May I buy a new pair of shoes?” Lauren asked her mom.
Note that the quotation marks are outside the end punctuation of the quote; the rest of the sentence has its own end punctuation.
If the quote is not a question or exclamation, use a comma and not a period before the second quotation marks.
“I bought a new jacket yesterday,” Tammy said.
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