Sentences with phrase «spoken by your characters»

~ J.K. Rowling, «The Pensieve,» Harry Potter and the Goblet of Fire, 2000, spoken by the character Albus Dumbledore

~ J.K. Rowling, «Padfoot Returns,» Harry Potter and the Goblet of Fire, 2000, spoken by the character Sirius Black

~ J.K. Rowling, «The Mirror of Erised,» Harry Potter and the Sorcerer's Stone, 1997, spoken by the character Albus Dumbledore

~ J.K. Rowling, «The Parting of the Ways,» Harry Potter and the Goblet of Fire, 2000, spoken by the character Albus Dumbledore

~ J.K. Rowling, «Dobby's Reward,» Harry Potter and the Chamber of Secrets, 1999, spoken by the character Arthur Weasley

~ J.K. Rowling, Harry Potter and the Chamber of Secrets, 1999, spoken by the character Albus Dumbledore

~ J.K. Rowling, «The Secret Riddle,» Harry Potter and the Half - Blood Prince, 2005, spoken by the character Albus Dumbledore

~ J.K. Rowling, «The Egg and The Eye,» Harry Potter and the Goblet of Fire, 2000, spoken by the character Mad - Eye Moody

~ J.K. Rowling, «The Cave,» Harry Potter and the Half - Blood Prince, 2005, spoken by the character Albus Dumbledore

«I don't want to feel adrift in some nebulous middle ground,» she says, in a monologue that's typical of Perry's leisurely, unfashionably literate dialogue, spoken by characters who aren't afraid of their own eloquence.

A more simple option may be to simply break up paragraphs if it's logical (for example, a line of dialogue broken off from a chunk of prose), or combine them (if dialogue is spoken by a character in direct relation to the chunk of prose).

Quotation marks should surround only the text spoken by a character — not the attribution (he / she said), and not reported speech (I told him yes).

Are your readers experts in a field, or do they have useful insider knowledge regarding the setting for your book, or the languages spoken by your characters?

Not exact matches

«It's not what Mark had in his head initially, and that's why he's spoken very openly about his being caught off guard by the script and where the character ends up,» Johnson said.

In one of the most quoted parts of the speech, he spoke of his wish to see his children judged not by the color of their skin, but by the content of their character.

Indeed, if you listen on occasion to O'Leary's turns on the radio, you may observe he speaks at times like a character out of a novel by the libertarian author Ayn Rand.

And so I have decided to go to Jerusalem, where God was seen as man and spoke with men and to adore the place where his feet trod» (p.104 - 5) These examples bring the characters — and by extension, their history — to life.

For example, in his days as an undergraduate at Oxford Waugh's fellow student Harold Acton used a megaphone to shout out lines from T. S. Eliot's The Waste Land from an open window of his upper - storey college suite and was later thrown into a fountain by some drunken students in the middle of the night; while another student, Brian Howard, spoke with a stutter and gossiped his head off: all of which got fused in the character of Anthony Blanche in Brideshead Revisited.

Thus, while strictly speaking, the conjunction of a contingent statement — that oppression is real — with a metaphysically necessary statement — that God is G - of - A — yields what is technically another contingent statement — that God is G - of - O; there is a certain undeniable ineluctability about the truth that if oppression is real, then God can not fail to be G - of - O, which compels me to indicate its ineluctable character by saying that it is «restrictive yet necessary» (and here necessary does not mean metaphysical necessity).

We may speak by analogy with Hartshorne's «neoclassical theism» of Whitehead's neoclassical empiricism» precisely because it is a self - conscious revision of the classical tradition on the one hand and can be seen to consist in an analysis of the formally possible doctrines regarding the character and content of experience on the other.

But when he speaks of «the creative advance into novelty,» you have to give it some character by which it is an active transfer of properties.

Speaking in support of the turkey, Benjamin Franklin wrote: «I wish the Bald Eagle had not been chosen as the representative of our country: he is a Bird of bad moral character: like those among Men who live by Sharping and Robbing, he is generally poor and very often lousy.

«Patrick's ability, vision and the respect in which he is held by everyone who works with him, speaks volumes for his character and capacity to succeed.

The leadership of Cesc and the resilience and character of the whole team speaks volumes for Wenger's faith in this side, and there will be no better way to confirm this than by lifting the Premier League trophy in May.

Speaking of character, the name Alice was popularized by Lewis Carroll «s books Alice in Wonderland and Alice Through The Looking Glass.

He was universally admired by Democrats and Republicans, which speaks volumes about his character,» Flanagan said.

Sadly, whereas there are agreements by everyone of the need to put anti-corruption war at the top of the agenda, the 8th National Assembly has been playing the role of a Janus and in the typical character of the famed double - faced Roman myth — the 8th Assembly has one face where it speaks of the importance of anti-corruption and another face, a face and symbol of corruption.

It was the same length and spoken by the same character at around the same point in the film.

Never toss out ideas, and bits of beautiful, raw life (like words spoken by strangers, a character you meet on the bus, or the shape of a cloud in the sky).

In the film, Ben Stiller's Walter Mitty character speaks on the phone with his «eHarmony counselor,» who guides him through the process by helping him to build a great profile and coaching him when he hits stumbling blocks.

These indelible and infinitely quotable words spoken by our favorite TV characters and personalities are forever etched in our brains.

Manifesto's visual inventiveness and Blanchett's multifarious performances make the movie consistently engrossing, even when the relationship between Blanchett's character and the words coming out of her mouth — or, more often in this version, spoken by her in voiceover — seem purely arbitrary.

In one, Deanna's fear of speaking in front of a class, completely unmotivated by anything we know about her character up to that point, causes her to regress from sweaty - pit dread to phlegmatic panic to total, collapsing bodily rejection.

A commentary featuring producer Jeremy Thomas and Ben Kingsley is your usual run - of - the - mill back - patting session, though the pair does intermittently provide deeper insight into the making of the film, and it's admittedly fascinating to hear the soft - spoken and eloquent Kingsley articulate the process by which he gave life to Don Logan while he observes the sheer cruelty of the character on screen.

Throw in Neil Patrick Harris — once again playing the Bizarro World version of himself — shattered and reinforced redneck stereotypes and a delightful take on Dubya [here, he may not speak real good English, but he's slyer, smarter and mellower than we are expecting] and the result is a solidly funny movie that Says Something more by highlighting the characters of Harold and Kumar than by the political jokes.

Full of ideas that are usually more clever than funny — e.g., the running joke satirizing lack of communication between men and women by having the characters speak jibberish, generic phrases, or different languages — but it should prove interesting and inventive enough to keep smart people watching to the end.

He gets off on the wrong foot from the get - go by opting for a faux - documentary framing device that has his characters» present - day incarnations speaking directly to the camera.

The film follows the actress, played magnificently by Juliette Binoche as she hesitates and then prepares for the new production, and Assayas manages to mix the actress's feelings with the text of the play so that you never quite know if the actress or her character in the play is speaking.

From the outset the opening title card speaks of «irony free» interviews done by the original characters at the heart of one of the most covered sports scandals of all time.

I am frustrated by the lack of modern - or future - set films without strong female characters, but I'm aware that, historically speaking, women haven't been given much training in warfare or an equal share of about anything.

As a UC Berkeley engineering major named Ryan, Prinze doesn't act so much as just speak while being filmed, leaving his entire character to be defined merely by the fact that he wears two watches.

While some people may be put off by the now speaking Lego characters it is good to note that they don't talk all the time and there are still plenty of cutscenes where they are just gesturing.

Rooney's character at the start of Carol is already in a relationship with an over-eager boyfriend Richard, played by Jake Lacy who spoke about Richard:

There's this bizarre concern by Hollywood that audiences will rebel if they don't fully understand what's going on at every given moment, and so characters talk to themselves, motivations are spelled out in voiceover, and everyone, especially in action movies, speaks of what they have to do and why they have to do it.

A fan recounts taking her father to see Rogue One, where he was taken aback by seeing Luna's character, a hero, speak in a Mexican accent not too different from his own.

Adapted from stories drawn from Giovanni Boccaccio's medieval book «The Decameron,» the film draws humor from the tension between its setting and the way the characters speak and interact as a story unfolds about a fugitive servant (Dave Franco) who pretends to be a deaf - mute to be taken in by a convent that includes three young nuns (Aubrey Plaza, Alison Brie, Kate Micucci), each dealing with personal crises of their own.

The other is «Novel mode» that basically reads like a Novel detailing the background, the thoughts of the character as well as the dialogue spoken by them.

Basically, you can collect Gems to level up your characters, increasing their attack speak and power, but if you get hit by enemies, your power level gros down.

Aside from the well - noted fact that more superior long - form drama (and comedy) can be found on television than in cinemas, the two most interesting motion picture experiences I had in 2012 were in galleries: The Clock (Christian Marclay, 2010), a staggering and hypnotic achievement of which I still have some of its 24 hours to catch up with, and two multi-screen installations by Candice Breitz: «Him» and «Her» in which many scenes from the films of Jack Nicholson (in Him) and Meryl Streep (in Her), isolate the actors from their filmic background leaving the actors to speak to and interrogate each other across space and time on many themes of character, identity, success, failure, anger and disappointment.

The spoken dialogue uttered by your character and the NPC's you encounter is a bit goofy, but there's a robust amount of music and ambient noise that significantly boosts the game's immersion factor.