Whendo you think the dialogue happen? In the afternoon In the evening In the morning In the morning DD D. Danti Master Teacher Jawaban terverifikasi Jawaban jawaban yang tepat adalah C atau D. Pembahasan Soal menanyakan kapan kiranya percapakan tersebut berlangsung.

Last updated Save as PDF Page ID40400 City College of San Francisco via ASCCC Open Educational Resources Initiative Narration Image from Pixabay When doing a close reading, you also need to keep the big picture in mind. You already know how to look for major plot points, identify the setting, and list possible themes, but you should also keep in mind who is telling you the story. The narrator, or the person telling the story, is one of the most important aspects of a text. A narrator can be a character in the story, or he or she might not appear in the story at all. In addition, a text can have multiple narrators, providing the reader with a variety of viewpoints on the text. And finally, a story can be related by an unreliable narrator – a narrator the reader cannot trust to tell the facts of a story correctly or in an unbiased manner. Note One thing you should always keep in mind is that the narrator and author are different. The narrator exists within the context of the text and only exists in the story. However, in most non-fiction and some fiction, the author can model the narrator after him or her self; in this case, the author and narrator are different people sharing the same viewpoint. Unreliable Narrators In reading a first-person narration we encounter a potential problem that we do not have when we encounter an omniscient third-person narrative such as Austen's Northanger Abbey. Can you think what that might be? The factor I was hoping you would identify is that of the degree of reliability we can attach to a first-person narrative. As we read and discover more about a narrator we receive more and more indications that determine the extent to which we can trust the voice telling us the story. Kazuo Ishiguro's novel The Remains of the Day 1989 is narrated by its central character, an English butler called Stevens, who recalls various events and incidents from the past in such a way as to constantly cast doubt on the dependability of his narration. At one point we are presented with a prolonged and heated argument between Stevens and the housekeeper Miss Kenton about the butler's ailing father, also a member of the staff of the same country house. The argument is narrated in direct speech, suggesting an authentic recreation of the actual incident, but is followed by a piece of narration by Stevens that immediately undermines our trust in his version of events But now that I think further about it, I am not sure Miss Kenton spoke quite so boldly that day. We did, of course, over the years of working closely together come to have some very frank exchanges, but the afternoon I am recalling was still early in our relationship and I cannot see even Miss Kenton having been so forward. I am not sure she could actually have gone so far as to say things like these errors may be trivial in themselves, but you must yourself realise their larger significance’. In fact, now that I come to think of it, I have a feeling it may have been Lord Darlington himself who made that particular remark to me that time he called me into his study some two months after that exchange with Miss Kenton outside the billiard room. By that time, the situation as regards my father had changed significantly following his fall. p. 60 There are numerous such examples of Stevens' "unreliability" throughout the novel. These become more significant when placed against the wider historical and political backdrop of the story. Stevens had been butler to Lord Darlington, devoting his life to the service of someone he saw as a "great man." However, as the narrative unfolds, and in spite of Stevens' selective and constantly revised memory, Darlington is revealed as an unwitting pawn of Nazism. The unreliability of Stevens' narration draws an implicit parallel between memory and history and shows both to be liable to distortion and manipulation, whether consciously or unconsciously. Fragmented Narration We can see, then, that even when the identity of the narrator of a prose fiction is made clear to us, there are possibilities for uncertainty and ambiguity. So what are we to make of the next extract? Exercise Please read the extract from A Portrait of the Artist as a Young Man by James Joyce now and consider what the narrative is describing, and try to characterize the narrative voice and perspective. Answer This is not at all an easy narrative voice to characterise. Indeed, it is difficult to define who is narrating at various points in the opening section of this novel. However, I hope you realised at least that, as with the other two extracts, this is an account of childhood experience. It even begins with the time-honoured phrase used for telling stories to children – "Once upon a time." The diction of the remainder of the opening sentence seems very childlike, an excited-sounding unpunctuated flow with repetitions of childish terms such as "moocow" and nonsense words like "nicens." We are a long way from narrative "realism" here. As the novelist Anthony Burgess has implied, a more conventional representation of the child's impressions–"My first memories are of my father, a monocled hirsute man who told me stories"–would have a very different effect on us as readers. Burgess described the beginning of Portrait as "the first big technical breakthrough of twentieth-century prose-writing" 1965, p. 50 and I hope you were able to identify aspects of the extract that might warrant such a description. The narrative seems to be made up of fragmented, unrelated associations; the father's "hairy face"; the mysterious Betty Byrne and her even more mysterious "lemon platt"; the random and sometimes distorted snatches of song and the sinister nursery-rhyme-like refrain "Pull out his eyes /Apologise"; and the unexpected reference to Michael Davitt and Parnell, which we need some knowledge of Irish politics to understand fully. But can we detect some sort of order or pattern here? I think we can, though it is by no means obvious. The passage gives me the impression of an attempt to replicate a child's growing awareness of his world, the relationships between those who populate it, and the development of his facility for language. The novel begins with an episode of storytelling as we have seen, though we can't be sure whether the child or the father is the actual speaker at that point. The child's stumbling attempts at language are suggested by the nonsensical line of song–"O, the green wothe botheth"–which seems to be a corruption of the two lines quoted prior to that. A world of sensations, sight, sound, touch, smell, and movement is invoked and gradually the wider world begins to impinge and we can see the child beginning to categorise and impose order on his growing knowledge, recognising different smells and the ages of the adults around him. The family unit is then transcended as mention is made of the Vances and the "different father and mother," again implying a developing awareness on the part of the child-narrator. The sense of fragmentation remains strong, however, with the unexplained incident of the child hiding under the table we are not told why he is there or why he must apologise. The critic Hugh Kenner has described the opening of Portrait as "contrapuntal," and there are certainly at least two contrasting perspectives revealed in this extract what Kenner calls "an Aristotelian catalogue of senses, faculties, and mental activities" combined with "the unfolding of the infant conscience" quoted in Beja, 1973, p. 126. Narrative Organization The way a story unfolds is as important as who tells it. Even though prose is just “regular writing,” there are many different kinds of prose. Some prose is written as short stories, while other prose is written as novels and novellas. Each type of prose has its own organizational scheme as well. For instance, some stories are organized into large sections, while others are organized into chapters. Some prose is even organized into sections of journal entries or letters between characters. It is important to note how an author divides a story. Ask yourself why a chapter ends where it does. Does the chapter ending add suspense to the story, or does it just provide a place to transition to another character's point of view? Does each section of a story have its own theme, or is there only one overarching theme? If you are reading an epistolary novel, why do you think one character chose to reveal certain information to another? Paying attention to how a text is organized, divided, and sub-divided will provide you insight into the plot and theme. Points of View All prose is written in one of three points of view first-person narration, third-person limited narration, and third-person omniscient narration. First Person First-person narration is written in the first person mode, meaning that that story is told from the viewpoint of one person who often uses language like “I,” “you,” or “we.” A first-person narrator can even be a character in the story she is narrating. Furthermore, the narrator will have a limited perspective; he cannot tell what the other characters are thinking or doing, and his telling of the story is influenced by his feelings about the other characters, the setting of the story, and the plot. When you read prose related by a first-person narrator, pay attention to the narrator's biases – they can tell you a great deal about the other elements of the story. For instance, here's an example of first-person narration As I walked home from the store, I could feel the cool spring breeze stir my hair. It was getting warm, and I had been looking forward to the end of snow, sleet, and rain for the past few months. I saw Charley coming down the sidewalk towards me. He was a nice guy, that Charley, but I always thought he was a few bulbs short of a chandelier. He waved at me, and I nodded in return. As you can see, in the first-person mode, the narrator tells the story directly from his point-of-view. He has the ability to influence the reader's opinions of characters through his narration – here the narrator explains Charley is not a very intelligent person. However, for all the reader knows, this could just be the narrator's bias, not fact. Thus, when you read a story written in the first-person mode, look for evidence to support the narrator's claims. Exercise How would you describe the narrative voice and perspective of this extract? Click to read the opening of Great Expectations by Charles Dickens. Answer This is an example of first-person narration. The story is told by a character who is also a protagonist in the narrative. In Great Expectations, as in most first person narratives, the narrator is also the central character. The opening paragraph, with its emphasis on the narrator's family background, and the repetitions of his name – "So I called myself Pip, and came to be called Pip" – are an immediate suggestion that the character telling us the story is likely to be at the heart of it. This is further reinforced as we are then given more information about his family and his circumstances. The story begins, then, with the narrator giving us an introduction to his own childhood, moving rapidly from the general to the particular and his meeting with the "fearful man" he met in the churchyard. Again, the relation of this incident at the start of the novel leads us to attach some significance to the episode and its participants, raising expectations that are not fulfilled until much later in the narrative. Here, and throughout Great Expectations, there is in a sense a dual narrative perspective, presenting events narrated by the adult Pip which are at times mediated through the perceptions of the child Pip. The opening encounter in the churchyard, for instance, is enacted with a vivid immediacy. Look again at the point at which the narrative shifts from description to direct speech. The rapidity of the exchanges, with further repetitions of the main character's name and the allusion to his feelings of terror, engage us much more directly with the boy's feelings of horror and dismay. Third-Person Limited and Omniscient Third-person narration is related by someone who does not refer to him or her self and does not use “I,” “you,” or “we” when addressing the reader. Here's the same story as above, told in third-person narration As Bill walked home from the store, he could feel the cool spring breeze stir his hair. It was getting warm, and he had been looking forward to the end of snow, sleet, and rain for the past few months. He saw Charley coming down the sidewalk towards him. Charley was a nice guy, but he was a few bulbs short of a chandelier. Charley waved at Bill, and he nodded in return. In this example, the story is told by someone looking at the characters from an outside perspective. A third-person narrator will not be a character in a story, but an outside entity relating the story's events. Third-person narrators rarely give biased accounts of events, but sometimes you will encounter an unreliable third-person narrator. Some third-person narrators tell from a limited perspective. These narrators relate a story from one point of view, which is often the main character's point of view. Because readers can only tell what that character is thinking and feeling, they have a limited perspective of what other characters are thinking and feeling. In addition, since only one character's perspective is narrated, the audience gets to see the world through that character's eyes; this can be good for revealing certain facts about setting and character, but it can also present a slightly biased story. The other type of third-person narration is told from an omniscient perspective. This means that the narrator relates the story in third person but has access to all information in the story. The third-person omniscient mode is often used when an author wants to relate a text through the viewpoints of several characters. Third-person omniscient narrators tend to be the most reliable narrators, as they can present all the facts of a story. Finally, you will sometimes encounter a story that is told in first-person narration by multiple narrators. When reading a multi-narrator text, you must always be aware of who is speaking. Multi-narrator prose provides the reader with as much insight about the characters as third-person omniscient narration does. However, because the reader only receives first-person accounts from each character, this kind of narration tends to be very biased. Thus, it is up to the reader to analyze the information provided by the narrators to reach conclusions about the story. Omniscient Narrators This would perhaps be a good point at which to say a little more about third-person narrators. These are often known as an "omniscient" narrators. An omniscient narrator is one that exhibits full knowledge of the actions, thoughts and feelings of each of the characters in the story. Austen invariably used this omniscient perspective, and it remains a popular means of narration amongst contemporary writers. Indeed, more recent authors have made great play of drawing attention to the narrator's role as an all-powerful figure, an embodiment of the author who has full control of the characters at his or her mercy. The beginning of Martin Amis' novel London Fields demonstrates this well This is a true story but I can't believe it's really happening. It's a murder story, too. I can't believe my luck. And a love story I think, of all strange things, so late in the century, so late in the goddamned day. This is the story of a murder. It hasn't happened yet. But it will. It had better. I know the murderer, I know the murderee. I know the time, I know the place. I know the motive her motive and I know the means. I know who will be the foil, the fool, the poor foal, also utterly destroyed. And I couldn't stop them, I don't think, even if I wanted to. The girl will die. It's what she always wanted. You can't stop people, once they start creating. What a gift. This page is briefly stained by my tears of gratitude. Novelists don't usually have it so good, do they, when something real happens something unified, dramatic and pretty saleable, and they just write it down? 1989, p. 1 We might be forgiven for thinking that this is the direct voice of Martin Amis himself. After all, he is the author of the novel, the manipulator of events and characters. But as we read on we realise that this narrator is another character, an American writer called Samson Young, who is living in London in the flat of yet another fictional writer, Mark Asprey note the initials. To further confuse matters a writer called Martin Amis also makes a cameo appearance in the novel! London Fields uses a variety of narrative perspectives. When Samson Young is actually present at the events described first-person narration is used; when he is not we have something akin to the omniscient narrator of the Austen extract in Activity 2, but we also have the sense that that narrator has a name and a role in the novel. Video Point of view/narrator Dialogue/Dialog Dialogue is defined as a conversation between two or more people in a movie. In addition, a fictional piece could have a monologue where a character is speaking out loud when he or she is alone. A character, for example, may contemplate the pros and cons of taking some form of action in a monologue. Dialogue, monologue, and narration progresses the story in literature. When analyzing character , the terms dialogue, monologue, and soliloquy take on increased importance. Conversation between two or more characters is referred to as dialogue usually the majority of speech in plays consists of dialogue. A monologue is when one character delivers a speech to convey his or her thoughts, although other characters may remain on stage in scene. Similar to a monologue, a soliloquy is a speech made by one character but delivered when he or she is alone on stage. Knowing the root words of each term can help clarify the distinction. Monologue comes from the Greek words monos single and legein to speak; soliloquy comes from the Latin words solus alone and Ioqui to speak. What would fiction be without dialogue? Take a look at the following example of a scene with and without dialogue. Jack, Suzie and Alec are walking home after work. Jack begins the conversation, as he always does. Suzie speaks, as she is always the first one to respond. Alec is silent for a moment and the other two stop walking. Alec notices that they stopped so he stops walking too. Bewildered, Alec mumbles. Jack retorts. Alec looks at them both. Suzie interjects. Alec returns a comment. After a brief moment of silence where all three look at one another, they shrug their shoulders and begin to walk again. Suzie questions. Alec comments again. There is silence again and Suzie stops the other two. Suzie speaks. Jack interjects again. Alec calmly states. Jack and Suzie look at each other stunned. The above scene, with no dialogue but just a description, is only a group of actions with no meaning. They could refer to almost any type of situation. As a viewer, after watching the above scene, would you be interested enough in watching the rest of the movie with no dialogue? Now read the scene with dialogue. Jack, Suzie and Alec are walking home after work. Jack begins a conversation as he always does, “How was the work day?” “All right,” Suzie says as she is always the first one to respond. Looking at Alec, Jack asks, “How was your day, Alec?” Alec is silent for a moment as the other two stop walking. Alec notices that they stopped walking so he stops. Bewildered, Alec mumbles, “What?” “How was your day?” Jack retorts. “Fine, fine.” Alec looks at them both. “How do you think it was?” “I don’t know. That’s why I asked.” Suzie interjects, “That’s why we asked. We like to know how your day was.” “Oh,” Alec returns. After a brief moment of silence, where all three look at one another, they shrug their shoulders and begin to walk again. “Wait a minute! You never did tell us how your day was,” Suzie questions. “Yeah!” agrees Jack. “Oh,” Alec comments again. There is silence again and Suzie stops the other two. “Well…” Suzie says. “Yeah,” interjects Jack again. “I quit my job,” Alec calmly states. Jack and Suzie look at each other stunned. The dialogue gives the viewer an understanding of what is going on. If the above scene was at a beginning of the fiction piece, the viewer would have an idea what the conflict in the story was going to be. Contributors and Attributions Adapted from Writing About Literature The Basics by CK-12, license CC-BY-NC Adapted from the course Approaching Prose Fiction from OpenLearn licensed under CC-BY-NC-SA Adapted from What is Sound? in Exploring Movie Construction and Production, license CC-NC-SA Adapted from Elements of Drama in Literature for the Humanities, source Florida State College at Jacksonville, license CC-BY Attribution

Ifyes, try to reshape your thinking. Any activity is better than none when it comes to lowering your blood sugar. Snatch 10 minutes here and 10 minutes there, and you'll soon accumulate your daily 30 minutes. • Assess your steps for a few days by wearing a pedometer (a small device that fits on your waistband).

Dialogue writing for new fiction authors can sometimes pose a in fact, writing dialogue is easy as long as you follow a few simple you need to do is make sure that you are consistent in your tense usage and it is possible to write dialogue in both past and present is dialogue?You want to show your readers what your characters think and dialogue will communicate the personality and emotions of your general rule of thumb is to write the way people you want to have your character speaking in the most natural voice one of your characters will have their own will help you create unique character profiles in your you need to be careful, especially with your consistency in you are new to dialogue writing, one of the best pieces of advice is to read your dialogue is the easiest way to make sure that what you write sounds natural and has the right emotion in your let’s look at how you can use tenses in your dialogue writing tensesThe most common form you see is a dialogue using the past is the standard he said, she said style that you see in most fiction novels or even short it is possible to use simple present tense dialogue. You write your dialogue using present tenses and change the dialogue tag to she says, he the past tense dialogue is the most common, it’s up to you which one you is an extra possibility when you use reported speech within your form incorporates the use of the past course, once you decide on a tense form, you need to use it consistently and not mix your at the examples below to see the difference between present tense and past tense tense dialogue examplesStanding at my friend’s birthday party, we are just having so much fun.“Hey, Kate,” says Lorraine.“How is your birthday going so far?” I ask.“It’s going great, and I just want to thank you for all your help,” Loraine tense dialogue examplesLast week I was at Lorraine’s house for her birthday had so much fun, and at the end of the party, Lorraine called me aside and said we needed to talk.“What do you want to talk about?” I asked.“I just wanted to thank you for all your help with the party,” Lorraine said.“Oh, it was nothing. All I did was pick up the balloons,” I tagsInstead of explaining through your narrative, you can create emotion, feelings, and atmosphere with your written can use a lot of dialogue tags, but the most common one is the verb it is non-emotive, it is a safe tag to mark dialogue changes from one character to tend to read through this tag without there are many other words for said, such as screamed, observed, cried, and denied, to name a word choice can help you be more specific about the character’s emotions when they say are often necessary to help readers understand the emotion of dialogue, but you should avoid overusing only two characters are talking, you might want to omit the if there are three characters in the conversation, you definitely need to use tags to identify who is dialogue tagsIf you decide not to add a tag to a line of your dialogue, the reader must be able to assume who is speaking.“I’m not sure if I should apply for this job,” Ryan said.“Is it a good salary?” Mary asked.“Yes, it’s much more than I am getting paid now.”“Well, what are you worried about? Apply for it is and see how you get on.”“I suppose you’re right.”In this example, there is no need for tags after the first two the two characters are identified, it is clear who is speaking in the long as each utterance starts on a new line, it is easy for a reader to adverbsIn good dialogue writing, it is always best to avoid adding adverbs to your is a very common writing fault for new writers of King famously said, “the road to hell is paved with adverbs.”Whenever you use an adverb, find a better way to communicate the emotion you are trying to said quietly. PoorShe whispered. BetterHe shouted loudly. PoorHe bellowed. BetterShe said sadly. PoorShe moaned. BetterYou can almost always communicate your message without the use of to over-explain in a dialogue tag is weak writing and can cause distraction from the flow of your best rule is to keep your tags as simple as possible. Your storyline should be more than enough for your reader to writing punctuationThere are a variety of punctuation rules for one basic rule is easy to follow. When formatting dialogue, the comma is inside the not only the comma. You need to include any punctuation within your quotation marks.“That’s all I need right now.”“What are you doing?”“Don’t do it!”“I don’t know if I can do it,” he you can see, when you use a question mark, exclamation, period full stop, or comma, they are always before the closing quotation you use a tag before an utterance, the same rule applies. However, there is an extra comma after the said, “I’m ready to go now.”Michael asked, “How much is a ticket to London?”Lee screamed, “That’s it. I quit!”Quotation marks for dialogueThis is a personal choice for many prefer to use curly double quotation marks, others might prefer double can also use single quotation marks. These are becoming popular in ebooks, is the choice to use no quotation Tim Winton’s book, Cloudstreet, he uses no quotation marks at all in the must admit it was a bit disconcerting when I first started reading the after a while, I quite enjoyed the change and had no problem understanding the and punctuating dialogue is not a difficult task at all, even for a new fiction you need to do is follow the basics. You will probably choose to write your dialogue using the past you can experiment and try using dialogue in present tense using present simple and present continuous you are writing, don’t worry too much about the can always check and correct issues when it comes time to read and edit your you can save yourself a lot of time by remembering to include any punctuation before the closing quotation it a habit, and your writing will flow more far, the most vital part of great dialogue writing is to use it to show your story rather than telling it in your reading How To Maintain Tense Control In Your Writing Hereare four reasons I find helpful in generating it in my own writing: Limited "resources" - when a resource is limited, people will argue and fight over it. Don't let yourself focus on the obvious, like limited food. 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^{when does the dialog happen? when does the dialog happen?​ 1When does the dialog probably happen? 2Who do you think deswita is? 3What are they talking about? 4How will they conduct the event? How do you know? 5Wat will happen if the referee is titinada fair?​ 1When does the obrolan probably happen? 2Who do you think deswita is? 3What are they talking about? 4How will they conduct the event? How do you know? 5Wat will happen if the referee is not fair?​ Jawaban PEMBAHASAN = The Dialog probably happens in the afternoon = Deswita is a leader of osis = They are talking about the plan of the interschool futsal competition = They will bedak to Mr. Rizal as their PE teacher and they will choose fair ones of the referee to avoid bad happenings = From the conversation between Deswita, Randy and Mario = if the referee is not fair, the participants will be angry etc. Pelajari juga Soal Tentang Interlokusi OSIS yang lain Detil Jawaban when do you think the dialog happen ? when does the dialog happen? artinya bilamana obrolan itu terjadi? & terus mana dialognya? when does the dialog happen?​ Jawaban where’s the dialog? T_T 1When does the dialog probably happen? 2Who do you think deswita is? 3What are they talking about? 4How will they conduct the event? How do you know? 5Wat will happen if the referee is not fair?​ P e n e r j e m a h a n 1 Kapan obrolan mungkin terjadi? 2 Menurut Anda, siapakah deswita? 3 Segala yg mereka bicarakan? 4 Bagaimana mereka akan menyelenggarakan acara tersebut? Bagaimana Dia tahu? 5 Apa yg akan terjadi jika wasit tak adil? j a w a b a lengkung langit n y a p i k i r s e n d i r i y h s o a l x g a k a d t e k s x 1When does the obrolan probably happen?2Who do you think deswita is?3What are they talking about?4How will they conduct the event? How do you know?5Wat will happen if the referee is not fair?​ Jawaban 1. The Dialog probably happens in the afternoon 2. Deswita is a leader of OSIS 3. They are talking about the plan of the interschool futsal competition 4. They will talk to Mr. Rizal as their PE teacher and they will choose fair ones of the referee to avoid bad happenings. From the conversation between Deswita, Randy and Mario 5. if the referee is not fair, the participants will be angry etc. PEMBAHASAN 1. When does the obrolan probably happen? Kapan kemungkinan obrolan itu terjadi? = The Dialog probably happens in the afternoon Dialog itu kemungkinan terjadi di siang hari Penjelasan Karena rapat osis kebanyakan terjadi di sekolah, setelah radu pembelajaran & peluang di [siang musim]. 2. Who do you think deswita is? Menurutmu siapa deswita itu? = Deswita is a leader of osis Deswita yakni seorang kepala/majikan osis Penjelasan Karena pada awal teks, Deswita yg membeberkan berapatan Deswita yg menunjuk jabatan & di tamat wacana, Deswita berterimakasih atas kedatangan anggota OSIS 3. What are they talking about? Apa yg mereka bicarakan? = They are talking about the plan of the interschool futsal competition Mereka semenjana membicarakan rencana kompetisi futsal antar sekolah Penjelasan Terwalak lega kalimat mulanya Deswita yg menyatakan bahwa mereka sedang berdiskusi ihwal planning tersebut. 4. • How will they conduct the event? Bagaimana mereka akan mengadakan programa? = They will talk to Mr. Rizal as their PE teacher and they will choose fair ones of the referee to avoid bad happenings Mereka akan mengatakan dgn Pak Rizal selaku guru olahraga mereka & mereka akan menentukan wasit yg objektif untuk menghindr hal buruk • How do you know? Bagaimana ananda tahu? = From the conversation between Deswita, Randy and Mario Dari Percakapan antara Deswita, Randy & Mario Penjelasan Karena dlm mengadakan sebuah program harus suka-suka ijin Selain itu mesti bisa mengidas wasit yg adil agar hal jelek tak terjadi 5. What will happen if the referee is not fair? Segala apa yg akan terjadi bila hakim tak independen? = if the referee is titinada fair, the participants will be angry etc. Jika wasit lain adil para peserta akan berang dll Penjelasan Hal-kejadian terburuk akan terjadi dikala penengah curang riuk satunya yakni kicauan yg akan Timbul dr para akseptor. ___________________________ Pelajari pula Cak bertanya Tentang Percakapan OSIS yang lain Wargamasyarakatorg . === Semoga Membantu === Detil Jawaban Mapel Bahasa Inggris Materi Reading Kategori Conversation Level JHS Kode Soal 5 Kode Kategorisasi BackToSchool2019 when do you think the dialog happen ? Jawaban Kemujaraban dr when do you think the dialog happens yakni “pron bila menurutmu percakapannya terjadi.” Mandu menjawab tanya di atas adalah “I think the obrolan happens …”. Penjelasan Karena pada soal lain dilengkapi dgn obrolan, maka aku sekadar boleh menerjemahkannya belaka. Cak bertanya yg serupa dgn pertanyaan di atas yg n kepunyaan makna yg sama yakni Where do you think the dialog takes place? Where does the obrolan probably happen? Pelajari lebih jauh adapun hipotetis pertanyaan & soal yg serupa dgn tanya di atas pada https//Wargamasyarakatorg . BelajarBersamaBrainly} ForFallout 4: Game of the Year Edition on the PlayStation 4, a GameFAQs message board topic titled "Question/concern on quest mods. What will happen to player dialog choices??". Read the dialog carefully to answer no 1-4 Mr. Kardi, biology teacher is going to the laboratory, meets Wahyu at break time. Wahyu Good morning, sir Mr. Kardi Good morning Wahyu, why are you in hurry ? Wahyu I am going to library sir. I want to borrow some books to read. Mr. Kardi Great, How diligent you are! Wahyu Thank you, sir. Sorry, I must go now. See you. Mr. Kardi See you. . 286 242 372 43 449 301 439 355

when do you think the dialog happen