I believe so. In its beginning, dialogue’s the easiest thing in the world to write when you have a good ear, which I think I have. But as it goes on, it’s the most difficult, because it has so many ways to function. Sometimes I needed to make a speech do three or four or five things at once—reveal what the character said but also what he thought he said, what he hid, what others were going to think he meant, and what they misunderstood, and so forth—all in his single speech. And the speech would have to keep the essence of this one character, his whole particular outlook in concentrated form. This isn’t to say I succeeded. But I guess it explains why dialogue gives me my greatest pleasure in writing. I used to laugh out loud sometimes when I wrote it—the way P. G. Wodehouse is said to do. I’d think of some things my characters would say, and even if I couldn’t use it, I would write the scene out just to let them loose on something—my private show.
: Foucault’s discourse analysis of education policy making in Cambodia from 1979 to 2013
; WOMEN AND LEADERSHIP IN HIGHER EDUCATION IN INDONESIA: A STUDY OF STATE ISLAMIC UNIVERSITY IN ACEH PROVINCE
; Governing The Good Teacher A White Governmentality Lens On The ‘White’ Teacher In South Australia’s Apy Lands
; LEADER-FOLLOWER CONFLICT: THE PERCEPTION OF SOME INDONESIAN LEADERS ON THEIR CONFLICT MANAGEMENT
; HOW HAS THE OFFICE OF THE REGISTRAR OF ABORIGINAL CORPORATIONS REPRESENTED AND POSITIONED ABORIGINAL AND TORRES STRAIT ISLANDER PEOPLE?
Associate supervisor : Equity and Diversity for Primary School Indigenous Children in Bangladesh (1) ; WOMEN FACULTY MEMBERS’ WORK AND LIVES IN STATE ISLAMIC UNIVERSITIES IN INDONESIA (1) ;