Problem: Article: Listen to the way people talk to one another and use those conversations and patterns in your dialogue to make it sound authentic. You'll notice that people talk differently when they're with different people, so make sure that you include that when you're writing dialogue. Disregard parts of the conversation that will not translate well when written down. For example, every "hello" and "goodbye" does not need to be written. Some of your dialogue might start with a "Did you do 'this'?" or "Why did you do 'this'?" Keep a notebook to record small pieces of real-world dialogue that stand out to you. To get a good feel for the balance that you need in your dialogue between realistic speech and book speech you need to read good dialogue in books and in movies. Look at books and scripts and see what works and what doesn't and try to figure out why. Look for writers whose dialogue rings true to your ear, regardless of what other readers or critics may say. If you need a starting point, you might check out the work of Douglas Adams, Toni Morrison, and Judy Blume, who are known for their realistic, layered, and vivid dialogue. Checking out and practicing writing dialogue for screenplays and radio plays is really useful in developing dialogue, since those are both very dependent on dialogue. Douglas Adams, from the above writers, got his start writing radio plays, which is one reason for his fantastic dialogue. You will need to completely understand your characters before you can make them talk. You'll need to know things like whether they're taciturn and monosyllabic, or whether they love to use lots of big words to impress people, and so on. You don't need to write every character detail into your work, but you should know them yourself. Things like age, gender, education level, region where they're from, tone of voice, will all make a difference in how a character talks. For example, a poor American teen girl is going to talk very differently from a rich, old, British guy. Give each character a distinct voice. Not all of your characters are going to use the same vocabulary, tone or method of speech. Make sure each character sounds different. Stilted dialogue might not completely kill a story, but it can definitely jerk a reader out of the story, which as a writer, is something you're trying not to do. Occasionally stilted dialogue does work, but only with the most specific kind of story. Stilted dialogue is dialogue that only works on the obvious levels and in language no one would use. For example: "Hello, Jane, you look sad today," said Charles. "Yes, Charles, I am sad today. Would you like to know why?" "Yes, Jane, I would like to know why you are sad today." "I am sad because my dog is sick and it reminds me of the death of my father two years ago under mysterious circumstances." How the dialogue above should have gone: "Jane, is something wrong?" asked Charles. Jane shrugged, keeping her gaze fixed on something out the window. "My dog's sick. They don't know what's wrong." "That's terrible, but, Jane...well, he is old. Maybe that's all it is." Her hands clenched on the windowsill. "It's just, it's just, you'd think the doctors would know." "You mean the vet?" Charles frowned. "Yeah. Whatever." The reason the second one works better, is that it doesn't come right out and say that Jane is thinking of her deceased father, but it does lean towards that interpretation, especially with her using the word "doctors" instead of "vet." It also flows better. An example where stilted dialogue works is Lord of the Rings, where the characters' conversations can get very grand and eloquent (and unrealistic). This is a good choice for a book that's written in the style of old epics, like Beowulf or The Mabinogion.
Summary: Pay attention to actual conversations. Read good dialogue. Develop your characters fully. Learn to avoid stilted dialogue.

INPUT ARTICLE: Article: When the whitefish steaks are well drained, transfer them to a serving platter or plate. Handle the fish carefully when moving them to the plate to ensure that they don't break. To keep the boiled fish warm, it helps to warm the platter before you place the steaks on it. You can warm an oven- or microwave-safe plate in the respective appliance to warm it, or simply run the platter under hot water to warm it up. Once you've set the fish on the platter, transfer the potatoes and onions from the pot to the platter with the slotted spoon. Arrange them so they're surrounding the fish, and then garnish with 2 tablespoons (30 g) of fresh flat-leaf parsley that's been finely chopped. You should also season the entire platter with plenty of freshly ground black pepper to taste. When you bring the boiled fish to the table, have pound (113) melted, unsalted butter on hand to pour over it. Make sure to have at least 4 lemon wedges as well for guests to squeeze over the fish.

SUMMARY: Remove the fish from the pot and put on a platter. Place the vegetables around the fish and garnish with herbs. Serve the fish with melted butter and lemons.

In one sentence, describe what the following article is about: Next, press "System & Security". Press "System" and read the results.
Summary:
Click "Control Panel".