Chapter One The Full Definition of Dialogue
1. John L. Austin, How to Do Things with Words, ed. J. O. Urmson and Marian Sbisà (Oxford, England: Oxford University Press, 1962).
2. Hjalmar Söderberg, Doctor Glas, trans. Paul Britten Austin (London: The Harvill Press, 2002).
3. James E. Hirsh, Shakespeare and the History of Soliloquies (Madison, New Jersey: Fairleigh Dickinson University Press, 2003).
4. Jay McInerney, Bright Lights, Big City (New York: Random House, 1984).
5. Bruce Norris, Clybourne Park (New York: Faber and Faber, Inc., 2011).
6. Jonathan Franzen, The Corrections (New York: Farrar, Straus and Giroux, 2001).
Chapter Two The Three Functions of Dialogue
1. Edward T. Hall, The Silent Language (New York: Anchor Books, 1973). First published 1959.
2. Elizabeth Bowen, Afterthought: Pieces about Writing (London: Longmans, 1962).
Chapter Three Expressivity I: Content
1. Edward T. Hall, Beyond Culture (New York: Anchor Books, 1977).
Chapter Four Expressivity II: Form
1. Peter Brook, The Empty Space (New York: Touchstone, 1968).
2. Yasmina Reza and Christopher Hampton, The God of Carnage (London: Faber and Faber Limited, 2008).
3. David Means, Assorted Fire Events: Stories (New York: Faber and Faber, Inc., 2000).
4. Robert Penn Warren, All the King’s Men (New York: Harcourt, Brace and Co., 1946).
5. Ken Kesey, One Flew Over the Cuckoo’s Nest (New York: Viking Press, 1964).
6. Julian Barnes, The Sense of an Ending (New York: Vintage Books, 2011).
Chapter Five Expressivity III: Technique
1. Ezgi Akpinar and Jonah Berger, “Drivers of Cultural Success: The Case of Sensory Metaphors,” Journal of Personality and Social Psychology, 109(1) (Jul 2015), 20–34.
2. Malcolm Gladwell, Blink (New York: Little, Brown and Company, 2005).
3. David Means, Assorted Fire Events: Stories (New York: Faber and Faber, Inc., 2000).
4. Norman Mailer, An American Dream (New York: The Dial Press, 1964).
5. Yasmina Reza and Christopher Hampton, Art in Yasmina Reza: Plays 1 (London: Faber and Faber Limited, 2005).
6. William Strunk Jr. and E. B. White, The Elements of Style (London: Longman, 1997).
Chapter Six Credibility Flaws
1. A. H. Maslow, “A Theory of Human Motivation,” Psychological Review, 50 (1943), 370–96.
2. Michael Burleigh, Sacred Causes (New York: HarperCollins, 2006).
Chapter Seven Language Flaws
1. Betty Kirkpatrick, The Usual Suspects and Other Clichés (London: A & C Black Academic and Professional, 2005).
2. George Orwell, “Politics and the English Language,” Horizon Magazine, 13 (1946).
Chapter Eleven Four Case Studies
1. Mark Van Doren, Shakespeare (New York: Doubleday, 1965).
2. Robert McKee, Story: Substance, Structure, Style and the Principles of Screenwriting (New York: ReganBooks, HarperCollins, 1997).
3. McKee, Story.
Chapter Twelve Story/Scene/Dialogue
1. McKee, Story.
2. McKee, Story.
3. McKee, Story.
4. McKee, Story.
5. Hall, Beyond Culture.
6. McKee, Story.
7. McKee, Story.
8. McKee, Story.
9. McKee, Story.
10. McKee, Story.
11. McKee, Story.
Chapter Fourteen Comic Conflict (FRASIER)
1. Marvin Carlson, Theories of the Theatre (Ithaca and London: Cornell University Press, 1984).
Chapter Seventeen Reflexive Conflict (Fräulein Else and The Museum of Innocence)
1. Bruce Hood, The Self Illusion (New York: Oxford University Press, 2012).
2. David Eagleman, Incognito: The Secret Lives of the Brain (New York: Pantheon Books, 2011).
3. Jurgen Ruesch and Gregory Bateson, Communication: The Social Matrix of Psychiatry (New York: W. W. Norton & Co, 1987).
Chapter Eighteen Minimal Conflict (LOST IN TRANSLATION)
1. This phrase originated in the line “Well, less is more, Lucrezia: I am judged” from Robert Browning’s dramatized poem “Andrea del Sarto” (1855).
Chapter Nineteen Mastering the Craft
1. Mamie Dickens, Charles Dickens (Charleston, South Carolina: Nabu Press, 2012).