By Silvia Adela Kohan

El diálogo es una de las estrategias literarias más útiles y, a l. a. vez, una de las más dificiles de lograr. Potencia l. a. presencia de los personajes y contribuye al dinamismo de l. a. narración. Por ello, aprender a desarrollar unos diálogos convincentes y precisos es esencial para cualquier escritor.

Este handbook pasa revista a las principales funciones del diálogo en el cuento o los angeles novela y proporciona las claves para:

- Conseguir una perfecta adecuación entre los personajes y sus diálogos.
- Diferenciar las voces de los personajes.
- Jugar con los matices expresivos.
- Alternar eficazmente el diálogo y el narrador.

Las Guías del escritor son una serie de manuales prácticos ideados como ayuda y apoyo para todos los que deseen dominar el oficio de escribir. A través de ejemplos, ejercicios y utilísimas orientaciones, cada volumen cubre algún aspecto primary de l. a. creación literaria.

Una colección imprescindible para escritores noveles, redactores y estudiantes en general.

Silvia Adela Kohan es filóloga. En 1975 creó con el grupo Grafein, nacido en los angeles Universidad de Buenos Aires y tutelado por Noé Jitrik, el método del taller de escritura y las consignas que en l. a. década de 1980 introdujo en Barcelona y en centros de profesores, Institutos Cervantes y universidades de España, Francia e Italia.

Ha sido colaboradora del periódico argentino La Nación. Es autora de numerosos libros sobre técnicas literarias: Corregir relatos (1997), Cómo se escribe una novela (1998), Cómo escribir diálogos (Alba, 1999), Escribir sobre uno mismo (Alba, 2000), Crear una novela (2001), Así se escribe un buen cuento (2002), Ava lo dijo después, novela y guide de l. a. novela (2003), Los secretos de los angeles creatividad (Alba, 2003), Taller de Escritura (Alba, 2004), Taller de Lectura (Alba, 2005), Biblioterapia y cineterapia (2006), La trama en l. a. novela y el cuento (Alba, 2007). Dirige Grafein Barcelona (Talleres de Escritura y Asesoramiento para autores) y los angeles revista Escribir y Publicar. En 2005, recibió el premio Delta de Novela.

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Priestley is very careful to distinguish these general propositions which may be separately observable by all electricians from any coherent account of what electricity might be, for in his time that was only a matter of theoretical speculation about unobservable matters. By establishing a succinct codification of what is currently known, generally agreed to, and observable, Priestley clarifies the extent of shared knowledge. This brief, yet comprehensive, list allows for coordination of continuing work, recognition of novelties and anomalies in new observations, rapid socialization of neophyte electricians into the current state of knowledge, and easy reference.

He presents the different lines of investigation sometimes as having strict logical direction, with each hypothesis or problem suggesting a new experiment and the results suggesting a new problem or hypothesis. Yet he rarely concludes in any statement of great certainty or generality. At other times the sequencing of experiments seems weaker as accidental observations set the sequence in motion with no strong direction. Priestley ends such sequences just by varying the experiment to see if he can find any leads.

The Hauksbee experiments quoted above are immediately followed by further experiments to explore attraction and repulsion phenomena. This sense of a coherent program is extended beyond the work of individual researchers to be used as a n organizing device for the work of many researchers. He imposes a rational shape to communal work, which by this gesture becomes a communal research program. Such generalizing coherence, naturally enough, appears a t the head of chapters and sections, such as at the beginning of section 9: "Electricians, after observing the great quantity of electrical matter with which clouds are charged during a thunderstorm, began to attend to the lesser quantities of it which might be contained in the common state of the atmosphere, and the more usual effects of this great and general agent in nature" (1:421).

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Cómo escribir diálogos by Silvia Adela Kohan

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